Experience | Volume 3 | 2013-2014 Season

EXPERIENCE volume 3 | 2013 - 2014 season

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Contents

Volume 3

Concert Experience • Peter and the Wolf - Special thanks to Laurelwood Shopping Center February 7...................................................... 17 • Wicked Divas - Sponsored by Independent Bank February 15.................................................... 24 • German Requiem - Special thanks to Whitehorn Tankersley & Davis, PLLC February 22-23.............................................. 31 • Memphis Messiah sponsored by Orphanos February 28.................................................... 40 • Tchaikovsky 4 - Special thanks to Dominion Partners March 15-16.................................................. 53

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2013|2014 Season

Patron Experience • Advertiser Listing........................................... 35 • MSO Board of Directors, Staff, League Board & Chorus Board............................................. 66 • Memphis Symphony League......................... 68 • Sponsors & Foundations............................... 72 • Membership Benefits..................................... 74 • Contributors................................................... 75 • Tributes ......................................................... 84 • Patron/Ticket Information ........................... 88

Symphony Gallery

• Mei-Ann Chen, Music Director ..................... 4

• Diamond Jubilee Luncheon.......................... 39

• Conner Gray Covington, Assistant Conductor.... 6

Community Experience

• Orchestra Roster............................................... 8

• Explore the Wonderful World of Classical Music.. ................................ 12 • Concerts + Community Engagement = MSO Service................................................. 28

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. ©2013|2014 Memphis Symphony Orchestra • 585 S. Mendenhall Rd., Memphis, TN 38117

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

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a message from

Mei-Ann Chen music director Dear Friends, This winter has been a sad one for our MSO family with the loss of two special colleagues, Ruth Moore Cobb, retired MSO harpist, and Douglas Whitaker, Director of Artistic Operations. We keep them both in our thoughts and prayers as we carry on the tradition that they loved so much and continue to perform wonderful concerts for you all.

So many wonderful friends and colleagues join the Memphis Symphony to perform concerts to warm your hearts and infuse you with optimism as spring approaches. We begin by presenting a familyfriendly Classic Accents program, featuring Gary Beard narrating Prokofiev’s timeless classic Peter and the Wolf. Young and old are welcome at our annual Young Peoples’ Concerts at the Cannon Center with MSO Assistant Conductor Conner Gray Covington on the podium. MSO presents Wicked Divas as part of our Pops series and February finishes with the beautiful and powerful German Requiem by Brahms as part of our Masterworks series. These performances will be followed by the rescheduled performance of Handel’s Messiah in collaboration with Rhodes MasterSingers, directed

by William Skoog. Please join Conner Gray Covington and the MSO at Metropolitan Baptist Church on Sunday, March 2nd, when they are joined by the Metropolitan Hand Bell Choir to present a free concert “Amazing Grace” for the Soulsville community. Our final concert for winter will send you soaring into spring. My esteemed colleague, Carl St. Clair, will take the podium for our sixth Masterworks performances to direct a concert featuring Tchaikovsky’s electric 4th Symphony and Mozart’s beautiful Oboe Concerto in C featuring our very own Joseph Salvalaggio. How fitting to end winter with a reminder to us all that we are so fortunate to have our fabulous MSO musicians living here, teaching our children and grandchildren and performing for so many members of our diverse community every week of the year. Please support your symphony and allow us to continue the honor of serving all of you in the future.

Mei-Ann

biography An innovative and passionate force both on and off the conductor’s podium, Mei-Ann Chen is one of America’s most dynamic young conductors. Music Director of the Memphis Symphony since 2010 and of the Chicago Sinfonietta since 2011, she has infused both orchestras with energy, enthusiasm and high-level music making, galvanizing their audiences and communities alike. In recognition of these accomplishments, the League of American Orchestras granted her the prestigious Helen M. Thompson Award at its 2012 national conference in Dallas. A sought-after guest conductor, Ms. Chen’s reputation as a compelling communicator has resulted in growing popularity with orchestras both nationally and internationally.

Maestra Chen’s 2013 - 2014 season takes her across the country to Canada, Sweden, and Austria.

Guesting highlights include engagements with the Detroit Symphony, Vancouver Symphony, Austria’s Gross Orchester Graz, Sweden’s Göteborgs Symfoniker and NorrlandsOperan (Norrland's Opera), with whom she appears in both the fall and spring.

Ms. Chen’s recent seasons include debuts with the Chicago Symphony on its subscription series, with the San Francisco Symphony, Houston Symphony, Cincinnati Symphony (where she stepped in on short notice and was immediately re-engaged), and San Diego Symphony nationally, and engagements abroad with Brazil’s São Paulo Symphony, Finland’s Tampere Philharmonic, the Netherlands Philharmonic in the Concertgebouw, and the National Taiwan Symphony Orchestra. Among her many North American guesting credits are appearances with the symphony orchestras of Atlanta, 4

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a message from

Roland Valliere PRESIDENT & CEO

What a delight it is for my wife Milisa and me to be part of the Memphis community. In the short time we have been here it is evident that music abounds and in many ways defines what makes Memphis so special.

The Memphis Symphony’s multiplicity of programs and community engagement activities make the orchestra unique, especially with regard to their breadth and quality.

I deeply believe that music has the power to transform lives, through the magic of great performances and opening of windows of possibility, especially among young people, that may not have opened otherwise.

We live in challenging times and those challenges can seem daunting. Though the Memphis Symphony Orchestra is not immune from such challenges, I am convinced that with the courage and will to confront them we can forge a bright future.

I wish to express my gratitude to all of you for your support of this wonderful orchestra. And to thank the many who have welcomed Milisa and me with such open arms.

Sincerely,

Roland Valliere President & CEO

Baltimore, Colorado, Fort Worth, Nashville, North Carolina, Oregon, Pacific, Phoenix, Seattle, Toronto, and the National Symphony in Washington, D.C. Overseas, she has conducted the principal Danish orchestras, the BBC Scottish Symphony, Bournemouth Symphony, Orquestra Sinfonica Nacional de Mexico, Norwegian Radio Orchestra, and the Trondheim Symphony. U.S. summer music festivals credits include the Aspen Music Festival, Britt, Grand Teton, Wintergreen, the Chautauqua Institute and the Texas Music Festival in Houston.

In addition to the 2012 Helen M. Thompson Award from the League of American Orchestras, MeiAnn Chen’s skill on the podium and as a music educator has been recognized with several honors, awards and posts. In 2005 Ms. Chen became the first woman to win Copenhagen’s esteemed Malko Competition. She served as Assistant Conductor of the Atlanta Symphony and Baltimore Symphony, under the aegis of the League of American Orchestras and with the Oregon symphony. Recipient of the 2007 Taki Concordia Fellowship, she has appeared jointly with Marin Alsop and Stefan Sanderling in highly acclaimed subscription concerts with the Baltimore Symphony, Colorado Symphony and Florida Orchestra. In 2002, Ms. Chen was unanimously selected as Music Director of the Portland Youth Philharmonic in Oregon, the oldest of its kind and a model for many youth orchestras in the United States. During her five-year tenure with the orchestra, she led its sold-out debut in Carnegie Hall, received an ASCAP award for innovative programming, and developed new and unique musicianship programs for the orchestra’s members. She was also the recipient of a Sunburst Award from Young Audiences for her contribution to music education.

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

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Conner Gray Covington assistant conductor At 26 years old, Conner Gray Covington recently completed his first season as Assistant Conductor of the Memphis Symphony Orchestra, a position he began in September of 2012. In Memphis, he conducts various community and outreach concerts while also working closely with Music Director Mei-Ann Chen.

Covington also serves as the Music Director of the Memphis Youth Symphony Program. He recently completed his master’s degree in orchestral conducting in May of 2012 at the Eastman School of Music where he studied with Neil Varon. Covington has also served as a cover conductor for the Atlanta Symphony Orchestra and has been invited back for the 2013-2014 season.

He also recently conducted the Fort Worth Symphony Orchestra in a masterclass for Miguel Harth-Bedoya.

In May of 2012, Covington competed in the prestigious Malko Conducting Competition in Copenhagen, Denmark, where he was the youngest participant to advance to the third round. In Denmark he conducted the Danish National Symphony for a jury headed by Lorin Maazel. Covington also recently competed in the Tokyo International Conducting Competition where he worked with the New Japan Philharmonic and advanced to the semi-final round.

In the summers of 2011 and 2012, Covington attended the Aspen Music Festival as a fellowship recipient in the American Academy of Conducting at Aspen. There he worked with Robert Spano, Larry Rachleff, and Hugh Wolff as well as other guest conductors throughout the summer. He has also attended the Pierre Monteux School for Conductors where he studied with Michael Jinbo.

Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He completed high school at the renowned High School for the Performing and Visual Arts in Houston, Texas. He went on to study violin at the Moores School of Music at the University of Houston with distinguished soloist and pedagogue Kyung Sun Lee. Covington then transferred to the University of Texas at Arlington where he studied violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans. At UTA, he served as both concertmaster and assistant conductor of the UTA Symphony, and in May of 2010 he graduated summa cum laude with a degree in violin performance.

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STAX Music Academy

Our Vibe.

Our City.

Memphis Symphony Orchestra to STAX Music Academy Theatre Memphis to Visible Community Music School.

Since 1963, we’ve supported Memphis’ lively and diverse arts community. It’s a commitment to excellence in the arts. It’s a commitment that needs your support!

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Memphis Symphony Orchestra mei-ann chen, music director conner gray covington, assistant conductor dr. lawrence edwards, choral director Violin I Concertmaster The Joy Brown Wiener Chair

Barrie Cooper, Acting Concertmaster The Maxine Morse Chair

Marisa Polesky, Assistant Principal Diane Zelickman, Assistant Principal Paul Turnbow Wen-Yih You Jessica Munson Greg Morris Long Long Kang Violin II Gaylon McKay Patterson, Acting Principal The Dunbar and Constance Abston Chair

Heather Trussell, Assistant Principal Erin Kaste, Acting Assistant Principal Christine Palmer* Ann Spurbeck Lenore McIntyre Michael O'Gieblyn Viola Jennifer Puckett, Principal The Corinne Falls Murrah Chair

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

Iren Zombor, Assistant Principal Milena Albrecht*, Assistant Principal Phyllis Long 8

Jonathan Kirkscey Griffin Browne Jeffrey Jurciukonis Hannah Schmidt Mark Wallace Bass Scott Best, Principal Christopher Butler, Assistant Principal Sean O’Hara Andrew Palmer Tim Weddle Jeremy Upton Sara Chiego Flute Karen Busler, Principal The Marion Dugdale McClure Chair

Todd Skitch* Chris James Piccolo Chris James Oboe Joseph Salvalaggio, Principal Saundra D’Amato Shelly Sublett, Assistant Principal English Horn Shelly Sublett Clarinet Andre Dyachenko, Principal Rena Feller Nobuko Igarashi Bass Clarinet Nobuko Igarashi www.MemphisSymphony.org

Bassoon Susanna Whitney, Principal Michael Scott Christopher Piecuch Contrabassoon Christopher Piecuch Horn Samuel Compton, Principal The Morrie A. Moss Chair

Robert Patterson Caroline Kinsey Pamela Kiesling Trumpet Scott Moore, Principal The Smith & Nephew Chair

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

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Bass Trombone Mark Vail Tuba Charles Schulz, Principal Timpani Frank Shaffer, Principal Percussion David Carlisle, Principal Ed Murray, Assistant Principal Harp Marian Shaffer, Principal The Ruth Marie Moore Cobb Chair

Piano/Celeste Adrienne Park, Principal Â

The Buzzy Hussey and Hal Brunt Chair

*Currently on leave

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SEASON TWO

January Ladysmith Black Mambazo January 24 Jonathan Batiste January 25

February Doc Severinsen and The San Miguel 5 February 1 Step Afrika! – February 9 Chucho Valdés – February 13 Marty Stuart – February 15

March Spyro Gyra 40th Anniversary Tour March 1 Tomás Kubínek March 21 The Del McCoury Band with Shannon McNally

March 27 Streb – March 29

Buy Tickets: 751-7500 www.GPACweb.com G E R M A N TOWN PERFORM I N G A RT S C E N T E R , 1 8 0 1 E XETER ROAD, GERMANTOWN TN 38138

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Explore the Wonderful World of Classical Music

A Partnership with Boys & Girls Clubs of Greater Memphis In spring 2013, horn player Caroline Kinsey proposed a new after-school project for young people. “I wanted to pilot a program with fun experiences to expose children to classical music. I’ve been frustrated and heart-broken that so many kids from low income circumstances miss out completely on music that can change their lives.” With a nod of approval from the MSO, Caroline began working with staff to define a new youthfocused music appreciation project and build a new community partnership to support the effort.

Collaborations and partnerships have fueled the explosion and success of MSO projects over the last several years. With its own unique audience existing within the concert hall, the MSO looks outward into the community to engage new audiences and meet critical community needs. Community partners, with their own constituent groups and respective missions, are great channels for reaching out. Through each of its partnerships, the MSO enhances existing good work, shares resources, avoids service duplications, and stretches capacity from all sides.

League member Carol Martin shares snacks enjoyed by German composers with students.

For Caroline’s project, Explore the Wonderful World of Classical Music, the MSO looked for a quality after-school organization and found Boys & Girls Clubs of Greater Memphis. After several meetings over the summer, project details fell into place along with a pilot location. Caroline began meeting with her group at the Sycamore View Club in early October.

Explore the Wonderful World of Classical Music met once a week for six weeks. Each lesson celebrated a single classical composer – Mozart, Beethoven, Brahms, Copland, Tchaikovsky and Bernstein – whose music was played and studied during the 45-minute class period. As children gathered for lessons, they enjoyed a spread of snacks the composers might have had, like sausage, cheese and sparkling juice, all thoughtfully provided by the Memphis Symphony League. They looked at composer pictures, read biographies, and talked, in salon fashion, about the music they were hearing…about what life must have been like in the time of that composer…how it contrasted with

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their own lives‌and what might have motivated the playing and writing. After the snack and discussion, the students watched videos of the composer’s works. Several times MSO players stopped in to perform for the group and the children would take turns trying different instruments.

To introduce the language of music, Caroline wrote out a melody in simple terms for each composer and encouraged the students to copy her writing. She then played each of their samples on the French MSO musician Caroline Kinsey prepares for awards ceremony. horn, letting them hear how their writings translated to sound. This exercise quickly became the favorite part of every lesson, allowing children to experience the flow, transitions and nuances of the music.

They also learned the art of listening and used critical thinking skills as they entered the cultural world of composers. In every way the project was a success and Caroline looks forward to presenting the program again in spring 2014 at a different Boys & Girls Club location.

Participants of Explore the Wonderful World of Classical Music held a graduation ceremony.

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Hot Springs Music Festival Hot Springs, Arkansas SEASON XIX:

1-14 JUNE 2014

For the Hot Springs Music Festival: Verdi Meets Wagner by Carole Katchen

Casual, Classical, Fun! The Hot Springs Music Festival brings together over 200 international musicians each June in the historic spa resort of Hot Springs National Park to present over 20 concerts and 250 free open rehearsals for music lovers from around the globe.

Visit hotmusic.org for the complete schedule, programs, and other exciting information!

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Peter and the Wolf Friday, February 7, 2014 at 7:30 p.m. – Lindenwood Christian Church

MEI-ANN CHEN, conductor Gary Beard, narrator BENJAMIN BRITTEN (1913 - 1976) Simple Symphony for String Orchestra, Op. 4 Boisterous Bourrée Playful Pizzicato Sentimental Saraband Frolicsome Finale

MAURICE RAVEL (1875 - 1937) Suite of Five Pieces from Mother Goose Pavane of the Sleeping Beauty Tom Thumb Laideronette, Empress of the Pagodas Conversations of Beauty and the Beast The Enchanted Garden

Take 5…

SERGEI PROKOFIEV (1891 - 1953) Peter and the Wolf, Op. 67

Gary Beard, Narrator

Special Thanks

a

Please join Mei-Ann Chen, the musicians, chorus, Board of Directors, and staff in the lobby for a complimentary post-concert reception.

