Experience Volume 4 2012|2013

Experience

ScottMoore, Moore,principal trumpet,trumpet,and and Jessica Scott Jessica Munson, violin,on banks of Munson, violin, on the the banks of the the Mississippi River on Mud Island.

VOLUME 4 • 2012 |2013 SEASON

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Contents

Volume 4

Concert Experience

•

2012|2013 Season

• Contributors................................................... 71

• If Bach Were a Beekeeper March 22........................................................ 23 • From Gandolfi to Memphis April 13 & 14................................................. 39 • Porgy & Bess May 18 & 19.................................................. 49 • Mei-Ann Chen, Music Director ................... 60 • Conner Gray Covington, Assistant Conductor.. 61 • Orchestra Roster............................................. 62

• Honorariums & Memorials .......................... 82 • Patron/Ticket Information ........................... 84

Symphony Gallery • Paul & Linnea Bert Classic Accents................ 8 • Valentine's Celebration Honoring Mei-Ann Chen................................................ 10 • Opus One........................................................ 36 • Unexpected Conversations Continued......... 80

Patron Experience • Advertiser Listing........................................... 41 • MSO Board of Directors, Staff, League Board & Chorus Board............................................. 64 • Memphis Symphony League......................... 66 • Sponsors & Foundations............................... 68 • Membership Benefits..................................... 70

Community Experience • MSO Sixtieth Anniversary: A Timeline of Significant Events.. ......... 12 • Symphony Soul Project: Don't Miss Out!........................................... 18 • Thank You Melodie!................................... 46

The Memphis Symphony Orchestra, Inc., is a qualified 501(c)(3) deductible organization funded by gifts from you, ticket sales and contracted services. We are recipients of grants from ArtsMemphis and the Tennessee Arts Commission. ©2012|2013 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.

For tickets (901) 537-2525 | MemphisSymphony.org Follow the Memphis Symphony!

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2012-2013 SeaSOn

IT’S HAPPENING AT

GPAC

JaZZ

Dance

chick corea and Gary Burton with the Harlem String Quartet sunday, september 30

The Theater of Needless Talents Spectrum Dance Theater wednesday, november 14

The chucho Valdés Quintet sunday, 0ctober 21 Jane Monheit with special guest Mark O’connor sunday, february 17

Cinderella Russian national Ballet Theatre sunday, january 6 Savion Glover’s SoLe Sanctuary friday, january 25

Monterey Jazz Festival 55th anniversary Tour sunday, april 21

celebrating the 100th anniversary of The Rite of Spring tuesday, april 23

FaMILY

SPecIaL eVenTS

“Sleeping Beauty” with David Gonzalez, storyteller sunday, october 7 Cirque Chinois national circus of the People’s Republic of china sunday, october 14 Cinderella Russian national Ballet Theatre sunday, january 6 The Black Watch and The Band of the Scots Guards sunday, february 10

The Secret Sisters friday, september 7 capitol Steps friday, september 14 Van cliburn Gala saturday, march 16

The Voca People sunday, march 24 erth’s Dinosaur Petting Zoo™ friday, april 26-28

GERMANTOWN PERFORMING ARTS CENTRE Call 901-751-7500 or visit www.GPACweb.com

Milton Schaeffer

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Scheidt Family Foundation

www.MemphisSymphony.org

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MEMPHIS SYMPHONY

ORCHESTRA’S

with special guest

Hope Clayburn's soul scrimmage presented by

Thursday April 18, 2013

Saturday, April 20, 2013

The Warehouse | 36 E GE Patterson Ave Tickets $25 | Students $12.50 with ID

879 E. McLemore | Tickets FREE Get there early, seating is limited!

2:00 pm

7:30 pm

For more information, call 901.537.2525 or visit OpusOneMemphis.org.

TM

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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.

©2012 FedEx. All rights reserved.

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Paul & Linnea Bert Classic Accents Post-concert reception of the Classic Accents concert Bach and Mozart on January 18 at Lindenwood Christian Church, celebrating the MSO’s 60th Anniversary.

MSO Birthday Cake

Jon Emerson and Annie Hohlt

MSO violist Marshall Fine and Terry Starr

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Jane O’Neil, Roylyn Parks and Norma McHugh

Steve Masterson and Louis Hamric

Clyde and Agnes Eldar

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Valentine’s Celebration Honoring Mei-Ann Chen On February 14, the Memphis Symphony League honored Music Director Mei-Ann Chen as their sweetheart with the Amphion Award, created to recognize an individual for outstanding international contribution and service to the arts, at the Memphis Hunt & Polo Club.

Mei-Ann Chen accepting her award from Event Chairman Billie Jean Graham and Kevin Kane, President & CEO at the Memphis CVB.

Honey Cannon models a look from Betty Hays and Seriously Fun, which offered a table fashion show for guests with a portion of purchases supporting the League.

Joy Brown Wiener and Mei-Ann Chen

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Beth & Randal Rushing, who serenaded the crowd, Victor Asuncion, who accompanied them, and Jean de Frank

Kevin Kane & Mary Lawrence Flinn, Memphis Symphony League President.

Patty Calvert

Esther Pearson and Mei-Ann Chen

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Memphis Symphony Orchestra Sixtieth Anniversary – A Timeline of Significant Events Vincent de Frank, Music Director, 1952 –1984

Vincent de Frank and Joy Brown Wiener

In the fall of 1952, Vincent de Frank and the twentyone members of the Memphis Sinfonietta began rehearsing. Louise Mercer, director of the Young Artists Bureau, provided publicity and assisted with business arrangements. Maestro de Frank and the musicians also assisted with advertising and ticket sales. They performed their first concert on January 25, 1953 at the Goodwyn Institute, located at Third Street and Madison. This concert was well attended and well received. The Memphis Sinfonietta performed two additional concerts during their first season. These concerts also received favorable reviews.

The Memphis Orchestral Society decided to extend the 1953-1954 season to five concerts.

As the size of the orchestra and the audience continued to grow, it became apparent they needed to move to a larger venue. The concerts were sold out during the 1957-1958 season, and the number of musicians had grown to fifty-four. The Memphis Sinfonietta moved to the newly renovated Music Hall in Ellis Auditorium during the 1958-1959 season, and in 1960, the “chamber orchestra” was officially renamed the Memphis Symphony Orchestra. William and Marguerite (Piazza) Condon hosted the gala for the Memphis Orchestral Society, celebrating the name change, where Ellis Auditorium Joy Brown Wiener played several solos during this event. Maestro de Frank received numerous congratulatory letters from music directors nationwide, including Leonard Bernstein, Eugene Ormandy, and Max Rudolph.

During Vincent de Frank’s tenure, the Memphis Symphony Orchestra continued to thrive.

When the Ford Foundation awarded the orchestra a $500,000 grant in 1966, this enabled the Memphis Symphony Orchestra to increase the number and variety of concerts presented. In 1981, the Memphis-Shelby County Convention Commission renamed the South Hall, Vincent de Frank Music Hall. An inscription was made over the Music Hall entrance and sculptor Ted Rust, made a bust of Maestro de Frank. By the time Vincent 12

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de Frank retired at the end of the 1983-1984 season, the orchestra was well established in the community.

Alan Balter, Music Director, 1984 –1998

Alan Balter became the Memphis Symphony Orchestra’s second music director in the 19841985 season. His objective was to take the orchestra to a new artistic level. In order to do this, he felt the orchestra needed to hire MSO ca. 1957 contract musicians. By his second season in 1985-1986, a core orchestra of thirty-three salaried musicians had been formed. This enabled him to schedule concerts outside of the Memphis community and additional school concerts with the chamber orchestra. Smaller ensembles, including wind quintets and string quartets, were formed from the chamber orchestra. These groups were scheduled to perform additional concerts in schools and other places in the community.

Community outreach was also reflected in his programming for the Memphis Symphony Orchestra. He established the annual Dr. Martin Luther King, Jr. concert tribute, the Elvis Pops concert, and the Young People’s Concert series. He also programmed gospel pops concerts which featured large and diverse local gospel church choirs.

In 1993, Vincent de Frank Music Hall was renovated for the last time. A new hardwood maple stage floor and acoustical shell enhanced the sound of the orchestra.

The Memphis Symphony Orchestra performed a special concert on September 10 with nationally acclaimed violinist Midori to commemorate the “new look, new sound” hall. Three years later, the city decided to demolish the auditorium. The last concerts in Vincent de Frank Music Hall were on November 15, 16, and 17, 1996. These concerts featured the University and Symphony Choruses, Grahamwood Elementary, and the Orff Percussion Ensemble in a performance of Wuytack’s Modalaics of May. The orchestra performed the remaining masterworks concerts in the 1996-1997 season and most of the 1997-1998 season at Christ United Methodist Church.