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Gary Beard narrator

Gary Beard has performed as organ, piano and tenor soloist, conductor and accompanist at some of the world’s most prestigious music centers, including New York’s Town and Carnegie Halls, The Spoleto Festival USA, the Brevard Center, St. Peter’s Cathedral, Salzburg, and Notre Dame Cathedral, Paris. He has worked with numerous orchestras and festivals and under such esteemed conductors as Robert Shaw, James Conlon, C. William Harwood, Thomas Schippers and Michael Stern. He is Artist-in-Residence at Lindenwood Church in Memphis, Tennessee, where he has developed one of the country’s most acclaimed music programs.

Gary Beard is also Music Consultant at Theatre Memphis where he has conducted such musicals as A Little Night Music, Cats, La Cage Aux Folles, My Fair Lady, Sweeney Todd, Curtains, and The King and I, and has been the recipient of numerous local theatre awards for Best Musical Direction.

In 2005 Mr. Beard was awarded the Germantown, Tennessee Arts Alliance’s Arts and Humanities Award “for his vision, dedication and devotion to the highest standards of excellence through his notable and distinguished career in the performing arts.”

The Memphis Symphony Orchestra is a proud member of the League of American Orchestras 18

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It’s through programs and activities like these that we strive to provide your loved ones a day full of purpose and fun while offering a much needed break for you.

Visit pagerobbins.org to learn more about the countless ways we care.

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program notes BRITTEN Simple Symphony Duration: 16 minutes The year 2013 marks the centenary of Benjamin Britten, who was born in Suffolk on November 22, 1913. A musical talent from a very early age, Britten began formal studies with the English composer Frank Bridge at the age of 11 before entering the Royal Conservatory of Music in 1930. In 1935 he began working on documentaries for the GPO Film Unit, a subsidiary of the UK General Post Office, where he collaborated with W. H. Auden. A pacifist, Britten ended up in America at the start of World War II and stayed there for several years before homesickness overcame him and he returned in 1942. Three years later on June 7, 1945, his opera Peter Grimes premiered to great critical acclaim, becoming the first in a series of major works (among others, The Rape of Lucretia, Albert Herring, Billy Budd, The Turn of the Screw, and Noye’s Fludde) and establishing him beyond a doubt as the preeminent British composer of his generation.

As The Times declared upon his death in 1976, he was “the first British composer to capture and hold the attention of musicians and their audiences the world over.”

While his career was moving forward, Britten still held on to his childhood compositions—and in 1934, only a few months after his twentieth birthday, Britten took these youthful works and used them as the basis for his Simple Symphony, which he wrote in the span of six weeks. Consisting of four movements with playfully alliterative titles, Simple Symphony shows off the natural gifts of a musical prodigy and the skills of a composer honing his craft. In the opening “Bourrée,”Britten uses two themes—one energetic, the second more lyrical. “Pizzicato”is an excellent description of the second movement, in which merry pizzicato strings surround a trio based on a song Britten composed at the age of ten. After the moving “Sentimental Saraband,” a “Frolicsome Finale” takes the symphony to a vigorous conclusion. In all four movements, Britten juxtaposes childlike playfulness with the intensity of a mature composer.

RAVEL Mother Goose Suite Duration: 16 minutes As did most of his orchestral works, Maurice Ravel’s Ma Mère L’Oye (Mother Goose) began life as a piano piece—in this case, as a set of five piano duets composed for the gifted young son and daughter of his friends Ida and Cipa Godebski. A year after the duet’s 1910 premiere, Ravel orchestrated the duets—perhaps at the request of an ambitious publisher—and in 1912, he transformed the piece into a full-length ballet.

While the exact origins of the Mother Goose stories are not known, Ravel relied on several sources for his subject matter. For “The Sleeping Beauty” and “Tom Thumb,” the composer turned to an anthology by Perrault published in 1697 called Histoires ou contes du temps passé, avec des moralitez (Stories or tales of the olden times, with morals), and to a contemporary of Perrault’s for “The Ugly Little Girl, Empress of 20

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Special thanks to

the Pagodas.” The Children’s Treasury of Moral Tales (1775) provided “Beauty and the Beast.”

While his choice of Mother Goose stories was particularly appropriate for the work’s intended original performers, the subject matter also informed his compositional choices. As Ravel wrote in his autobiographical sketch, “the idea of evoking in these pieces the poetry of childhood naturally led me to simplify my style and refine my means of expression.” Indeed, Ravel captures the stories perfectly in his music. The work begins with a dreamlike prelude evoking “the horns of Elfland faintly blowing.” A “Spinning Wheel Dance and Scene” ensues, in which the Princess falls into a deep sleep merely because she pricked her finger. The dreams that follow comprise the subject of the rest of the ballet. “Petit Poucet” presents an episode from the life of Tom Thumb; lost in a forest of meandering violin lines, Tom whimpers through oboes and other woodwinds. Pentatonic scales, xylophone, woodblock, and celesta create a pseudoAsian atmosphere in “Laideronnette, Empress of the Pagodas,” depicting an empress waited on in the bath by her fairy-like “pagodas.” The graceful clarinet and growling contrabassoon engage in “Conversations of Beauty and the Beast.” In the final section, “The Fairy Garden,” a prince awakens the sleeping princess with a kiss.

PROKOFIEV Peter and the Wolf Duration: 25 minutes John Gielgud, Peter Ustinov, Basil Rathbone, Ben Kingsley, Mia Farrow, Captain Kangaroo, David Bowie—even the briefest perusal of the many personalities that have served as narrator for Prokofiev’s Peter and the Wolf illustrates its longstanding appeal.

Loved by children and adults alike for its colorful storytelling and whimsical humor, Peter and the Wolf sprang to life as a 1936 commission from the Central Children’s Theatre. Written in less than two weeks, the work uses a text written by Prokofiev himself as a device to introduce children to the sounds of orchestral instruments—much like Britten’s Young Person’s Guide to the Orchestra, which was composed less than a decade later. Prokofiev accomplishes his objective by associating different musical instruments with each of the characters, ultimately making them as important as the narrator in telling the story.

One day, Peter (illustrated by the strings)—who lives at his grandfather’s house in the forest—accidentally leaves the garden gate open. The duck (an oboe) that lives in the yard escapes and goes swimming in a nearby pond. While the duck argues with a little bird in the form of a flute, Peter’s cat (a clarinet) stalks them. Peter warns his feathered friends, and the bird flies to safety in a tall tree while the duck takes refuge in the middle of the pond.

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program notes Peter’s grandfather (the bassoon) scolds him for going into the meadow alone, asking, “Suppose a wolf came out of the forest?” “Boys like me are not afraid of wolves,” responds Peter—and shortly afterwards, a “big, grey wolf” (three French horns) emerges from the woods and swallows the duck. The resourceful Peter asks the bird to distract the wolf, which he catches by the tail with a rope. Hunters in pursuit of the wolf come out of the forest and threaten to shoot. In a plot twist, Peter persuades them to help him take the wolf to the zoo, accompanied by the bird, the cat, and his disgruntled grandfather.

At the same time that he introduces the audience to the sounds of the orchestra, Prokofiev shows how musical structure relates to dramatic action, following a loose sonata form that parallels the story. In the opening section, we meet the main characters. Most of the action takes place in the “development,” with the appearance of the wolf, the disappearance of the duck, and the wolf’s capture. The final scene serves as a recapitulation, as the principal characters take part in a final parade.

– Jennifer Glagov

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Memphis Symphony Orchestra 2013-2014

STUDENT TICKETS Student Tickets for First Tennessee Masterworks, Pops and Paul & Linnea Bert Classica Accents*

$5

*Student tickets subject to availability.

537-2525 | MemphisSyphony.org/studentdiscounts For Tickets 901-537-2525 For tickets Follow(901) the Memphis Symphony!

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Wicked Divas Saturday, February 15, 2014 at 7:30 p.m. – Cannon Center

Conner Gray Covington, conductor Emily Rozek, vocalist Nicole Parker, vocalist JULE STYNE arr. Robert Russell Bennett Overture to Gypsy

GEORGES BIZET Selections from Carmen

Seguidilla, from Suite No. 1

Habanera, from Suite No. 2

Les Toreadors, from Suite No. 1 JOHN KANDER Orch. Paul McKibbins Introduction and All That Jazz from Chicago (Duet)

ALAN JAY LERNER & FREDERICK LOEWE I Could Have Danced All Night from My Fair Lady (Emily) JULE STYNE

Don’t Rain On My Parade from Funny Girl (Nicole) STEPHEN FLAHERTY arr. Steven Reineke Ragtime from Ragtime ANDREW LLOYD WEBBER Arr. D. Cullen Think Of Me from Phantom of the Opera (Emily) JOHN KANDER & FRED EBB Arr. Paul McKibbins Ring Them Bells (Nicole) ENRIQUE GARCIA Arr. Steven Reineke Conga INTERMISSION

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Act II VARIOUS Arr. Steven Reineke I Hear a Symphony: Symphonic Sounds of Diana Ross PAUL JABARA & BRUCE ROBERTS Arr. Fred Barton No More Tears (Enough is Enough) (Duet) JEANINE TESORI & DICK SCANLAN Gimme Gimme from Thoroughly Modern Millie (Emily)

DU PRUZ/ERIC IDLE Arr. T. Firth Diva’s Lament from Spamalot (Nicole) HAROLD ARLEN & YIP HARBURG Arr. Skitch Henderson/Dick Lieb Over the Rainbow from The Wizard of Oz STEPHEN SCHWARTZ Arr. William David Brohn Popular from Wicked (Emily) STEPHEN SCHWARTZ Arr. Randall Craig Fleischer Defying Gravity from Wicked (Nicole) STEPHEN SCHWARTZ Orch. Torrie Ziyo For Good from Wicked (Duet)

Special thanks to

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Emily Rozek vocalist

Emily Rozek was most recently seen starring as Glinda in the Broadway hit Wicked. Upon her graduation from the Boston Conservatory she made her professional debut as the principle role of Winnie Tate in Annie Get Your Gun starring Bernadette Peters. She went on to understudy and perform the lead roles of Millie Dillmount and Miss Dorothy in Broadway’s Thoroughly Modern Millie.

She has also been on National Broadway tours such as Sunset Boulevard as Mary and South Pacific as Nellie Forbush. Regional Credits include Marta in Company, staring with acclaimed and award winning actress Donna McKechnie, Maggie in A Chorus Line, Lizzie in Baby and, most recently, Polly in Crazy for You. She spent 4 years in Los Angeles making appearances in various concerts such as Two’s Company, a tribute to the great composers, Alan Menkin and Stephen Schwartz. She was also featured in the Ford Theatre’s Broadway Unplugged Concert. She has also appeared as a guest soloist in Wicked Divas with the St. Louis Symphony, Fresno Philharmonic, Vancouver Symphony, Arkansas Symphony, Hamilton Philharmonic and the Reno Philharmonic. Upcoming performances include Santa Rosa Symphony, Elgin Symphony, Anchorage Symphony and Springfield, MO.

MSO welcomes Boyle Investments as our newest Corporate Member!

Corporate Membership offers incredible opportunities.

Contact Jane Mims 901-537-2518 Jane.Mims@MemphisSymphony.org

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Nicole Parker vocalist

Nicole Parker is best known for her portrayal of Elphaba in the Broadway production of Wicked.

Since playing the green witch in the Broadway company, she has reprised the role for the First National Tour of Wicked. Nicole’s other Broadway credits include Martin Short: Fame Becomes Me and The People in the Picture with Donna Murphy. Regionally, Nicole played Juliet in The Second City’s Romeo and Juliet Musical at Chicago Shakespeare Theater, for which she received a Jeff Award nomination. She also appeared as Rosemary in How to Succeed In Business Without Really Trying at Reprise Theater, and Pamina in The Magic Flute at the Falcon Theater.

For six years, Nicole was also a cast member and contributing writer on Fox’s MADtv. For two years, Nicole was a performer and write for Boom Chicago, an all American sketch and improvisation theater in Amsterdam. Nicole’s film credits include Funny People, directed by Judd Apatow as well as the short films Weathered and Sitting Babies. This year she was featured as a guest star on the mock game show Bunk on IFC, as well as on ABC in Trust Us With Your Life, an improvisation show from the creators of Whose Line Is It Anyway? She is also a founding member of Waterwell, a non-profit theater company in New York.

A frequent soloist with orchestras around the country, recent and upcoming performances include Peter Nero and the Philly Pops, Houston Symphony, Phoenix Symphony, Utah Symphony and Opera, Colorado Symphony, Greensboro Symphony, Kalamazoo Symphony, Santa Rosa Symphony, Pueblo Symphony, Charleston Symphony, Sarasota Symphony, Orlando Symphony, North Carolina Symphony, San Antonio Symphony, Dayton Philharmonic, Idaho Civic Symphony, Hamilton Philharmonic, and Fresno Philharmonic.

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CONCERTS + COMMUNITY ENGAGEMENT = MSO SERVICE As reported in the first program book of the season, MSO leadership finalized its current strategic plan in March 2013. With newly articulated vision and mission statements, the plan recognizes the duality of concerts and community engagement activities for sustaining the MSO. These two aspects of MSO service, distinct but equally important, make the MSO relevant and viable in the culture and economy of 21st century Memphis.

In November, for example, the MSO presented the third concert of the 2013Marcus Roberts Trio performs for students at Promise Academy 2014 First Tennessee Masterworks Series featuring the Marcus Roberts Trio. The program offered Gershwin’s Rhapsody in Blue to the pleasure and delight of classical music and jazz lovers alike. With such celebrated guest artists and one of America’s truly great compositions, the MSO had an opportunity to engage the community with multiple activities the week of the concert.

Performance at Promise Academy – Thursday the Marcus Roberts Trio performed for K-5 students at Promise Academy, a North Memphis charter school. For nearly an hour, the trio engaged students with performances, demonstrations and musical interactions.

Drumming, accompanied by student clapping and stomping was very enthusiastic.

Students also learned to count musical measures, participated in the composition of a blues piece, and sang Jingle Bells, jazz-style. The mantra of Promise Academy is “Keeping the Promise / Educating the Whole Child” and through the Marcus Roberts Trio's visit the MSO was pleased to support the essential work of Promise Academy.

Bass player Rodney Jordan demonstrates for students at Overton High School.

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String Quartet at White Station Middle School – The MSO is currently in an audition season for concertmaster and candidates are being tested at concerts throughout this season. www.MemphisSymphony.org

On Friday the ensemble of principal string players performed a rehearsal session for young orchestra students with the guest concertmaster. It was an opportunity for MSO musicians to assess the candidate and also model professional communication and collaboration for White Station's emerging musicians.

Masterclass at Overton High School – As the high school of performing arts in Shelby County, Overton has very dedicated student musicians and Art teacher Lurlynn Franklin helps students apply color to faculty. However, the opportunity line drawings. for jazz students to work with high caliber professionals like the Marcus Roberts Trio is a nearly once-in-a-lifetime experience.

The masterclass for jazz band took place on Friday. It included demonstrations, critiques and recommendations, and most importantly, a close up perspective on the world of admired and respected professional artists.

Art Project at Whitney Achievement School – Several weeks before the concert, Whitney’s visual teaching artist, Lurlynn Franklin, developed a process that allowed young students to create abstract art by listening to classical music provided by the MSO. She began the artistic process, which lasted through five lessons, by asking students to listen to Rhapsody in Blue with Students at Whitney Acheivement School display their eyes closed. Next she referenced artwork inspired by Rhapsody in Blue. the principles of art – lines, shapes, patterns, movement – and asked students to respond to the music by drawing simple lines on a sheet of paper. Still listening, the students began shading the lines with permanent marker in ways that captured stillness, movement, sorrow, joy. Still listening, the students next colored transparencies with washable markers and when the colors dried, they applied the transparencies to their line sheets which had been saturated with water. Still listening, the students enhanced the muted colors on their dried pieces with crayons and markers. Still listening, the students finished their work by blurring and blending the colors with brushes of water. According to Ms. Franklin, a recognized and respected local artist, abstract art is a barrier for most people. Yet her students, inspired by music, overcame that barrier and experienced creativity at the highest level. The work was exhibited in the lobby of the Cannon Center during the concert week and returned to the school where it is now proudly displayed.

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Involved in your community.

If it’s important to you, it’s important to us.

FedEx is proud to support the Memphis Symphony Orchestra.

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German Requiem Saturday, February 22, 2014 at 7:30 p.m. – Cannon Center Sunday, February 23, 2014 at 2:30 p.m. – GPAC MEI-ANN CHEN, conductor Mary Wilson, soprano Matthew Morris, baritone Memphis Symphony Chorus University of Memphis Singers Dr. Lawrence Edwards, artistic director FRANZ SCHUBERT (1797 - 1828) Symphony No. 8 in B Minor, D. 759, (Unfinished)

Allegro moderato Andante con moto

INTERMISSION

JOHANNES BRAHMS (1833 - 1897) A German Requiem, Op. 45

Selig sind, die da Leid tragen

Memphis Symphony Chorus Denn alles Fleisch es ist wie Gras

Memphis Symphony Chorus Herr, lehre doch mich

Matthew Morris, Baritone

Memphis Symphony Chorus Wie lieblich sind deine Wohnungen

Memphis Symphony Chorus Ihr habt nun Traurigkeit

Mary Wilson, Soprano

Memphis Symphony Chorus Denn wir haben hie keine bleibende Statt

Matthew Morris, Baritone

Memphis Symphony Chorus Selig sind die Toten

Memphis Symphony Chorus

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FREE Concert Preview… ~ Saturday at 6:45 p.m. in the Morgan Keegan Mezzanine Lobby ~ Sunday at 1:45 p.m. in the Ballet Room For Tickets 901-537-2525

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Mary Wilson soprano

Soprano Mary Wilson is acknowledged as one of today’s most exciting young artists. Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire. Receiving consistent critical acclaim from coast to coast, “she proves why many in the opera world are heralding her as an emerging star.

In consistent high demand on the concert stage, she has most-recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony. Her three upcoming CDs of Haydn Lord Nelson, Brahms Ein Deutches Requiem, and virtuosic Handel solo cantatas will all be released this Fall.

On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World premiere performances of Dove’s Flight, Glass’ Galileo Galilei, and Petitgirard’s Joseph Merrick dit L’Elephant Man. A national winner of the 1999 Metropolitan Opera National Council Auditions, she has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, the Brooklyn Academy of Music and the Goodman Theatre.

An accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She is currently on the faculty at the University of Memphis. Visit her at www.MaryWilsonSoprano.com.

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Matthew Morris baritone

Matthew Morris is quickly garnering international recognition for the depth and versatility of his artistry as an actor and singer. He is as equally at home on the opera, concert, and Broadway stages as he is on film and television. As Le Monde declared, “you really want to hear him in either an opera or a musical. He has a big presence, a warm baritone voice, immense humanity, and the gift of an actor.”

In the past few years Morris has debuted on The West End, at the Bouffes du Nord in Paris, the Piccolo Teatro in Milan, with the Boston, American, and London Symphony orchestras, starred in the National Tour of A Christmas Carol, and appeared on "Law & Order" and in the movie The Producers!

Highlights of his theater career already include King Charles in Candide at the Barbican in London, Young Scrooge in the National Tour of A Christmas Carol, Joseph in Joseph and the Amazing Technicolor Dreamcoat, George in Our Town, Gus in The Dumb Waiter, Puck in A Midsummer Night’s Dream, The Soldier in Hello Again, The Prince in Cinderella, and Alan in Babes in Toyland.

Recent opera roles include an exclusive return engagement to the role of Papageno in legendary director Peter Brook’s Moliére Award-winning adaptation of Mozart’s The Magic Flute (Une Flûte Enchantée) in Paris and Milan. The East Anglian Daily Times raved about his performance of “Le Mari” in Poulenc’s Les Mamelles de Tirésias at the Aldeburgh Music Festival, declaring it a “thoroughly commanding and effortless performance that thrilled a packed house.”

An avid activist for equal rights Morris has produced and performed in the concert series "You Are Not Alone" alongside Betty Buckley, Lea DeLaria, Aaron Lazar, Ricky Ian Gordon, John Tartaglia, Jeanine Tesori, and many more. The concerts have raised tens of thousands of dollars for The Trevor Project, a national suicide prevention hotline for lesbian, gay, bisexual, transgender, and questioning youth.

Morris trained at the Juilliard School and with world-renown soprano Dawn Upshaw. He was an apprentice with the Santa Fe Opera and Tanglewood Music Festival and a finalist of the Metropolitan National Council Middle Atlantic Region Auditions. He currently lives in New York City with his fiancé, director and actor Michael Rader.

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Baker Donelson is proud to support the Memphis Symphony Orchestra.

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www.bakerdonelson.com The Rules of Professional Conduct of the various states where our offices are located require the following language: THIS IS AN ADVERTISEMENT. Ben Adams is Chairman and CEO of Baker Donelson and is located in our Memphis office, 165 Madison Avenue, Suite 2000, Memphis, TN 38103. Phone 901.526.2000. No representation is made that the quality of the legal services to be performed is greater than the quality of legal services performed by other lawyers. FREE BACKGROUND INFORMATION AVAILABLE UPON REQUEST. © 2013 Baker, Donelson, Bearman, Caldwell & Berkowitz, PC

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DEVELOPMENT • ACQUISITION • LEASING • ASSET MANAGEMENT

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Lawrence Edwards artistic director

Lawrence Edwards has been Artistic Director of the Memphis Symphony Chorus since the 1987-1988 season. He has also been the Director of Choral Activities for the University of Memphis’ Rudi E. Scheidt School of Music since 1987. His responsibilities there include directing the vocal ensemble Sound Fuzion, and the University Singers. He also teaches and mentors both graduate and undergraduate students pursuing degrees in Choral Conducting. He is active as a choral clinician, working with junior and senior high school choirs.

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

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program notes SCHUBERT Symphony No. 8 (Unfinished) Duration 22 minutes While we know Schubert’s Eighth Symphony as the “Unfinished,” the work was not the only one he left incomplete. Schubert’s first six symphonies, written between 1813 and 1818, suggest a composer completely comfortable with the form in which he was writing.

This situation soon changed, however. Two symphonic fragments date from 1818 and 1820-21, and Schubert nearly completed a symphony in E major. After completing six symphonies, why did Schubert suddenly stop finishing works? One suggestion is that he was growing disenchanted with the symphonic genre and its lack of subtlety, turning increasingly to chamber genres like the art song. Another interpretation is that like many composers in the nineteenth century, Schubert was somewhat frustrated with the spectre of Beethoven’s symphonic achievement. As he once exclaimed, “Who can do anything after him!” If Schubert was searching for his own response to Beethoven’s legacy, perhaps his response came in the work that followed the “Unfinished”—the “Great” C Major Symphony of 1825.

Schubert specialist Brian Newbould characterizes the “Unfinished” Symphony as a “finished half-symphony.” Of the symphonic fragments Schubert left behind, it is the only one that needs no editing to be performed. Consisting of two of the standard four symphonic movements (a third movement was also sketched out, the first nine bars of which were orchestrated), the work starts to show Schubert’s response to Beethoven.

While Beethoven’s symphonies often spring from short melodic motives or rhythmic gestures, Schubert tends to use lengthy melodies that are then somehow interrupted in a dramatic fashion, a technique that the first movement illustrates well. Likewise, the second movement juxtaposes a placid, pastoral melody with a second majestic theme, creating drama through sharply contrasting moods.

Although we do not know exactly why Schubert opted not to finish his Symphony in B Minor, stories abound. Six months after signing and dating the work’s title page “Vienna, October 30, 1822,” Schubert sent the first two movements to his friends Josef and Anseim Huettenbrenner, who had presented him with a Diploma of Honor on behalf of a musical society in Graz. Until the 1860s, when it came to the attention of conductor Johann Herbeck, only a few people knew the symphony existed. Some have proposed that the Huettenbrenner brothers simply lost the third and fourth movements, a theory supported by the fact that their cleaning lady reportedly used a few of Schubert’s operas as kindling for the brothers’ fireplace. Others suggest that Schubert was simply busy with other projects, or that the first two movements were so good that the composer never quite figured out how to proceed. Finally, scholars also point to the fact that Schubert contracted syphilis in 1822, and the fact that he had an incurable disease affected him profoundly. Regardless of the reason, the “Unfinished” Symphony is today one of Schubert’s most completely beloved works.

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BRAHMS A German Requiem Duration 68 minutes Shortly after Johannes Brahms met the Schumanns in 1853, Robert Schumann published an article in an influential German music magazine announcing the arrival of a composer to watch: Many a new significant talent has appeared on the scene; a new force in music seemed imminent, as witnessed by many aspiring artists of recent times, even though their work is known to a rather narrow circle only. I felt that in following the progress of these select ones with the keenest of interest, that one day there must suddenly emerge the one who would be chosen to express the most exalted spirit of the times in an ideal manner, one who would not bring us mastery in gradual stages but who, like Minerva, would spring fully armed from the head of Jove. And he has arrived—a youth at whose cradle the graces and heroes of old stood guard. His name is Johannes Brahms.

Brahms was doubtless flattered by Schumann’s characterization, but he was also concerned: “The public praise that you have deigned to bestow upon me will have so greatly increased the expectations of the musical world regarding my work that I do not know how I shall manage to do even approximate justice to it,” he wrote to Schumann shortly after the article’s publication. “You will readily understand that I am straining every nerve to bring as little disgrace as possible on your name.”

Given Schumann’s profound influence on Brahms both personally and professionally, it is no surprise that his death in 1856 was profoundly upsetting. As a monument to his mentor, Brahms began realizing one of Schumann’s own ideas—a Requiem based on German text. Although his own views on religion were extremely complex, Brahms compiled the text of the work, basing it not on the Latin Mass (as is Mozart’s Requiem) but rather on excerpts from the Old and New Testaments of Martin Luther’s German vernacular translation of the Bible. The resulting work—much more like an oratorio than any traditional Requiem—had a profoundly personal meaning for Brahms. After completing the text, Brahms stopped work on the project. In 1865, however, the death of Brahms’s own mother—to whom he was extremely close—prompted him to resume work on the Requiem. The first performance was given in the Bremen Cathedral on Good Friday, April 10, 1868, with Brahms himself conducting. The composer subsequently added a seventh section as an homage to his mother—a portion for soprano entitled, “Ihr habt nun Traurigkeit” (You now have sadness). After these final alterations, the complete Requiem was presented in 1869 at the inaugural concert at Leipzig’s Gewandhaus concert hall.

It was an immediate success—and over the next ten years, was performed in Germanspeaking countries over a hundred times.

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program notes Brahms’s first work for chorus and orchestra, A German Requiem in some ways served as a study in orchestration; the first movement completely omits violins, and the piece also uses harp, an instrument Brahms rarely used. In spite of the fact that Brahms composed the Requiem in stages, its form is virtually symmetrical: its first and seven movements— conveying blessings both upon mourners and upon the dead—have similar texts, and end in the same way. The second and sixth movements are simultaneously darker in mood and bolder in statement, with minor key openings that culminate in grand major-mode statements. The meditative third and fifth movements feature soloists—a baritone in the third, a soprano in the sixth. The heart of the work is also the shortest, the rhapsodically tranquil chorus known popularly as “How Lovely is Thy Dwelling Place.”

Predating all of his symphonies, A German Requiem was the first work for which Brahms received universal approbation. It had a profound effect on its earliest listeners; after seeing the completed score, Clara Schumann wrote, “I am completely filled with your Requiem, it…takes hold of a person’s whole being like very little else.” Brahms must have been pleased, as he intended the work not as a prayer for the dead, but as a comfort for the living—a work for everyone. As he once wrote, “As for the title, I must admit I should like to leave out the word ‘German’ and refer instead to ‘Humanity.’”

– Jennifer Glagov

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Diamond Jubilee Luncheon October 16, 2013 at Chickasaw Country Club

Barbara Patronis & Jean “Sissy” Long

Isabelle Welch and Lura Turner

Scottie Cobb, Nancy Lou Jones & Luoise Strock Sharon Turner, Lura Turner & Alla Lubin

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Memphis Messiah Friday, February 28, 2014 at 7:30 p.m. - Evergreen Presbyterian Church

WILLIAM SKOOG, conductor Jennifer Goode Cooper, soprano Shannon Unger, mezzo soprano Randal Rushing, tenor Sean Cooper, bass Rhodes MasterSingers Chorale George Frideric Handel Messiah SINFONIA (Overture) RECITATIVE (tenor) Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplish’d, that her iniquity is pardon’d. The voice of him that crieth in the wilderness: prepare ye the way of the Lord, make straight in the desert a highway for our God. (Isaiah 40:1-3) AIR (tenor) Ev’ry valley shall be exalted, and ev’ry mountain and hill made low; the crooked straight, and the rough places plain.

(Isaiah 40:4) CHORUS And the glory of the Lord shall be revealed, and all flesh shall see it together, for the mouth of the Lord hath spoken it.

(Isaiah 40:5) RECITATIVE (bass) Thus saith the Lord, the Lord of hosts; Yet once, a little while, and I will shake the heav’ns and the earth, the sea and the dry land, and I will shake all nations, and the desire of all nations shall come.

(Haggai 2:6-7)

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AIR (alto) But who may abide the day of His coming, and who shall stand when He appeareth?

For He is like a refiner’s fire.

(Malachi 3:2) CHORUS And He shall purify the sons of Levi, that they may offer unto unto the Lord an offering in righteousness.

(Malachi 3:3) RECITATIVE (alto) Behold, a virgin shall conceive and bear a Son, and shall call his name Emmanuel, God with us.

(Isaiah 7:14) (Mathew1:23) AIR (alto) AND CHORUS O thou that tellest good tidings to Zion, get thee up into the high mountain: O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! (Isaiah 40:9) RECITATIVE (bass) For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of they rising.

(Isaiah 60:2-3) AIR (bass) The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined.

(Isaiah 9:2) CHORUS For unto us a child is born, unto us a Son is given, and the government shall be upon His shoulder, and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.

(Isaiah 9:6)

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program PIFA (Pastoral Symphony) RECITATIVE (soprano) There were shepherds abiding in the field, keeping watch over their flock by night.

(Luke 2:8) And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

(Luke 2:9) And the angel said unto them: Fear not, for behold, I bring you good tidings of great joy, whisk shall be to all people. For unto you is born this day in the city of David a Savior, which is Christ the Lord.

(Luke 2:10-11) And suddenly there was with the angel a multitude of the heav’nly Host praising God, and saying: (Luke 2:13) CHORUS Glory to God in the highest, and peace on earth, good will toward men.

(Luke 2:14) AIR (soprano) Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem! Behold thy King cometh unto thee. He is the righteous Saviour, and He shall speak peace unto the heathen.

(Zechariah 9:9-10) RECITATIVE (alto) Then shall the eyes of the blind be open’d, and ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.

(Isaiah 35: 5-6) AIR (soprano & alto) He shall feed His flock like a shepherd, and He shall gather the lambs with his arm, and carry them in His bosom, and gently lead those that are with young.

CHORUS Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors; and the King of Glory shall come in. Who is this King of Glory? The Lord strong and mighty, the Lord mighty in battle.

Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts, He is the King of Glory.

(Psalms 24:7-10)

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INTERMISSION CHORUS Behold the Lamb of God, that taketh away the sin of the world.

(John 1:29) AIR (alto) He was despised and rejected of men, a man of sorrows, and acquainted with grief.

(Isaiah 53:3) CHORUS Surely He hath born our griefs and carried our sorrows! He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him. (Isaiah 53:4-5) CHORUS And with His stripes we are healed.

(Isaiah 53:5) CHORUS All we like sheep have gone astray; we have turned ev’ry one to his own way; and the Lord hath laid on Him the iniquity of us all.