For Tickets 901-537-2525

Alan Balter

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Eudora Baptist Church renovated their sanctuary, which included a stage large enough to accommodate an orchestra. The Memphis Symphony Orchestra moved into Eudora Auditorium in March 1998 at the end of Alan Balter’s last season. They continued performing there until the completion of the Cannon Center in 2002.

During his final interview Vincent de Frank Music Hall with Commercial Appeal journalist Whitney Smith, Alan Balter stated that “the orchestra has been a big part of my tenure, and perhaps what I am most excited about, the long term growth of the artistic ensemble.”

David Loebel, Music Director, 1999 –2009 David Loebel became the Memphis Symphony Orchestra’s third music director during the 1999-2000 season. During his tenure, he established the “Come As You Are” chamber orchestra series to create a more casual concert setting. The musicians wore colored tops and black pants instead of their formal concert black attire. During the 20022003 season, this series was renamed the Paul and Linnea Bert Chamber Music Series.

Maestro Loebel received several awards from ASCAP for Adventuresome Programming of Contemporary Music, and he introduced 150 new works to the orchestra. He also established the Memphis Symphony Radio Hour on WKNO. This series still airs on Fridays at 3:00 pm.

David Loebel

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The Memphis Symphony Orchestra performed the first concert at the Cannon Center for the Performing Arts on January 25, 2003, which was also the fiftieth anniversary of the Memphis Sinfonietta’s first concert. Joy Brown Wiener, concertmaster emeritus, was a special guest during this performance. The Cannon Center for the Performing Arts is considered to be one of the finest concert halls in the country because of its wonderful acoustics on stage and in the hall.

Mei Ann Chen, Music Director, 2010 –present Mei Ann Chen became the Memphis Symphony Orchestra’s fourth music director during the 2010-2011 season. Her programming has always been very innovative. During the first season, she categorized music by countries throughout Europe and the United States to create a “musical journey.” She established the tradition of including local guest artists in the masterworks series and other concerts early on as part of her objective “to rebuild the orchestra into a major community asset.”

Mei-Ann Chen

Because she is so personable, the audience connects with her, and attendance has grown.

Largely due to her tireless efforts to promote the Memphis Symphony Orchestra, we now have a national reputation for being a first-class orchestra and for creating innovative projects to show our relevance in the community. She received the 2012 Helen M. Thompson Award from the League of American Orchestras in recognition of her leadership and achievements with the orchestra.

— Shelly Sublett

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SUPPORTS THE ARTS this holiday season!

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Symphony Soul Project: Don’t Miss Out!

To support community revitalization in historic Soulsville USA, the Memphis Symphony Orchestra is presenting a series of FREE concerts during 2012-2013 at the Memphis Music Magnet facility, located at 879 East McLemore Avenue. The MSO, in partnership with Community LIFT, received generous funding from ArtPlace to support this work.

“Performing in Soulsville is amazing,” says Joey Salvalaggio, MSO principal oboist and musician promoter of the Symphony Soul Project. “It feels like we’ve left behind our community engagement work of the past and now the MSO is reaching out for the first time.”

Why? It’s because at The Magnet in Soulsville USA, audiences are setting a new standard for diverse engagement by the Memphis Symphony Orchestra. Magnet audiences represent a true mix of Memphians from all parts of the community – all ages, all races, some with little means, some very affluent, but all Memphians, just the same, coming together to enjoy the most authentic cultural asset of our great city – Great Music!

The audience at The Magnet on Saturday, January 26 would agree. That’s when the MSO presented OPUS ONE with the North Mississippi Allstars to a standing-room-only

North Mississippi Allstars performing at The Magnet in Soulsville, USA 18

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crowd. Standingroom-only, not sell-out, because MSO concerts at The Magnet are free, thanks to generous support from ArtPlace, the national funder underwriting the MSO residency in Soulsville USA during 2012Packed house at The Magnet 2013.

Concerts at The Magnet have great energy, the most essential ingredient for “creative placemaking.” Across the nation, ArtPlace is investing in projects like the Memphis Music Magnet because they draw people into creative communities where energy is bubbling up. People are naturally attracted to vibrant activity, and when they come into a vibrant place, they bring new possibilities for that community’s health, growth and sustainability.