(Isaiah 53:6) RECITATIVE (tenor) All they that see Him, laugh Him to scorn; they shoot out their lips, and shake their heads, saying: (Psalms 22:7) CHORUS He trusted in God that he would deliver Him; let Him deliver Him, if He delight in Him. (Psalms 22:9) CHORUS & AIR (soprano) How beautiful are the feet of them; that preach the gospel of peace, and bring glad tidings of good things.

(Romans: 10-15) AIR (bass) Why do the nations so furiously rage together; and why do the people imagine a vain thing?

The kings of the earth rise up, and the rulers take counsel together against the Lord and against His Anointed.

(Psalms 2:1-2)

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program RECITATIVE (tenor) He that dwelleth in heaven shall laugh them to scorn, the Lord shall have them in derision.

(Psalms 2:4) AIR (tenor) Thou shalt break them with a rod of iron. Thou shalt dash them in pieces like a potter’s vessel.

(Psalms 2:9) CHORUS Hallelujah, for the Lord God Omnipotent reigneth.

(Revelations 19:6) The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever.

(Revelations 11:15) King of Kings, and Lord of Lords.

(Revelations 19:16) AIR (soprano) I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth, and though worms destroy this body, yet in my flesh shall I see God. (Job 19:25-26) CHORUS Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.

(I Corinthians 15:21-22) RECITATIVE (bass) Behold, I tell you a mystery; we shall not all sleep, but we shall all be chang’d in a moment, in the twinkling of an eye, at the last trumpet.

(I Corinthians 15:51-52) AIR (bass) The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.

For this corruptible must put on incorruption and this mortal must put on immortality.

(I Corinthians 15:52-53) CHORUS Worthy is the Lamb, that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever.

(Revelations 5:9 and 12-13)

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William Skoog conductor

William Skoog is Professor of Music at Rhodes College in Memphis, Tennessee, holding the Elizabeth Daughdrill Fine Arts Endowed Chair. He serves as Chair of the Department of Music and Director of Choral Studies, and conducts the Rhodes Singers and MasterSingers Chorale, often conducting them with the Memphis Symphony Orchestra, and teaches conducting. He is also the founding artistic director and conductor of BealeCanto, a professional men’s chamber ensemble based in Memphis, Tennessee. Dr. Skoog previously served as Director of Choral Activities at Bowling Green State University, Ohio, Indiana/Purdue University in Fort Wayne, Indiana, and Southwestern Michigan College in Dowagiac, Michigan.

His choirs have performed with distinction at numerous ADCA, MENC and IMC conferences, and he is frequently invited to conduct regional, national and international choral festivals, including the 2012 Mozart Festival in Salzburg, the 2010 Rome Choral Festival (Italy), the 2008 Lucerne (Switzerland) Choral Festival, and 2004 and 2006 Dvorˇák Festivals in Prague. He has conducted the Dom Orchestra in Salzburg, the Tuscan Chamber Orchestra (Florence, Italy), the Santa Maria Orchestra (Switzerland), the Prague Radio Symphony Orchestra, the Moravian Symphony Orchestra, and the Memphis, Toledo and Fort Wayne Symphony Orchestras. He conducted the Presidents Day Choral Festival at the Kennedy Center in Washington, D.C. in 2011, and has conducted all-state choirs in Wyoming and Indiana. He will serve as Artistic Director/Conductor for the Paris International Choral Festival in 2014.

He has presented papers at prestigious conferences including at the Durrell School, Corfu, Greece, at the International Conference on Arts and Humanities at the University of Hawaii, and interest sessions at MENC and ACDA conferences, focusing especially on techniques, methods and repertoire for male choirs. He has had papers published in Music Educators Journal and Choral Journal.

Skoog holds a Doctor of Arts Degree in Music from the University of Northern Colorado, Master of Arts degrees in conducting and vocal performance/pedagogy from the Lamont School of Music, Denver University, and a Bachelor of Arts degree in Music from Gustavus Adolphus College, St. Peter, Minnesota. His wife is Elaine, and they have three children: Miles, Rebekah and Jacquelyn, and two grandchildren, Isabella and Emilia.

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Jennifer Goode Cooper mezzo soprano

Jennifer Goode Cooper has enjoyed a rich career that reflects a fusion of opera, music theater, and song. Last season she sang her debut with New York City Opera as Miss Jessel in Britten’s Turn of the Screw, after Stephen Schwartz’s (Wicked, Godspell) Séance on a Wet Afternoon, where she understudied Lauren Flanigan in the role of Myra Foster. Just prior, she debuted the role of Titania/Hippolyta in the first known a cappella opera, Michael Ching’s A Midsummer Night’s Dream, at Opera Memphis. She also sang the NYC premiere of William Mayer’s A Death in the Family and performed Musetta in Baz Luhrmann’s acclaimed Broadway and LA productions of La Bohème. Jennifer has sung cabarets at the Firebird Café in NYC, concerts at Carnegie Hall, backup for Patti LuPone, and benefits with Neil Diamond, Jerry Herman, and Alan Menken.

She currently resides in Ohio with her husband, Bass-Baritone Sean Cooper, their three children, and their hairless cat Bruce. Her doctoral dissertation will examine the definition and technique of crossover singing.

Shannon Melody Unger mezzo soprano

Mezzo-soprano Shannon Melody Unger apprenticed at The Santa Fe Opera, and has performed roles with Austin Lyric Opera, Lyric Opera Cleveland, the Tanglewood Music Festival, and the Banff Summer Music Festival, toured the Upper Midwest in Copland’s The Tender Land and played the mezzo lead in the critically acclaimed American premiere of Greek at the Aspen Music Festival. Her performances as Dinah in Bernstein’s Trouble in Tahiti with LOOK Music Theater were hailed by the Tulsa World as “almost unbearably poignant.”

Dr. Unger was a teaching intern and fellowship recipient through the National Association of Teachers of Singing, and will be a featured concert artist at the upcoming Texoma NATS regional conference. She frequently gives masterclasses in vocal performance and pedagogy at various institutions, the University of Aviero in Portugal among them. Dr. Unger is the Opera Workshop Director at Northeastern State University where she has directed productions of The Magic Flute, The Pirates of Penzance, and will direct the upcoming production of Into the Woods. Dr. Unger has completed third level certification in the LoVetri Method of Somatic Voicework and is becoming a specialist in the emerging field of contemporary commercial music pedagogy.

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Randal Rushing tenor

Randal Rushing is a gifted soloist of the concert and opera stage, both at home and abroad. 2013 highlights include Bach’s B Minor Mass with the Rhodes MasterSingers, Benjamin Britten’s Serenade, Canticle No.III - Still Falls the Rain, and Heart of the Matter with Frank Lloyd, hornist, and the Eroica Ensemble at the International Horn Symposium in Memphis. He recently returned to Duisburg, Germany, continuing his association with conductor/tenor Peter Schreier in masterclasses at the Musikhochschule Folkwang under the auspices of the Deutsche Schubert-Gesellschaft, having performed with the Chicago Symphony, with Peter Schreier conducting, as tenor soloist for the Messiah. He also returned to Washington, D.C. as soloist in Pulitzer Prize winning composer Stephan Albert’s Treestone with the 21st Century Consort at the Smithsonian Institute, as his debut there was under the direction of conductor Kenneth Slowick in Mahler’s Das Lied von der Erde.

Rushing made his fifth appearance at Carnegie Hall with the illustrious St. Cecilia Chorus and Orchestra, in Handel’s Messiah. He made his Lincoln Center debut in Handel’s Messiah at Avery Fisher Hall with the Peniel Chorus and Orchestra. Following an appearance with the St. Louis Bach Society in Rossini’s Petit Messe Solennelle, he returned to New York as tenor soloist in the U.S. premiere of Mendelssohn’s recently discovered Dürer Festmusik with Amor Artis Orchestra and in Prague, with Virtuoso Pragenese, he performed the Mozart Requiem. Dr. Rushing is the Director of the Rudi E. Scheidt School of Music at the University of Memphis.

Sean Cooper bass

Sean Cooper, bass-baritone, appeared as Colline in the original Broadway cast of Baz Luhrmann’s La Bohème and has performed the role in San Francisco, New York, Los Angeles, New Hampshire, North Carolina, and Guam. Sean has performed such roles as Figaro in Le Nozze di Figaro, Leporello in Don Giovanni, Pirate King in Pirates of Penzance, and roles in Ariadne auf Naxos, Aida, Gianni Schicchi, The Emperor of Atlantis, The Magic Flute, La traviata, L’Incoronazione di Poppea, Manon, and A Hand of Bridge.

A winner of the Handel Award in the Orpheus Vocal Competition, and the Diane Hall award in the Opera Birmingham Vocal competition, Sean holds a Bachelor of Music degree from the Manhattan School of Music, where he received the Edward G. Oakley Musical Theater Scholarship. He earned his Doctor of Musical Arts and Master of Music degrees from the University of Memphis under the tutelage of Dr. Randal Rushing. Sean currently resides with his family in Bowling Green, Ohio, where he is an assistant professor of voice at Bowling Green State University.

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Rhodes MasterSingers Chorale William Skoog, conductor Sopranos Nicole Baker Karen Barmer Christine Bertz Jessica Brewer Kim Brien Gina Capizzani Chelsea Digby Pam Dotson Brigid Douglass Sarah Harr * Mary Honey Carolyn Kaldon Mona Kreitner * Ann Marty Michelle Mattson Mary McDonald Elaine Meece Carolyn Parks Robin Richardson Pam Schnell Aoife Shanley Elaine Skoog Debbie Smith Gillian Steinhauer Sheila Vamplin Dorothy Wells Kilby Elisabeth Yarbrough

Altos Fran Smartt Addicott Brenda Bishop Jan Bullard Katie Clark * Elizabeth Cooper Karen Schowalter Cooper *

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Kay Ericksen Pat Flynn Jane Gamble Marci Hendrix Mary Margaret Hicks Martha Israel Ellen Koziel Shira Malkin Mary Meister Barbara Perry Tami Robbins-Rigus Jean Schmidt Sowgand Sheikholeslami Courtney Church Tucker Amanda Vogel

Tenors Larry Ahokas Philip Blair Paul Cook Christian Feazell * James Harr * Jim Hieserman Greg Koziel Gregg R. Overman Johnny Peoples David Schnell * Ben Tucker Pat Walker Jeremy Wessel Jimmy White Herb Zeman

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Basses Peter Addicott Gordon Bigelow Bob Bird Quinton Bolt Leo Connolly David Cooper James Cornfoot * John Gill Matthew Hayner * Jeff Hendrix Matthias Kaelberer Robert Klingbeil William Kratzke Jim Lanier Anderson Perry Bruce Watson Logan D. Williams Dan Witherspoon Michael Zancanella

* section leaders

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program notes Handel, Messiah In the summer of 1741, George Frideric Handel was a guest at Charles Jennens’s country house in Leicestershire—and according to popular legend, set his host’s Biblical libretto to music during his stay. A fan of Handel since buying a copy of Rodelinda in 1725, Jennens had begun collaborating professionally with the composer in the 1730s, writing texts for Saul (1738) and L'Allegro, il penseroso ed il moderato (1740). The two apparently had a difficult working relationship—Jennens reportedly placed such pressure on Handel during the composition of Messiah that the composer suffered “a return of his Paralytick Disorder.” Jennens remained one of Handel’s staunchest supporters, however, and in a letter to a friend in July 1741 he unwittingly foreshadowed Messiah's importance: “Handel says he will do nothing next Winter, but I hope I shall persuade him to set another Scripture Collection I have made for him, & perform it for his own Benefit in Passion Week. I hope he will lay out his whole Genius & Skill upon it, that the composition may excell all his former Compositions, as the Subject excells every other Subject. The Subject is Messiah."

Inspiration seems to have driven Messiah’s composition from the beginning. Handel finished a rough draft of the piece in just over three weeks, starting work on August 22 and completing the first version on September 12. The composer’s own response to Messiah complements its legendary status. After writing the "Hallelujah" chorus, he reportedly cried out, "I did think I did see all Heaven before me, and the great God Himself," and upon the work's completion, "I think God has visited me." (Ironically, Handel actually took the famous chorus from an earlier opera, where the tune served as a hymn to Bacchus.)

Although it was composed in England, Messiah’s premiere took place in Dublin on April 13, 1742 as part of a series of charity concerts. Already a celebrity when he arrived in the city, Handel took with him some of his most popular pieces—L'Allegro, Acis & Galatea, the Ode for St. Cecilia's Day, Esther, and Saul—and led the first performance of Messiah from the harpsichord. Dublin audiences were extremely enthusiastic about the new work, but London audiences were less certain. After Messiah’s debut at Covent Garden on March 23, 1743 as part of Handel’s regular theater season, one London newspaper critic complained that the subject matter wasn’t suitable for theatrical performance “by a Set of People very unfit to perform so solemn a service,” and some even called the work "sacrilegious" and "heretical." In a famous gesture, however, King George II rose to his feet during the "Hallelujah" chorus and remained standing until its end. Some reported cynically that his foot had simply fallen asleep, but the King's move turned into an enduring Messiah tradition.

Subsequent revivals of Messiah in 1745 and 1749, though not as hotly contested, also failed to captivate London audiences. In 1750, the work’s reception changed dramatically. The previous year, Handel began a longstanding association with The Hospital for the Maintenance and Education of Exposed and Deserted Young Children—also known as the Foundling Hospital— offering to mount concerts to benefit the charity. While the first of these benefits featured Music for the Royal Fireworks and the Foundling Hospital Anthem, the second—on May 1, 1750—consisted solely of Messiah. The response was overwhelming: 1,387 tickets were sold for a chapel that could comfortably seat only a thousand. Many were turned away, and carriages crowding the street reportedly created quite a traffic jam. The oratorio’s sudden popularity led to a repeat performance on May 15, to which 599 tickets were sold. From that point forward, 50

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Messiah was redeemed forever. After two more performances for the Foundling Hospital in 1751, Handel transferred the work back to the theater, and its popularity followed. Handel ended all subsequent theater seasons with at least one performance of Messiah, followed by a charity concert for the Foundling Hospital.

Messiah has no definitive “text.” Handel himself made numerous revisions, tailoring the music to fit changes in personnel. As a result of these many changes, conductors often make their own composite versions almost as would have been done in the eighteenth century. (Ironically, the version most rarely performed today is the 1742 original). For the Foundling Hospital version, for example, Handel rewrote “But who many abide the day of his coming” and “Thou art gone up on high” for the castrato Guadagni, while in 1754 he transposed “But who may abide” for soprano. The forces used varied according to venue as well. The Foundling Hospital performances took place in a relatively intimate chapel, and likely used a chorus of six boys and twelve to fourteen men, and an orchestra of about 30 musicians. Handel’s performances would have used at least double these numbers—and the Westminster Abbey performances, which began in 1784, took the notion of large-scale forces to the extreme. Inspired by these legendary productions, composers on the continent, including Johann Adam Hiller (one of Bach’s successors in Leipzig) and the famed Viennese patron of the arts, Baron von Swieten, for whom Wolfgang Amadeus Mozart produced a German-text version in which "The Trumpets shall sound" features French horns tried their hands in the revision process. By the nineteenth century, it had become common practice to allocate soloist roles to opera stars or other highprofile singers rather than to members of the chorus.