Don’t miss the opportunity to add your energy to the Symphony Soul Project during 2012-2013. The final concert – OPUS ONE with Hope Clayburn's Soul Scrimmage – will be presented at The Magnet on Saturday, April 20, 2013, at 2:00 pm. Get details for this free event at the Memphis Symphony Soul Project page on Facebook. Joey Salvalaggio keeps the page current with news and interesting facts about the MSO residency in historic Soulsville USA. We know you’ll LIKE his work!

Children dancing at The Magnet concert featuring North Mississippi Allstars

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Meet the Musicians Name: Erin Kaste Instrument: Violin College Attended: Eastman School of Music Most Influential Music Teachers: James Berg, my middle school orchestra teacher, who made me feel capable; Mary West, one of my private teachers in high school, who knew how to draw the best out of people with kindness.

First Season With The MSO: 1996-97 Teaching Positions: I teach group class for the Memphis Suzuki Music Makers and teach a few private students.

MSO Community Involvement: CAPA Virtuosi at Colonial Middle School, K-12 Task Force Favorite Memphis Restaurant: Memphis Pizza Cafe Family and Pets: Wife (in a few states - partner in Tennessee - whatever) Betsy Carter, MCS Orff Specialist, MSO substitute trumpet player, former MSO music librarian; son, Alex Carter, 8, plays violin, participates in Cub Scouts; daughter, Jordan Carter, 5, plays violin, loves ballet and gymnastics; cat, Lee, the Southern general, 2 (gray); cat, Sherman, the Northern general, 2 (black and white - they don’t come in blue); several fish.

If I Could Travel Anywhere, It’d Be: The pyramids in Egypt, but probably on a cruise so as to have a nice bed, a hot shower, and a pool.

Favorite Hobby: Running, when I’m on the wagon. When I’m not, gardening.

Age You Started Your Instrument: 3 What Inspired You To Make Music Your Career: Playing in chamber ensembles and youth symphony.

Favorite Book, Movie, or TV Show: Harry Potter series (books and movies) Interesting Fact: As a Suzuki Mom, I’ve practiced for over 1,300 consecutive days with my son - his goal was to reach 1,000 and he hasn’t stopped. He also wants to play his violin in every state, so our family is trying to travel to a new region of the country each summer.

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Brian Kinney, CFP庐 President, Financial Advisor

Nancy Hughes Coe Senior Vice President, Financial Advisor

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Joseph Salvalaggio, principal oboe

I’ll take you there!

SOULSVILLE, USA

S YM P H O NY S O U L P RO J E C T Join us for the final concert of the MSO year-long residency Memphis Music Magnet at Soulsville USA

www.memphismusicmagnet.org

APRIL 20 | 2:00 PM Opus One with Hope Clayburn

Free & open to the public!

Location – 879 East McLemore

(901) 537-2525 | MemphisSymphony.org

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If Bach Were a Beekeeper

Friday, March 22, 2013 at 7:30 p.m. – Lindenwood Christian Church

Ken Lam, conductor Memphis Symphony Chorus Chamber Choir Lawrence Edwards, artistic director University Chamber Choir Lawrence Edwards, director JOHANN SEBASTIAN BACH (1685 - 1750) Ehre sei dir, Gott, gesungen? from Christmas Oratorio, BWV 248

Memphis Symphony Chorus & University Chamber Choirs

JOHANN SEBASTIAN BACH (1685 - 1750) (Orch. ANTON VON WEBERN)

Ricercare No. 2 from Musical Offering, BWV 1079

ARVO PÄRT (1935 - )

If Bach Were A Bee Keeper

JOHANN SEBASTIAN BACH (1685 - 1750)

Singet dem Herrn ein neues Lied from Motet No. 1, BWV 225

Memphis Symphony Chorus & University Chamber Choirs

IGOR STRAVINSKY (1882 - 1971)

Concerto in E-flat Major, (Dumbarton Oaks)

Tempo giusto

Allegretto

Con moto

JOHANN SEBASTIAN BACH (1685 - 1750)

Cantata No. 147 Herz und Mund und Tat und Leben

Herz und Mund und Tat und Leben

Jesu bleibet meine Freude

Memphis Symphony Chorus & University Chamber Choirs

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

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Ken Lam conductor

Ken is the winner of the 2011 Memphis International Conducting Competition. He is Orchestra Director at Montclair State University (NJ), Resident Conductor of the Brevard Music Center in North Carolina and Artistic Director of the Greater Baltimore Youth Orchestra, having recently concluded his position as Assistant Conductor of the Cincinnati Symphony Orchestra.