Unlike most of Handel’s other oratorios, which are essentially dramatic retellings of Biblical stories, the text of Messiah is drawn entirely from scripture—mostly written in the third person. This not only sidesteps objections to the oratorio genre specifically—the idea of a singing Messiah would have been considered by many to be undignified—but it also allows for both the presentation of the story and philosophical reflection. The structure is relatively simple. Parts I and II deal with Christ’s life on earth, crucifixion, and ascension into heaven, while Part III reflects on his redemptive sacrifice. Handel’s inspired and varied approach to the text is manifest from the work’s outset. Unlike many of his other oratorios, which begin with a chorus, Handel opens Messiah with the strongly lyrical tenor arioso, “Comfort ye, my people,” its languid melody perfectly evoking the words as it builds to the energetic aria, “Every valley shall be exalted.” This creative blend of vocal forms and genres and avoidance of strict alternation between recitative and aria allows Handel to transform scripture into overt drama. In Part 1, Scene 4—in which a Pifa, or pastoral serenade, sets the stage for the angels as they announce Christ’s birth to the shepherds—Handel alternates standard secco recitative (unaccompanied except for the chords that serve as punctuation) with soaring ariosos, in which the orchestra mimics the fluttering of wings. The ensuing chorus, “Glory to God in the highest,” plays the part of the “multitude of the heavenly host praising God.” Other examples of dramatic text-setting abound, but perhaps one of the best comes at the very end. In the chorus, “Worthy is the Lamb that was slain,” Handel uses a variety of musical tools—shifts in tempo, texture, and mode, to name a few—to bring this monumental work to a truly triumphant conclusion. ~Jennifer Glagov

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THE PEOPLE WHO MOVE MEMPHIS MUSIC FORWARD F

Thank you, Memphis Symphony Orchestra, for your commitment to creative and artistic excellence and to advancing the rich tradition of Memphis music.

PROUD SPONSOR OF THE MEMPHIS SYMPHONY ORCHESTRA.

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Tchaikovsky 4 Saturday, March 15, 2014 at 7:30 p.m. - Cannon Center Sunday, March 16, 2014 at 2:30 p.m. - GPAC CARL ST. CLAIR, conductor Joseph Salvalaggio, oboe WOLFGANG AMADEUS MOZART (1756 - 1791) Overture to The Magic Flute, K. 620 WOLFGANG AMADEUS MOZART (1756 - 1791) Concerto in C Major for Oboe and Orchestra, K. 285d

Allegro aperto

Adagio non troppo

Rondo: Allegretto

Joseph Salvalaggio, Oboe INTERMISSION

Locally owned.

Internationally respected.

PIOTR ILYICH TCHAIKOVSKY (1840 - 1893) Symphony No. 4 in F Minor, Op. 36

Andante sostenuto

Andantino in modo di canzona

Scherzo: Pizzicato ostinato

Finale: Allegro con fuoco

E x pe r i e n c e. I n teg r i t y. I n d e pe n d e n c e.

As an independent investment company headquartered in Memphis, Tennessee, Dominion Partners private wealth management offers a full range of financial services to clients across the United States and abroad. With more than 60 years of comprehensive investment advisory experience among our team members, we have the maturity and intelligence to deliver premier financial planning and portfolio management. What continues to set us apart is a unique mix of investment solutions designed by a dedicated team of professionals working to preserve and grow your hard-earned money. To learn more about the Dominion difference, give us a call.

Special thanks to

www.dominion-partners.com · 901-969-2182 · 888-589-5188 Dominion Partners is a branch office of and securities offered through WFG Investments Inc., member FINRA & SIPC.

FREE Concert Preview… ~ Saturday at 6:45 p.m. in the Morgan Keegan Mezzanine Lobby ~ Sunday at 1:45 p.m. in the Ballet Room For Tickets 901-537-2525

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Carl St. Clair conductor

In 2012–2013, Music Director Carl St.Clair celebrates his 23rd season with Pacific Symphony. During his tenure, St.Clair has become widely recognized for his musically distinguished performances, his commitment to building outstanding educational programs and his innovative approaches to programming. St.Clair’s lengthy history with the Symphony solidifies the strong relationship he has forged with the musicians and the community. His continuing role also lends stability to the organization and continuity to his vision for the Symphony’s future. Few orchestras can claim such rapid artistic development as Pacific Symphony—the largest orchestra formed in the United States in the last 40 years—due in large part to St.Clair’s leadership.

The 2011-2012 season featured the inauguration of a three-year vocal initiative, "Symphonic Voices," with productions of La Bohème and a Family series production of Hansel and Gretel, as well as two world premieres and three “Music Unwound” concerts highlighted by multimedia elements and innovative formats, including the 12th annual American Composers Festival, celebrating the traditional Persian New Year known as Nowruz.

In 2008-2009, St.Clair celebrated the milestone 30th anniversary of Pacific Symphony. In 2006-07, he led the orchestra’s historic move into its home in the Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts. The move came on the heels of the landmark 2005-2006 season that included St.Clair leading the Symphony on its first European tour—nine cities in three countries playing before capacity houses and receiving extraordinary responses.

The Symphony received rave reviews from Europe’s classical music critics—22 reviews in total.

St.Clair’s international career has him conducting abroad numerous months a year, and he has appeared with orchestras throughout the world. He was the principal guest conductor of the Radio Sinfonieorchester Stuttgart from 1998–2004, where he successfully completed a three–year recording project of the Villa–Lobos symphonies. He has also appeared with orchestras in Israel, Hong Kong, Japan, Australia, New Zealand, and South America, and summer festivals worldwide. St.Clair’s commitment to the development and performance of new works

by American composers is evident in the wealth of commissions and recordings by Pacific Symphony. St.Clair has led the orchestra in numerous critically acclaimed albums including two piano concertos of Lukas Foss on the harmonia mundi label. Under his guidance, the orchestra has commissioned works which later became recordings, including Richard Danielpour’s An American Requiem on Reference Recordings and Elliot Goldenthal’s Fire Water Paper: A Vietnam Oratorio on Sony Classical with cellist Yo-Yo Ma. Other composers commissioned by St.Clair and Pacific Symphony include William Bolcom, Philip Glass, Zhou Long, Tobias Picker, Frank Ticheli and Chen Yi, Curt Cacioppo, Stephen Scott, Jim Self (the Symphony’s principal tubist), Christopher Theofandis and James Newton Howard.

In North America, St.Clair has led the Boston Symphony Orchestra, (where he served as assistant conductor for several years), New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic and the San Francisco, Seattle, Detroit, Atlanta, Houston, Indianapolis, Montreal, Toronto and Vancouver symphonies, among many.

A strong advocate of music education for all ages, St.Clair has been essential to the creation and implementation of the symphony education programs including Classical Connections, artsX-press and Class Act. 54

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Joseph Salvalaggio oboe

Canadian oboist Joseph Salvalaggio began playing at fifteen and within a year was accepted to the Interlochen Arts Academy in Michigan. Studies followed at McGill University, the University of Toronto and the Royal Conservatory of Music's Glenn Gould Professional School. Currently he plays Principal Oboe with the Memphis Symphony and Oregon's Britt Classical Festival and has held faculty positions with the Sewanee and Hot Springs Summer Music Festivals. He has appeared as guest Principal Oboist with the National Arts Centre Orchestra and the National Ballet of Canada and has performed with the Canadian Opera Company and Montreal's Nouvel Ensemble Moderne in the Banff Opera Production and tour of Berg's Wozzeck.

A frequent performer at the Conventions of the International Double Reed Society, Mr. Salvalaggio has been invited to perform in Banff Alberta, Greensboro North Carolina, Austin Texas and Muncie Indiana and can be heard frequently in recital on CBC National Radio.

A proponent of new music, Mr. Salvalaggio's work with living composers has yielded several pieces written for him, including works by Beverly Lewis and Lothar Klein as well as Oboe Concerti by Erik Ross, Elizabeth Raum and Prix Italia winner, Christos Hatzis.

As soloist, he has appeared with the Monroe Symphony, Toronto's Sinfonia of Nations, the Kitchener Waterloo Chamber Orchestra, the Fayetteville Symphony, the Manitoba Chamber Orchestra and the Memphis Symphony Orchestra.

As a reprieve from his life as a tortured oboist and reedmaker, Joey has founded Babu Press, an online digital storefront that designs classical music programming for the "virtuoso educator" that combine music appreciation and promotion of literacy. His determination to never grow up and his dedication to teaching make him uniquely qualified to develop engaging and innovative programs that expose children of all ages to live classical music. Recently, he also discovered that despite a serious aversion to music theory while a student, he can now, sort of, compose music of his own and his original works have been performed in concert by members of the Memphis and Detroit Symphonies.

In his spare time Joey explores the city on foot, determined to be Memphis' most polite pedestrian, and loves hunting down obscure literature at Burke's Used Books in midtown.

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program notes MOZART Concerto in C Major for Oboe and Orchestra Duration 22 minutes Wolfgang Amadeus Mozart wrote the Oboe Concerto at a turning point in his career.

While he still lived and worked in Salzburg, the Austrian city in which he was born in 1756, the situation was growing increasingly untenable. Throughout the 1770s, Mozart battled open antagonism from the Archbishop in Salzburg and his own burgeoning desire to travel in more cosmopolitan circles, and by 1777 he had reached a breaking point of sorts. When Mozart petitioned the Archbishop for a leave of absence, however, the annoyed Colloredo dismissed both Mozart and his father Leopold without pay. The elder Mozart ultimately decided to remain in Salzburg, while his son and wife, Maria Anna, traveled by carriage to Mannheim and Paris, both extremely important musical centers. Mozart was still assiduously working until the end of his tenure in the village, and before his departure composed the Oboe Concerto in C Major, K. 314, for Giuseppe Ferlendis, oboist in the orchestra of the Archbishop of Salzburg. While the precise date of composition is not known, the window of opportunity is relatively small: Ferlendis’s service at the Salzburg court began on April 1, 1777, and Mozart departed for Mannheim on September 22, 1777. Mozart refers to the work in his letters from Mannheim, referring to multiple performances given by the superb Mannheim oboist Friedrich Ramm and making note of the audience’s enthusiasm for the concerto. As no oboe concerto by Mozart was extant, the composition was believed to be lost. In 1920, Mozart scholar Bernhard Paumgartner discovered an oboe concerto in Salzburg that bore a striking resemblance to a flute concerto thought to have been written by Mozart for a Dutch amateur, Ferdinand Dejean (the Flute Concerto No. 2 in D, K. 314 [K. 285d]). Paumgartner’s find proved incredibly important: not only had he unearthed the oboe concerto, but he had also demonstrated that the flute concerto was, in fact, a transcription of the missing work.

Scored for a small ensemble of strings with pairs of oboes and horns, the Oboe Concerto in C major highlights the soloist with its clear, transparent orchestration and light textures. The witty, high-spirited opening movement almost sounds as if it came out of comic opera, while the oboe floats above the orchestra like a vocal soloist in the delicate, serene slow movement. And in the finale, sparkling dance rhythms propel the concerto to an ebullient close. While the concerto is generally optimistic, Mozart’s journey to Mannheim and Paris had more mixed results. His stay in Mannheim led to his acquaintance with the talented sisters Aloysia and Constanze Weber (the latter, of course, later became his wife), and he and Maria Anna were optimistic about his prospects in France. The composer did not find posts in either city, however; nor was he able to secure the commissions he desired. Most tragically, Mozart’s mother died suddenly in Paris, and rather than consoling his son or praising him for his strength in the face of a difficult situation, Leopold held him partially responsible for Maria Anna’s death—a fact that was to plague Mozart for the rest of his life.

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maturity and intelligence to deliver premier financial planning and portfolio management. What continues to set us apart is a unique mix of investment solutions designed by a dedicated team of professionals working to preserve and grow your hard-earned money. To learn more about the Dominion difference, give us a call.

Special thanks to www.dominion-partners.com · 901-969-2182 · 888-589-5188 Dominion Partners is a branch office of and securities offered through WFG Investments Inc., member FINRA & SIPC.

TCHAIKOVSKY Symphony No. 4 Duration 44 minutes

1877 was the most tumultuous year of Tchaikovsky’s life. In late March, he received a love letter from a former student, Antonina Miliukhova—and although he stated that he did not return the sentiment (in fact, he didn’t even remember meeting her), Antonina begged the composer for a single meeting, after which she would end her life. Some might have interpreted this obsession as a sign of instability, but Tchaikovsky—in an attempt to quell mounting rumors of his homosexuality—decided to marry her. Within two months, the composer had thrown himself into a river in an unsuccessful suicide Robert Coe, CFP Brian Kinney, CFP Nancy Hughes Coe Seniorhe Vice later President, explained President, Senior“There Vice President, attempt. As to his brother Anatol, is no doubt that for some Portfolio Manager Financial Advisor Financial Advisor months I was insane, and only now, when I am completely recovered, have I learned to relate objectively to everything which I did during my brief insanity. That man, who in May took it into his head to marry Antonina Ivanovna, who during June wrote a whole opera as though nothing had happened, who in July married, who in September fled from his wife…and so on — that man wasn’t I, but another Pyotr Ilyich.” ®

®

Once his health had been restored, Tchaikovsky began work on the Fourth Symphony, dedicating the work to the other significant woman in his life—his “best friend” Nadezhda von Meck. As Tchaikovsky’s patron, von Meck supported him financially and emotionally, and though the pair never met they exchanged over a thousand letters. At her request, Tchaikovsky wrote “program notes” that seem to allude to his dramatic life events.

(Whether they do, of course, has been the subject of debate ever since.) Of the opening fanfare, he writes, “Fate--that ineluctable power of destiny which like a Damocles sword constantly hangs over our heads and steadily poisons our souls.” The second movement presents “Another picture of suffering. It is that remarkable feeling which seizes us of an evening when we are alone.” The third movement offers a respite, but fate is inexorable; as he admonishes in the fourth movement, “When you find no occasion for joy in yourself, look for joy in other people. But barely have you had the chance to lose yourself, that unremitting fate appears, clamoring for your attention.” All is not lost, however. Tchaikovsky concludes, “There are great and simple joys. Gain serenity from the joys of others. Life is tolerable after all.”

– Jennifer Glagov

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our community will only fulfill its potential when all of our children reach theirs

A strong educational foundation can set the stage for a child’s success in life. MOST provides need-based scholarships to area schools that

charge tuition, giving parents a choice and children a chance at a great education. Please invest in the future of a child today.

memphis opportunity scholarship trust

901-842-5327 | memphisscholarships.org

Corporate Spotlight: The Memphis BoyChoir, Inc. The Memphis BoyChoir is in its 26th season of providing a high level of music performance for elementary school aged boys from the greater Memphis area. Two other choirs are part of the organization – The Memphis GirlChoir, now in its 3rd season and the Memphis ChamberChoir, which is an auditioned adult choir. Our organization strives to provide outstanding opportunities for children to experience and learn from. This allows them to develop their music and leadership skills. Recently the BoyChoir and GirlChoir performed the Britten “War Requiem” with the Memphis Symphony and the Rhodes MasterSingers. On June 6 the BoyChoir and ChamberChoir will be performing music of J.S. Bach with members of the Memphis Symphony. These performances allow the children to interact with the best musicians in Memphis and the important experience is one that lasts a lifetime. We are thrilled to continue our relationship with the Symphony.

Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul (Plato)

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Spring 2014 March 2 – Winter Recital Memphis BoyChoir & GirlChoir Buckman Center for the Performing Arts at 3:00 pm April 4, 5, 6 - Tour to Sewanee Memphis BoyChoir tour and performance All Saints’ Chapel The University of the South Sunday, April 6 at 11:00 am April 16 – A Service of Tenebrae during Holy Week Memphis BoyChoir & ChamberChoir Saint John’s Episcopal Church at 7:00 pm June 6 – Spring Recital Memphis BoyChoir & ChamberChoir Members of Memphis Symphony Orchestra Saint John’s Episcopal Church at 7:30 pm

Open Auditions The Memphis BoyChoir, Inc. invites boys and girls ages 7-12 to audition to be a part of one of Memphis’ largest and most prestigious choirs. Eligible boys and girls will join a 26-year tradition of music excellence in the Mid-South.

Children who participate in the choir program will experience multi-cultural music, have numerous oppo opportunities to travel locally and nationally, and establish lifetime friendships.

For more information, contact Dr. Geoorey Harris Ward, Artistic Director of the Memphis BoyChoir, Inc. at (901) 323-8597 x 26 or www.MemphisBoyChoir.org.

MemphisBoyChoir.org Saint John’s Episcopal Church 3245 Central Avenue Memphis, TN 38111 (901) 323-8597 x 26 Memphis BoyChoir, Inc. is a 501c3 and all contributions are tax deductible. ©2013 Memphis BoyChoir, Inc.

Truly International 2013 - 2014 Season CO NCE RT S INTERNATIONAL

Photograph © Luis Montesdeoca Dominguez

Cuarteto Casals String Quartet Spain Tuesday, October 22, 2013

Rastrelli Cello Quartet Germany Wednesday, November 6, 2013

Photograph © Gisel Florez

Sima Trio Armenia Tuesday, February 4, 2014

Photograph © Christian Steiner

Photograph © Peter Schaaf

American Brass Quintet Tuesday, March 25, 2014

Stephanie Tatum

Executive Director Julie Schap

Artistic Director

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New York Wind Quintet Thursday, April 3, 2014

Rudi E. Scheidt School of Music Harris Concert Hall All concerts begin at 7:30 pm.

For tickets call 901-527-3067

concertsinternationalmemphis.org

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THE MEDIUM

by Gian Carlo Menotti

Le 66

by Jacques Offenbach

THE IMPRESARIO

by W.A. Mozart

WORLD PREMIERE:

GHOSTS OF CROSSTOWN

an original cycle of 5 short operas based on Memphis’ Sears Crosstown building

TEN DAYS OF CHAMBER OPERA, PANEL DISCUSSIONS, LATE-NIGHT EVENTS AND PARTIES IN THE HEART OF OUR ICONIC CITY. Full schedule available March 2014.

TICKETS &

INFORMATION: 901. 275. 3100

OperaMemphis.org

Lifelong Learning Learning is an adventure, and the Meeman Center for Lifelong Learning at Rhodes College provides adults many opportunities to explore topics of interest. Join Rhodes faculty and fellow participants in engaged learning within the fields of: • Arts • Humanities • Culture • History

• Natural Sciences • World Religions • Self-Awareness • Social Sciences

For information on upcoming classes: (901) 843-3965 Fax (901) 843-3947 meeman.rhodes.edu Meeman Center for Lifelong Learning 2000 North Parkway Memphis, TN 38112

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Lindenwood Christian Church & The Memphis Symphony Orchestra are grateful to be partnering for the Paul & Linnea Bert Classic Accents concerts.

March 28, 2014 – Joy…ful Mendelssohn

Lifelong Lindenwood member and founding MSO Concertmaster, Joy Brown Wiener first appeared as soloist with the MSO sixty years ago, performing Mendelssohn’s Violin Concerto.

This reprisal of one of the violin’s most popular works celebrates this Joy…ful occasion!

More Musical Opportunities at Lindenwood Grades 1 & 2 – Jr. King’s Choir Grades 3-5 – The King’s Choir Grades 4 & 5 – World Drumming Grades 6-12 – Laudate!

Adult – Chancel Choir The Gary Beard Chorale

Lindenwood Christian Church 2400 Union Avenue at E. Parkway Memphis, TN 38112 901-458-8506 www.Lindenwoodcc.com

chris.nemec@Lindenwood.net

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Memphis Youth Symphony Program Conner Gray Covington, Music Director ||Musical Musical Leaders Since 1966 GET YOUR TICKETS NOW FOR THE SIDE SIDE--BY BY--SIDE CONCERT ď ˇ SUNDAY APRIL 27, 2014 WITH THE MEMPHIS SYMPHONY ORCHESTRA! In the lobby at Masterworks Concerts or phone 901 901--722 722--4004 | $10 Adults/Seniors | $5 Students Youth Symphony, Conner Gray Covington, Conductor Concerto Concert | Sunday, February 23, 7:30* Side-By-Side Concert with the Memphis Symphony Orchestra Sunday, April 27, 7:00, Cannon Center *venues TBD String Orchestra, Pak Chung Cheng, Conductor Winter Concert | Sunday, March 2, 4:30* Spring Concert | Sunday, May 4, 4:30* *venues TBD

String Sinfonia, Karla Philipp, Conductor Winter Concert | Tuesday, March 4, 7:30 pm, St. Agnes Academy, 4830 Walnut Grove Road Spring Concert | Tuesday, May 6, 7:30 pm* *venues TBD String Ensemble, Karla Philipp, Conductor Winter Concert |Tuesday, March 4, 7:30 pm St. Agnes Academy, 4830 Walnut Grove Road Spring Concert | Tuesday, May 6, 7:30 pm* *venues TBD Visit us and become a supporter! Sponsor a child, a concert, name a chair or a scholarship!

Contact Paula Bert Turner, MYSP Board President, and help us keep Memphis talent growing.

66 South Cooper Street, Suite 509 | Memphis, TN 38104 | 901 901--722 722--4004 | www.mysp www.mysp--music.org

For Tickets 901-537-2525

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Memphis Symphony Orchestra governance & staff Board of Directors Officers Gayle S. Rose Chair EVS Corporation Roland Valliere President & CEO Memphis Symphony Orchestra Louise Barden Secretary Trustmark Bank Lowry Howell Treasurer Southeastern Asset Management Mike Edwards Immediate Past Chair Paragon Bank

Michael J. Douglass Gerber/Taylor Capital Advisors, Inc. Pam Guinn St. Mary’s Episcopal School Scott Heppel Retired Corporate Executive Buzzy Hussey Babcock Gifts Louis Jehl Diversified Trust Natalie C. Kerr, MD Hamilton Eye Institute Hon. Mark Luttrell Shelby County Mayor

Board Michael Barar Memphis Symphony Orchestra

Alec McLean New South Capital Management

Paul Bert Retired Corporate Executive

Lisa Mendel Memphis Symphony Chorus

Paul Berz

Demetri Patikas Duncan-Williams, Inc.

Ritche Manley Bowden Arts Advocate Austin Byrd Bailey & Greer, PLLC Darrell Cobbins Universal Commercial Real Estate Nancy Hughes Coe Dominion Partners Private Wealth Management Mark Crosby Crosby & Higgins LLP

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Robert Quinn FedEx John Speer Bass, Berry & Sims, PLC

Board Emeritus Gloria Nobles Past Chairs Dunbar Abston, Jr. Newton P. Allen, Esq.* Walter P. Armstrong, Jr.* Leo Bearman, Jr., Esq. Troy Beatty* Paul A. Bert Jack R. Blair Robert L. Booth, Jr. Judge Bailey Brown* Robert E. Cannon* George E. 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. Kirsh* Martha Ellen Maxwell Dr. Joseph Parker* G. Dan Poag Thomas M. Roberts* Jeff Sanford P.K. Seidman* Michael Uiberall Joseph Weller Dr. Russel L. Wiener (*deceased)

Lura Turner Memphis Symphony League Michael Uiberall Watkins Uiberall, PLLC Jim Vining Vining Sparks Russ Wigginton Rhodes College www.MemphisSymphony.org

Administration Roland Valliere President & CEO

Artistic Jenny Compton Director of Artistic Administration

Patron Engagement Denise Borton Director of Patron Engagement and Marketing

Mandy Porch Assistant to the President & CEO

Irene Wade Assistant Librarian

Accountability Anita McLean Chief Financial Officer

Operations Brittany Cooper Personnel Manager

Jane Mims Director of Corporate Relations Erica Eason Patron Engagement Assistant

Monica Smith Finance Manager

Douglas Mayes Contract Services

Hanna Gordon Box Office Manager

Rodney Gilchrist Technical Support

Community Engagement Rhonda Causie Vice President of Community Engagement

Ellen Rolfes Advancement Specialist

Jessica Batey Community Engagement Facilitator

Memphis Symphony League Board of Directors Lura E. Turner, President Kathryn A. King, First Vice President Honey Cannon Scottie Cobb Jeanette Cooley Jean de Frank Peggy Earwood

Mary Lawrence Flinn Billie Jean Graham Eula Horrell Nancy Lou Jones Christina Kurdilla Florence Leffler Sissy Long Carol Martin Mabel McNeill

Amy Meadows Gloria Nobles Donna Olswing Tommie Pardue Shelly Sublett Isabelle Welch Joy Brown Wiener

Memphis Symphony Chorus Board of Directors Lisa Mendel, President Steve Alsobrook Cindy Armistead Janet Carnall Pamela Gold

For Tickets 901-537-2525

Anita Hester Adam LaSalle Jim McClanahan Terron Perk Shane Rasner Mary Seratt

Barry White Jackie White Matthew Williams Rae Williams Larry Edwards, Ex Officio

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Letter from the League President You're here, so you appreciate the Memphis Symphony Orchestra. You're reading this, so you want to know more about the League. Take the next step and join the League!

We welcome and want new members. We need you to aid the Symphony through the League's educational, financial, and volunteer support.

The League has no service requirement, the membership dues are tax-deductible, and you will receive invitations to all Memphis Symphony League sponsored events. Our October 23rd luncheon was a great success and well attended, so many thanks to all who participated!

The MSO is essential to our community and your membership is essential to the League.

Join us now and we'll see you at our next events on February 13th and May 22nd!

Lura Turner President Memphis Symphony League

2013-2014 Memphis Symphony League Membership Form (PLEASE PRINT) Name _____________________________________ Spouse’s Name __________________________________________ Address ____________________________________________________________________________________________ City _______________________________________________ State _____________ Zip ___________________________ Home Phone _____________________ Work Phone _______________________Cell Phone ________________________ Fax _______________________ E-mail Address ___________________________________________________________

PAYMENT _____ I have enclosed a total of $______

(Single $50; Couple $75; President’s Circle $100; President's Circle of Lifetime Members $1,000) _____Check

Check# ________

_____Credit Card

AMEX/Visa/Mastercard CC#_________________________ Exp. _________

Signature _________________________________________________________ Date____________________ Memphis Symphony Orchestra • 585 S. Mendenhall, Memphis, TN 38117 • (901) 537-2500

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www.MemphisSymphony.org

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2013/14 S E A S O N WORLD WONDERS, FEB. 21–23, 2014 A cultural fusion of some of the world’s most creative music, art and dance in four dazzling works, featuring Hattiloo singers and U-Dig Jookers.

BALLETMEMPHIS.ORG

For Tickets 901-537-2525

PETER PAN, APR. 12–13, 2014 This world premiere from the choreographer of Cinderella and Wizard of Oz will give you wings with all the magic, flying and wonder of Neverland.

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Thank You 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.

Locally owned.

Internationally respected.

$100,000+

$50,000-$99,999

Expe r ience. Integ r it y. Independence.

As an independent investment company headquartered in Memphis, Tennessee, Dominion Partners private wealth management offers a full range of financial services to clients across the United States and abroad. With more than 60 years of comprehensive investment advisory experience among our team members, we have the maturity and intelligence to deliver premier financial planning and portfolio management. What continues to set us apart is a unique mix of investment solutions designed by a dedicated team of professionals working to preserve and grow your hard-earned money. To learn more about the Dominion difference, give us a call.

$25,000-$49,999

$15,000-$24,999

www.dominion-partners.com 路 901-969-2182 路 888-589-5188 Dominion Partners is a branch office of and securities offered through WFG Investments Inc., member FINRA & SIPC.

$10,000-$14,999

Robert Coe, CFP庐 Senior Vice President, Portfolio Manager

Brian Kinney, CFP庐 President, Financial Advisor

Nancy Hughes Coe Senior Vice President, Financial Advisor

$5,000-$9,999

&

MEADOWS

AVERY

DENTAL PARTNERSHIP

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www.MemphisSymphony.org

$2,500-$4,999

$1,500-$2,499

Up to $1,500

Blue Cross Blue Shield of Tennessee

Commercial Bank & Trust Company Kelman-Lazarov, Inc. Wunderlich Securities In Kind

Diamond International of Memphis Legacy Wealth Management Lipscomb & Pitts Insurance

Interim RESTAURANT & BAR

5040 Sanderlin Avenue Suite 105 Memphis, Tennessee 38117

Foundations

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 2013-2014 season.

The Andrew W. Mellon Foundation

The Jeniam Foundation

Kemmons Wilson Family Foundation

Ann and Gordon Getty Foundation Hyde Family Foundation

For Tickets 901-537-2525

Thomas W. Briggs Foundation

Follow the Memphis Symphony!

Community Foundation of Greater Memphis

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Symphony Fund 2013-2014 As a community-supported organization committed to Memphis, the MSO depends more than ever before 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: Maestro’s Partners $10,000 and above (Fair Market Value is $350) Maestro’s Partners welcomes annual donors of $10,000 and above. In recognition of their support, donors receive unprecedented opportunity to engage with the MSO through personalized events.

Benefactor $5,000 - $9,999 (Fair Market Value is $295) Invitation to join Maestro Mei-Ann Chen and the orchestra on-stage for a First Tennessee Masterworks or Paul & Linnea Bert Classic Accents rehearsal Personalized concierge ticket services (with waiver of service fees) Plus all below Patron $2,500 - $4,999 (Fair Market Value is $220) Invitation to MSO Annual Review meeting Invitation to the annual Season Preview Party Plus all below Golden Circle $1,000 - $2,499 (Fair Market Value is $200) Admission to the donors-only Golden Circle Room, during intermission, at First Tennessee Masterworks and Pops concerts Seven passes for free parking at the Cook Convention Center, good for First Tennessee Masterworks or Pops concerts Plus all below MSO Associates Associate $600 - $999 (Fair Market Value is $80) Opportunity to purchase tickets in advance Plus all below Member $300 - $599 (Fair Market Value is $60) Invitation to MSO open rehearsals Plus all below Friend $100 - $299 (Fair Market Value is $40) Backstage tour of the Cannon Center for the Performing Arts Two tickets to Contributor Recognition Night Acknowledgment in Experience, the MSO concert magazine, in all volumes published during the season Supporter Up to $99 (Full Market Value) Acknowledgment in Experience, the MSO concert magazine, in one volume published during the season Consider a gift to the Symphony Fund today!

To donate, visit the MSO office, go online to www.MemphisSymphony.org, call Lakethia Glenn, Director of Development, at (901) 537-2522 or mail to 585 S. Mendenhall Road, Memphis, TN 38117.

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Contributors Symphony Fund 2011-2012 Thank you! Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission and others make annual contributions to support our Symphony. Because the Memphis Symphony Orchestra, like orchestras throughout the country, obtains less than 30% of 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 between December 1, 2012 and December 31, 2013. We are most appreciative.

Virtuoso - ($100,000 +) Anonymous (2) ArtsMemphis Impresario - ($50,000 - $99,000) Anonymous (2) Paul & Linnea Bert Jeniam Foundation Visionary - ($25,000 - $49,999) Anonymous Mr. & Mrs. Richard H. Bodine, Jr. Mr. & Mrs. George E. Cates Charles & Nancy Coe Scott & Carolyn Heppel Wil & Sally Hergenrader Scheidt & Hehenberg Charity Trust Families Dorothy O. Kirsch Susan & Robert J. Quinn Gayle S. Rose Mr. Milton T. Schaeffer Mr. & Mrs. Arthur N. Seessel III Mr. & Mrs. Frederick Smith Ann & Jim Vining Joy & Russel Wiener Pacesetter - ($15,000 - $24,999) Phyllis and Paul Berz Kitty Cannon & Jim Waller Scheidt & Hohenberg Charity Trust Families Buzzy Hussey and Hal Brunt Mrs. Judy Korones Marion & James McClure Mary H. McDaniel Estelle & John Sheahan Sustainer - ($10,000 - $14,999) Mr. & Mrs. Jack Belz Ron & Anise Belz Alice & Phil Burnett Phyllis and Paul Berz

To Donate 901-537-2522

Mr. & Mrs. Jeffrey Engelberg Michael & Joan Lightman Malco Theatres, Inc. Sylvia Goldsmith Marks Mr. & Mrs. Alexander D. McLean Donna and Dave Nelson Family Foundation Robin and Billy Orgel Francis J. & Laverne Scott Estelle & John Sheahan Craig Simrell & Mark Greganti Dr. Chapman Smith Lynne and Henry Turley Mr. & Mrs. Joseph C. Weller Becky Webb Wilson Benefactor - ($5,000 - $9,999) Anonymous Mr. & Mrs. Marion S. Boyd, Jr. Michael & Maria Douglass Farrell Calhoun, Inc. Kathy and J. W. Gibson Dr. Suzanne Gronemeyer & Mr. Ellis Delin Larry J. Hardy Mr. Sigmund F. Hiller Laura & Lowry Howell Dorothy O. Kirsch Al & Janet Lyons J. W. & Emily McAllister Dr. & Mrs. Dan Meadows Mark & Suzanne Medford Brooke Morrow Mr. & Mrs. Bryson Randolph Schadt Foundation, Inc. John & Cristina Speer Anne & John Stokes Andie & Michael Uiberall Watkins Uiberall, PLLC Jack & Cristina Ward Patron - ($2,500 - $4,999) Anonymous (2)

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Contributors Roger J. Arango LTC, USA (ret) Jack & Kathleen Blair Scott E. Bohon Ms. Mei-Ann Chen Harriett & Hilliard Crews Mark Crosby Carolyn & Michael Edwards Mr. & Mrs. John S. Evans Martha & Robert Fogelman and Bradley and Robert Fogelman, II Mr. & Mrs. Robert A. Goodman Pam and Steve Guinn Dr. & Mrs. Masanori Igarashi Lisa & Louis Jehl Ellen Cooper Klyce Mr. Edwin Koshland III Mr. & Mrs. Jerome B. Makowsky Ron & Jessica Morris John & Barbara Ogles Gloria & John Parker Mrs. Joseph Powell Capt. & Mrs. Robert R. Proctor, USN (Ret.) Patricia & John Seubert Steve & Lura Turner The Wharton Charitable Foundation Randy & Beverly Wade Mrs. Charles E. Walker Dr. & Mrs. Otis S. Warr III Gary Wunderlich Golden Circle - ($1,000 - $2,499) Rev. Dr. Jane Abraham Connie & Dunbar Abston Ben & Kathy Adams Peter & Fran Addicott Belinda Anderson Kay & Keith Anderson Mr. & Mrs. Damon S. Arney Charles S. & Stephanie Baer William and Louise Barden Richard W. Barnes & Peter R. Pauciello Carol & Bert Barnett Sharon Barnett-Myers Joey J. & Neal S. Beckford Joyce Blackmon The Honorable Joseph Boeckmann, Jr.

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Carmen C. Bond Phillip Bowden & Ritche Manley Bowden Martha & James Boyd Phyllis Brannon Ruby Bright Ronell C. Brindell Shannon & Beryl Brown Canale Foundation Mr. & Mrs. Henry Cannon Jeanne Gray Carr Gale Jones Carson Robert & Jenny Carter Dr. Fenwick W. Chappell Dr. Nancy A. Chase, M.D. Gloria & Irvine Cherry Kenneth Clark Karen Clawson Dorothy Cleaves Mikki and Darrell Cobbins Ms. Jeanette S. Cooley Bill and Foy Coolidge Mr. & Mrs. Robert E. Craddock Mr. & Mrs. David Crippen Elaine & Loren Crown Dr. & Mrs. Ray E. Curle Barbara A. Denley Saryn Doucette M.D. & Eric Doucette Megan Dunbar Turner Drs. Lawrence Edwards & D. Shane Rasner Barbara Enright Mr. & Mrs. David B. Ferraro Fred & Mary Lawrence Flinn Barbara & Hiram Fry Kathleen C. Gardner Allison Garrott Dr. Phillip George Mr. & Mrs. James S. Gilliland Susan and Richard Glassman Lakethia Glenn Dr. Raquel Gomez Kate and Robert Gooch Katherine Smythe Gould Martha & Jerrold Graber Miriam Grossman Judith & John Hansen Carolyn Hardy

www.MemphisSymphony.org

Deborah Hester Harrison Mrs. James E. Harwood, III Ann & O. Mason Hawkins Emil Henry David O. Hill & Elisabeth Hills Jeannine Hogg M.D. Lunida & Lewis Holland Mr. & Mrs. Walter B. Howell, Jr. Barbara Hyde Nicki & Brian Inman Janas L. Jackson Laurita Jackson Mr. Frank & Dr. Jeanne Jemison Dr. & Mrs. Eric E. Johnson Rose M. Johnston Edith Kelly-Green Dale & Marty Kelman Dr. Natalie Kerr Susan Kingston Delores Kinsolving Knapp Foundation Mrs. Judy Korones Bruce & Susanne Landau Leslie and Nathaniel Landau Dr. Peter G. & Susan J. Law LeMay+Lang, LLC Mr. & Mrs. Lester F. Lit Aron Livnah & Rose Merry Brown Dr. & Mrs. William E. Long Babbie Lovett B. Lee & Susan Mallory Deidre Malone Jerry and Elizabeth Marshall Martha Ellen Maxwell Ashley Mayfield Sandra H. Mays Mr. & Mrs. Michael McDonnell Anita & Don McLean Gretchen & Kojo McLennon Phillip & Mabel McNeill Dr. & Mrs. Michael McSwain Drs. Lisa & Maurice I. Mendel Nancy & Rodgers Menzies Bob & Jane Terrell Mims Henry & Snowden Morgan Brooke Morrow

To Donate 901-537-2522

Zoe & Alan Nadel Jenny & John Nevels Gloria P. Nobles Dr. Frank and Mrs. Sarah Ognibene Max B. Ostner, Jr. Mrs. Lyda Parker Marianne Parrs Mr. & Mrs. Demetri Patikas Robert G. Patterson, Jr. & Patricia Gray Mrs. Barbara J. Perkins Arnold & Mary Lynn Perl Sadie & C.J. Pickering Jim and Cynthia Pitcock Carol W. Prentiss Mary Alice Quinn Dr. Sandra Reed Judy & Nick Ringel Mrs. Anne Davis Roane Beverly Robertson Ellen Rolfes Carol Lee & Joe Royer Diane Rudner Dr. Ken & Mrs. Bev Sakauye Dr. Craig & Mrs. Andrea Sander Jeff Sanford & Cynthia Ham Mary & Joe Scheuner Bruce R. & Jane Scharding Smedley Dr. John J. & Mrs. Lynda Shea Karen B. Shea Mrs. Sally Shy William W. Siler Ron & Linda Sklar Jenny & Graham Smith Maxine Smith Mrs. Rita Sparks Susan L. Springfield Nancye Starnes Bruce & Gillian Steinhauer Thomas & Susan Stephenson Anne & John Stokes Owen & Margaret Tabor Dr. Paul G. Thomas & Dr. Deanna Longfitt Dr. & Mrs. Todd A. Tobias Leticia W. Towns Laurie Tucker Dr. Eugene A. Vaccaro Family

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Contributors Susan K. Van Dyck & James Newcomb Mr. & Mrs. Henry D. Varnell, Jr. Mr. & Mrs. William M. Vaughan, Jr. Anita & James Vaughn Kimmie Vaulx Mr. & Mrs. David S. Waddell Patricia & Charles Walker Dr. Jane Walters Graham & Megan Warr K. C. and Jeff Warren Frank & Houston Watson Mrs. Cassandra H. Webster Martha & Lee Wesson Ruby R. Wharton Monica & Andre Wharton Sharon Wheeler Barry White & Dr. Janice Garrison Vann and Julia Manning Ms. Tracey Williams Dr. Ethelyn Williams-Neal Barbara Williamson Oneida Wittichen Mr. & Mrs. Charles L. Wurtzburger Jocelyn Wurzburg Jan Young Associate - ($600 - $999) Balmoral Chamber Orchestra David J. Baseler Carol Beachey & Don Voth Stanley & Dorothy Bilsky Dr. & Mrs. Allen Street Boyd Monte & Grace Brown Joanne & George Buzard Gary Carlson Betty & Leiland Duke Sara G. Folis Dot and Luther Gause Judith & Howard Hicks Father Albert Kirk Mr. & Mrs. George Lapides Mrs. Emily Ruch John Pickens & Suzanne Satterfield Robert Vidulich & Diane Sachs Dr. Russell Wigginton

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Member - ($300 - $599) Anonymous (3) Rosemary Banta Richard & Nancy Barnhart John & Wanda Barzizza Joy & Leo Bearman Fiona & Lance Binder Gregory Buckley & Susan Berry-Buckley Walter Brown Dr. & Mrs. Paul Burgar Mrs. Louise Cannon The Chester J. Claudon Family Ms. Laura J. Crane Robert K. Crane Angela Daily Lewis Donelson Dr. Michael R. Drompp Lyda and John Gibson John Gilmer & Catherine Willner Daniel Green Phyllis Guenter Bela & Nan Hackman Joanne B. & Willis Hackman Paul & Marisa Hess Dr. G. Leon Howell Joanna Hwang Philip & Melinda Johnson Mr. & Mrs. Robert K. Jones Kathy Junkin William B. Keiser, Jr. Ms. Yoriko Kitai Janie & Martin Kocman Sara Lam Lucy C. & Tom C. Lee Frank & Mary Markus Mary Allie & Denton McLellan Shirley W. McRae Richard and Betsy McStay Chloee & Dan Poag Mr. & Mrs. Curtis E. Ringold Barbara & Bill Runyan Marcia Schlesinger Bonnie and Bill Siler Ryals & Gwendolyn Thomas Jules & Betty Weiss

www.MemphisSymphony.org

Dr. & Mrs. Benton Wheeler Tom & Kay Whitman Friend - ($100 - $299) Anonymous (5) Doug & Meg Adams Gwendolyn & John Ahlemann Rammy Akil Raul Amaro Kevin Andring Frank Anthony Dot Arata Dr. & Mrs. Philip Aronoff Clayton Baker Mr. & Mrs. William E. Baker Jr. Dr. & Mrs. George I. Balas Sue & A.E. Balkin Mary Nell & Pervis Ballew Andrew Balogh Kenneth Balogh Charles Barfield Marsha Barrom Robert & Ellen Hutchinson-Bartolotta Mrs. Frank Barton, Jr. Donald Bashford Dr. & Mrs. Allen O. Battle Mr. Herbert Battle Dr. Bryan & Mrs. Heidi Bell Ernest & Georgia Bell Linda-Anne Bennett Mary Bernard Dr. & Mrs. Michael P. Berry Kathryn B. Black Mr. & Mrs. James C. Blackburn Sharis & Gerald Blackburn Nancy E. Bogatin Modine & Lee Bolen Steven Boor Jan & John Boudreaux Amanda Boyd Wayne Breeden Susan P. Brubaker Dorothy Bryce-Morton Anne & Robert Buchacek Reggi and Sharon Burch

To Donate 901-537-2522

Judy & Charles Burkett Alicia & James Butler Jeanne N. Carr Bonnie & Richard Carney James Charles Ruby Chittenden Carol & David Ciscel Brian Clement Mr. & Mrs. Charles P. Cobb, Jr. Suzanne Henley & James P. Cole Viola Cole Bob and Elaine Colmer Samuel and Jenny Compton Anne Connell Brian Costner Darien Cotton Mr. & Mrs. William S. Craddock Dale & Gina Cunningham A.J. Daneman Karen Dapsis Phili & Terry Deboo Kathryn Deshpande & Jon Katze Ann Dixon Curtis and Jean Dohan Alan Dow Jed Dreifus Ioannis Drosos Regina Duberstein John and Alice Dudas Betty Jo & William P. Dulaney Mrs. Ruth Edmonds Elizabeth & Winston Eggleston Bailey Evans George & Jackie Falls Edward & Gloria Felsenthal Fredrika & Joel Felt James & Sue Ferguson E.C. Fields Tanya Fitts & David Burton Henry & Gayle Flautt Turner Foster Ms. Kathie Fox Desi Franklin Mr. & Mrs. Bill Friedl Mrs. Caroline Fruchtman

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Contributors Juan Fuentes Kelley Funderburg Camille Gamble Ana & Mark Gardner Bill and Jeannine Gaudet Emily & Jerry Gay Frank & Anne Gianotti Mr. & Mrs. James D. Gibson Marsh & Ann Gibson Sharon Gilbert Mary Gill Jim & Harriett Gillis Joan Gips Marylon R. Glass Kenneth Goldman & Winnie Wang Capt. & Mrs. James P. Googe, Jr. Carolyn and Glynn Grammer Genie & Ralph Gray Sheri & Don Grear Great Wines and Spirits Rita Mercille Green Dianne Greenhill Mr. Reb Haizlip Clarence & Harriett Halmon Claudia & Bill Haltom Louis Hamric Malvis Hardaway Jeffery & Cathy Harris Dallas Harrison Janet Harrison Diane Harvey Geraldine Haspel Margaret Hassell Mr. Paul Henry Hawkins Diane Hawks Mr. & Mrs. Allan Hayden Dr. Jean S. Hayden Kathleen & Stephen Helton Vivian Hilton Walter Hoehm Sara Holmes Dr. & Mrs. Horace K. Houston, Jr. Julia Howell Helen J. Humber Sarah L. Hurley

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Bobby and Eva Hussey Mr. & Mrs. Antonino Incardona Susan & Frank Inman J. T. & Helen Jabbour Bertha Means & Michael Jacewicz Mr. & Mrs. James B. Jalenak Anita James Dr. & Mrs. David H. James, Jr. Donna Jefcoat David & Lisa Jennings Dr. & Mrs. Pu-Qi Jiang Darrell & Betty Z. Johnson Mr. Jeff Johnston Gayden Jones John Paul & Sandra Jones Mr. & Mrs. Robert K. Jones Warren and Betty Lu Jones L. Donald Jordan Kathy Junkin Mr. & Mrs. William Kaelin III Beulah Kasselberg Helen and J.D. Kelly Nathaniel Kent Chris King Mr. & Mrs. Lloyd C. Kirkland, Jr. Mr. & Mrs. Jerry D. Kirkscey Preston & Sally Klinke Zeynep Kocer Amanda Kramer Mr. & Mrs. Pierre T. Landaiche III Cassandra Lankford Steven Larson Marti & Mike Laslavic Chris Lazarini John Le Dr. Gumersindo & Mrs. Marianne Leal Sandra Leftwich Kristin Lensch & Tim Huebner Dr. & Mrs. Michael J. Levinson Ben Light Gensheng Liu Mrs. Esther K. Lubin William Payson & Melissa Luck Christopher Lutat Leonard & Jennifer Lyons

www.MemphisSymphony.org

Nancy & Nancy Magallanes Mr. Allen T. Malone May Lynn & Charles Mansbach Mr. & Mrs. Jack H. Marks Nelda & Freeman Marr Randy & Carol Martin The Family of Mrs. Ethel T. Maxwell Michael McCanless James McClanahan Peggy & Don McClure, Jr. Charles & Janie McCrary Marcia L. McCullough Marion McDonald Mr. & Mrs. James W. McDonnell, Jr. Phillip and Mary Ellen McDow Robert McEniry Pat & James McFarland Lucius and Holley McGehee Dan McGuire Mary Allie & Denton McLellan Sylvia & Ron McSwain Tina McWhorter T. Medlin Simone and Logan Meeks Diane Meess Monika Metzger Dr. & Mrs. Lee Milford, Jr. Dr. & Mrs. David M. Mirvis

Dr. Shamim Moinuddin Mrs. Houston Niller Moore Joan Morgan Jan and Scott Morrell George Morris Ed & Anne Motley Dr. Robert Neimeyer & Ms. Kathryn E. Story Drs. Thomas J. & Monika Nenon William Nichol, IV Mr. & Mrs. Greg Nomland Cecile & Frederick Nowak Dr. Antony Oldknow Mr. & Mrs. Mark O'Malley Michael Ostien Norma Davis Owen & Penn Owen Jr. Bob Owens Joy Ozbirn Dr. William S. Phillips Hajnal & Lawrence A. Pivnick O.C. Pleasant, Jr. Charles & Carole Plesofsky Paula Posey-Destefanis Catherine Powers Charles Prestage-Mosby Kara & Thomas Preston Leslie Printup Libby and Howard Pritchard Lana & Gary Prosterman

Matching Gifts Corporate matching gifts are a great way for MSO patrons and donors to maximize personal contributions to the Symphony and increase the impact of their gift. By taking advantage of your company’s matching gift benefit, you may be able to double or triple your contribution.

Thank you to those companies below who match current and retired employees’ contributions to the Memphis Symphony Orchestra, and thank you to our donors who apply for these matching gifts. For more information on matching gifts, please call (901) 537-2523.

AT&T Foundation Bank of America Chevron Corporation Citigroup Foundation Digital Equipment Corporation Federated Department Stores First Horizon National Corporation First Tennessee Foundation Gap Foundation General Electric General Mills Foundation GlaxoSmithKline Foundation

To Donate 901-537-2522

Home Depot Foundation Johnson & Johnson Kraft, Inc. Lucite International Merrill Lynch New York Times Company Foundation Nissan Motor Corporation Phillip Morris Companies, Inc. Quaker Oats Foundation Regions Financial Corporation Security Pacific Foundation United Technologies – Carrier Corporation

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Contributors Mearl Purvis Brenda & Robert Rachor Linda Rahija Karen and James Ralston Jimmy and Mary Jane Richens Dr. & Mrs. Brown Robertson Kia Robinson Mr. Luther L. Robinson III Dr. & Mrs. E. William Rosenberg William Ross Thelma Rudd Barbara & Bill Runyan John Rutledge Amy & William Ryan Sara T. Savell Sandy & Beth Schaeffer Teresa & Jeff Scott Michael & Kelly Scott William Scott Douglas Seymour Jill & Scott Shanker Phil & Fran Shannon Mrs. G. Donald Siemer Liz and Rouben Simonian Elizabeth Simpson Kenneth & Mary Sipley William Skoog Ernestine Small Ms. Leslie Smith Marshall and Maida Smith Dan & Melissa Smith John Snowden Lisa and Baynard Snowden Ms. Karen Spacek & Mr. William S. Solmson Trish & Richard R. Spore III Shirley & Jim St. Hilaire Charles & Mary Stagg Jill & Kenneth Steinberg Janet Stevenson Betty & Vaughn Stimbert Fred & Shirley Stinson Leslie Stratton Linda Strickland Oma R. Strickland Gary Stringer

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George S. Sullivan Barbara D. Taylor Mrs. Janet Templeton Mrs. Barbara Thompson Dr. David A. Tipton Cynthia Tipton Barbara B. Turner Ann & Darrell Turner Elaine Turner John Ueleke Mariet & Sam Rogers Harriette Vanderford Mr. & Mrs. Simon Wadsworth Robert Waldo Drs. Anni B. Walker and William S. Walker Hilman Walker Mr. Edward Wallace Rev. Dr.and Mrs. Lee C. Waltz Kiersten and Tom Watkins Steve Weaver Harry Wellford Diane & Walker Wellford Kathleen Weston Arnold & Joan Weiss Stuart Wilkinson Elsa & David Williams Frances Williams Mrs. Barbara H. Wilson Eleanor & Charles Wilson Virgina Wilson Stewart Wingate Evelyn B. Wofford Jerry Wolfe Mr. Winston Wolfe Patricia A. Woods Nick and Charlotte Woodward Lewis Wright Mary & Lucius Wright Rev. Bindy Wright Snyder Paul & Laura Yacoubian Mary Yates Dr. Herbert D. Zeman Qihong Zhou

www.MemphisSymphony.org

MEI-ANN’S CIRCLE OF FRIENDS A women’s philanthropic circle honoring the Memphis Symphony Orchestra’s Music Director, Mei-Ann Chen, whose artistic vision is reshaping the city’s cultural center. This critical group of diverse community investors is called to be stakeholders who support and steward her vision as a creative catalyst for innovation through the performing arts.

Most importantly, Mei-Ann’s Circle of Friends welcomes new members, as its ultimate mission is to be an instrument of inclusion through community engagement.

Ritche Bowden, co-chair Allison Garrott Susan Mallory Helga Stengel Mary McDaniel, co-chair Kathy Buckman Gibson Julia Manning Susan Stephenson Becky Wilson, co-chair Lakethia Glenn Ashley Mayfield Anne Stokes Connie Abston Kate Gooch Sandra Mays Mary Tate-Smith Belinda Anderson Mimi Grossman Suzanne Medford Ashley Tobias Pam Arrindell Pam Guinn Nancy Menzies Tish Towns Louise Barden Sarah Haizlip Jane Mims Anne Townsend Sharon Barnett-Myers Cynthia Ham Snow Morgan Laurie Tucker Joey Beckford Carolyn Hardy Brooke Morrow Lynne Turley Phyllis Berz Deborah Hester Harrison Jenny Nevels Lura Turner Joyce Blackmon Ann Hawkins Rev. Dr. Roslyn Nichols Meg Dunbar Turner Kathy Blair Carolyn Heppel Gloria Nobles Andie Uiberall Peggy Bodine Dr. Jeannine Hogg Sarah Carpenter Ognibene Jeanne Varnell Carmen Crane Bond Frances Hooks Sally Pace Anita Vaughn Martha Boyd Buzzy Hussey Deanie Parker Kimmie Vaulx Sonji Branch Barbara Hyde Barbara Perkins Ann Vining Ronell Brindell Nicki Inman Cynthia Pitcock Stacie Waddell Ruby Bright Janas Jackson Carol Prentiss Ann Marie Wallace Beryl Brown Laurita Jackson Mary Alice Quinn Ceil Walker Lillian Brown Lisa Jehl Susan Quinn Jane Walters Rose Merry Brown Dr. Jeanne Jemison Dr. Sandra Reed Cassandra Webster Marian Bruns Rose Johnston Beverly Robertson Becky West Alice Burnett Dale Kelman Ellen Rolfes Monica Wharton Kitty Cannon Edith Kelly-Green Gayle S. Rose, Ruby Wharton Jeanne Gray Carr Natalie Kerr former co-chair Sharon Wheeler Gale Jones Carson Delores Kinsolving Carol Lee Royer Joy Brown Wiener Jenny Carter Dorothy Kirsch Diane Rudner Dr. Ethelyn Williams-Neal Dr. Nancy Chase Ellen Klyce Beverly Sakauye Tracey Williams Dorothy Cleaves Susanne Landau Janet Seessel Barbara Williamson Karen Clawson Babbie Lovett Lucy Shaw Neida Wittichen Nancy Hughes Coe Janet Lyons Karen Shea Jocelyn Wurzburg Jeanette Cooley Anita McLean Lynda Mead Shea Jan Young Deborah Craddock Margaret McLean Leigh Shockey Dr. Saryn Doucette Gretchen McLennon Sally Shy In Memoriam Julie Ellis Bickie McDonnell Jacqueline Smith Bonnie Smith Barbara Enright Linda McNeil Katie Smythe Maxine Smith Marsha Evans Mabel McNeill Rita Sparks Kathy Fish Daphene McFerren Susan Springfield Kathleen Gardner Deidra Malone Nancye Starnes Sponsorships Baptist Mem Health Care Fd Blue Cross Blue Shield TN Ellen Cooper Klyce Buzzy Hussey Hyde Foundation

Independent Bank New South Capital Paragon Bank Regional Medical Center Deborah Craddock

Brooke Morrow Sarah Carpenter Ognibene Gayle Rose

For more information please contact Ellen Rolfes at the Memphis Symphony: (901) 537-2526

For Tickets 901-537-2525

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Tributes

The following Honorarium and Memorial contributions were made to the Symphony Fund between October 1, 2013 and December 31, 2013. Please call Lakethia Glenn at 901-537-2522 to contribute a gift in honor/memory of your friend or loved one.

In Honor of Michael Barar Anonymous In Honor of Paul & Linnea Bert Leonard & Jennifer Lyons In Memory of Mary Anne Blackman Nancy Ditto In Honor of Linda Brittingham Drs. Lisa & Maurice Mendel In Memory of Mr. & Mrs. Charles P. Cobb, Sr. Mr. & Mrs. Horace K. Houston In Memory of Ruth Marie Moore Cobb Patricia D. & L. Palmer Brown IV Dorothy Bryce-Morton Mrs. Louise Cannon Bonnie & Richard Carney Dr. Fenwick W. Chappell The Chester Claudon Family Mr. & Mrs. Charles. P. Cobb, Jr. Ms. Jeanette S. Cooley Elizabeth Cranwell Evans Petree Family Dr. & Mrs. Carl Flinn Fred & Mary Lawrence Flinn Dena & Arjen Lagendijk Florence Leffler Mrs. Molly Lockwood Randy & Carol Martin

Anita & Don McLean Phillip & Mabel McNeill Memphis Symphony League Memphis Symphony Orchestra Jane Terrell Mims William Nichol Frances Phillips Mrs. Ann Powell Tina & Ace Roberts Ellen Rolfes Barbara & Bill Runyan Frank & Marian Shaffer Mrs. Barbara Thompson Lucy Van Zant Mr. & Mrs. Malcolm Wood In Memory of Dr. V. Glenn Crosby Elizabeth & Winston Eggleston In Honor of Dr. Lawrence A. Edwards Suzanne Henley & James P. Cole In Honor of Marsha & John Evans Dr. Suzanne Gronemeyer & Mr. Ellis Delin In Memory of Nicki Inman Memphis Symphony League Memphis Symphony Orchestra In Memory of Sarah Kretzer Susanna Cody

The MSO Proudly Honors:

In Memory of Ruth Cobb May 24, 1926 - November 29, 2013 Ruth was a was a founding member of the Memphis Symphony (known then as Memphis Sinfonietta) and Principal Harpist for many years. She had a deep love for the MSO and she was actively involved in our organization for many years.

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In Memory of Douglas Whitaker September 17, 1955 - January 09, 2014 Doug served as the MSO’s Director of Artistic Operations and passed away suddenly and unexpectedly on January 09, 2014. He was a dedicated friend and colleague and will be dearly missed.

MSO Family

www.MemphisSymphony.org

In Honor of Mary Lawrence Flinn Randy & Carol Martin

In Honor of Gloria Nobles Bill and Foy Coolidge

In Memory of Peter Freund Camerata Music Club

In Memory of Walter Parrs, Jr. Marianne Parrs

In Memory of Ms. Sunny Georgiadis Susan Mah

In Memory of Reid Patterson Memphis Symphony League

In Memory of Elaine and Louis Gompertz Joan Gips

In Memory of Rita Satterfield John Pickens & Suzanne Satterfield

In Honor of Carolyn & Scott Heppel Genie & Ralph Gray Dr. & Mrs. Benton Wheeler

In Memory of Florence Schenker Sandra Leftwich

In Memory of Sig Hiller Dr. Suzanne Gronemeyer & Mr. Ellis Delin In Honor of Dr. Kenneth Hopkins Dr. Frank Anthony

In Honor of Jack & Tricia Seubert Kathryn Deshpande & Jon Katze In Memory of Mary Lee Sher Marilyn & Herbert Notowich In Memory of Mrs. Lucille "Bonnie" Smith Shirley & Jim St. Hilaire

In Honor of Rob & Eula Horrell Genie & Ralph Gray

In Honor of Ann Spurbeck Dr. Suzanne Gronemeyer & Mr. Ellis Delin Shirley & Jim St. Hilaire

In Honor of Buzzy Hussey Bill and Foy Coolidge In Memory of Mary Terry Land Mrs. Vincent De Frank Buzzy Hussey and Hal Brunt Mr. & Mrs. Lester F. Lit Dr. Mel and Debbie Litch Whitehorn Tankersley & Davis, PLLC Family In Memory of Mr. & Mrs. J.T. Legette Toni Legette In Honor of Martha Ellen Maxwell Dr. Suzanne Gronemeyer & Mr. Ellis Delin In Honor of Alec and Margaret McLean Brooke Morrow

In Memory of Mrs. C. Q. Tipton Dr. David A. Tipton In Memory of Dr. Robert E. Tooms Jack & Kathleen Blair In Honor of Lura E. Turner Randy & Carol Martin In Honor of Irene Wade Ms. Amy Greenberg In Honor of Bill Weppner Drs. Lisa & Maurice Mendel

In Memory of Dr. Lee Milford Frank & Marian Shaffer

In Memory of Douglas Whitaker Memphis Symphony League Memphis Symphony Orchestra

In Honor of Greg & Ellen Morris Dr. Suzanne Gronemeyer & Mr. Ellis Delin

In Honor of Joy Brown Wiener Russell W. & Joan Chesney

For Tickets 901-537-2525

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THE MEMPHIS SYMPHONY ORCHESTRA In appreciation to

PATRONS OF THE

REBIRTH OF THE DREAM COMMISSION

Members of MEI-ANN’S CIRCLE OF FRIENDS Connie Abston

Susanne Landau

Joey Beckford

Deidre Malone

Peggy Bodine

Mary McDaniel

Carmen Bond

Ashley Mayfield

Ritche Bowden

Sarah Carpenter Ognibene

Martha Milford Boyd

Sandra Reed

Beryl Brown

Ellen Rolfes

Lillian Brown

Gayle S. Rose

Jeanne Gray Carr

Diane Rudner

Mei-Ann Chen

Laurie Tucker

Karen Clawson

Joy Brown Wiener

Saryn Doucette

Tracey Williams

Kathy Buckman Gibson

Becky Wilson

Buzzy Hussey

Jocie Wurzburg

Delores Kinsolving

Jan Young

Ellen Klyce

Friends of the Dream

For Tickets 901-537-2525

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

Box Office Location/Hours: The Box Office is located at 585 South Mendenhall Road, between Cadence Bank and Folk’s Folly. We are open weekdays 9 a.m. to 5 p.m. and on concert Saturdays from 9 a.m. to 12 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.

Venues: Saturday First Tennessee Masterworks Series and Memphis Symphony Pops Series concerts are performed at the Cannon Center for the Performing Arts, 255 North Main Street in Downtown Memphis. Paid parking is available in the Cook Convention Center garage or surface lots. Friday performances of the Paul & Linnea Bert Classic Accent Series are at the Lindenwood Christian Church, 2400 Union Avenue in Midtown Memphis. First Tennessee Masterworks Sundays are performed at the Germantown Performing Arts Centre (GPAC), 1801 Exeter Road in Germantown. Free parking is available at Lindenwood Christian Church and GPAC. Cameras and Recording Devices: No photos or video recordings are allowed during the performance due to potential injury to performers on stage.

Concert Preview: Free pre-concert discussions begin 45 minutes prior to each First Tennessee 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.

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

Ticket Information Subscriptions: Buy a series and save! Subscribers get the best seats in the house. Plan for the music you love with our First Tennessee Masterworks, Pops, and Paul & Linnea Bert Classic Accents series. As a subscriber, you will not only save off the single ticket price but also enjoy priority seating and ticket flexibility! Subscribers have the opportunity to purchase the best possible seats for your series before tickets go on sale to the general public. You also have the same great seats all season and every year! Subscribers also have the opportunity to purchase tickets for special events before they are available to the general public. New season ticket patrons receive up to a 50% savings off the single ticket price. For subscriber services or to order, call the Box Office at (901) 537-2525 or visit MemphisSymphony.org.

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www.MemphisSymphony.org

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 subsription 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 lost 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 $5.00 (plus applicable processing fees, excluding Memphis Messiah, Nutcracker and Opus One series) 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.

Group Discounts: Groups of 20 or more can receive a discount of 20% on adult tickets. For more information, call our Box Office at (901) 537-2525.

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

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

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

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

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

• The use of video or photography is not allowed First Aid • Contact an usher for assistance.

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

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

For Tickets 901-537-2525

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ALWAYS ENTERTAINING� Musicals/Dramas/Comedies�

Photography by Skip Hooper�

Nationally recognized for creative quality and community vision.�

2013-14 SEASON�

*�

Aug 16 – Sept 1, 2013� Sept 6 – 22, 2013� Oct 11 – Nov 3, 2013� Nov 8 – 23, 2013� Dec 6 – 23, 2013� Jan 24 – Feb 9, 2014� Feb 14 – March 2, 2014� March 7 – 30, 2014� April 4 – 19, 2014� April 25 – May 11, 2014� June 6 – 29, 2014� A Christmas Carol�

Become a member by Nov. 27, 2013 for discounts and member benefits.�

901.682.8323�.�

Individual tickets also available at www.theatrememphis.org�

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