Ken was a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony and made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008 as one of four conductors selected by Leonard Slatkin. Last season he gave concerts with the Hong Kong Philharmonic, the Hong Kong Sinfonietta and the Taipei Symphony Orchestra. In the US he has also worked with the St Louis and Baltimore Symphony Orchestras. He was Principal Conductor of the Hong Kong Chamber Orchestra from 2001-2007.

In opera, he regularly directs productions of the Janiec Opera Company at Brevard and was Assistant Conductor at both Cincinnati Opera and Baltimore Lyric Opera. He was Assistant Conductor to Lorin Maazel at the Castleton Festival for two Britten chamber opera productions. His recent production of Massenet’s Manon at Peabody Conservatory was hailed by the Baltimore Sun as “among the best Peabody Opera ventures, overall, of the past decade.”

Also active in choral music, Ken has been Artistic Director of Hong Kong Voices since 2000 and directed the choral program at the University of Hong Kong for three years before moving to the US in 2005.

Passionate about education, Ken is conductor of the Cincinnati Symphony Youth Orchestra.

He works regularly with students throughout the tri-state area and led the Kentucky AllState Orchestra at KMEA 2011. As Education Artistic Director of the World Piano Competition he plans and hosts all of their educational outreach activities throughout the year. As Resident Conductor of Brevard Music Center he works with both their college and high school orchestras and collaborates with faculty and students of the composition department regularly.

His conducting teachers are Gustav Meier, Markand Thakar, Marin Alsop and Edward Polochick at Peabody Conservatory. He studied with David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen for three summers and was nominated for the Aspen/ Glimmerglass Opera Prize. He was also a two-time fellow at the National Conducting Institute studying with Leonard Slatkin.

He read economics at St. John’s College, Cambridge University and was a practicing solicitor specializing in asset finance for ten years with the international law firm Clifford Chance and was a director and manager at the classical label Naxos.

He is also a keen golfer and tennis player and was a past president of the Cambridge University Chinese Society.

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Colleen McCullough guest concertmaster

American violinist Colleen McCullough has been praised for her “elegance and big, gleaming tone” by the Dallas Morning News, and has established a reputation as a leader on many stages of the orchestral world. Dr. McCullough has served as concertmaster for the Memphis Symphony, the 2011 YouTube Symphony in Sydney Australia under the direction of Michael Tilson Thomas, the University of Texas at Austin Symphony, the New England Conservatory Orchestras, the Blanton Chamber Orchestra, and the New World Symphony. She has served as principal with the Austin Symphony, the National Orchestral Institute, and Round Top Festival Orchestras.

As an orchestral soloist, Dr. McCullough has performed concertos with the New World Symphony, the University of Texas at Austin Symphony, and the Wichita State University orchestras. An experienced orchestral musician, Colleen was the youngest member of the Wichita Symphony Orchestra at the age of 18. She currently holds positions in the violin sections of the New World Symphony, Austin Symphony, and Breckenridge Music Festival orchestras.

As an educator, Dr. McCullough has taught at Austin Community College, the Masterworks Festival in Winona Lake, IN, the Austin Chamber Music Center, the New World Community Engagement program and as teaching assistant to Brian Lewis. Colleen’s students have won top prizes in the Texas All-State solo competitions and Massachusetts Institute of Technology concerto competitions.

Colleen began her violin studies at age two under the direction of Alice Joy Lewis. She received an undergraduate degree in violin performance from the New England Conservatory of Music in Boston, MA, where she completed her studies with Eric Rosenblith. Dr. McCullough received both her Master of Music and Doctor of Musical Arts degrees in violin performance from The University of Texas under the tutelage of Brian Lewis, where she was a full scholarship recipient.

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STUDENT TICKETS $5 Students can attend First Tennessee Masterworks, Pops, Paul & Linnea Bert Classic Accents or Symphony in the Gardens for only $5. Call 901-537-2525 or visit www.MemphisSymphony.org/studentdiscounts

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Memphis Symphony Chorus Lawrence Edwards, artistic director

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

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

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

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

Liz Parsons, accompanist Soprano 1 Becky R. Darnell Harmony Duke Sandra J. Hunt Hannah Smith Kori Tyler Soprano 2 Delia C. Carias Molly K. Rice Alto 1 Linda Brittingham Lisa Lucks Mendel * Kelley Muller-Smith For Tickets 901-537-2525

Alto 2 Cindy Armistead Barbara Frederick Suzanne Lease Tenor 1 JohnPaul R. Abbott Dustin Phelps Shane Rasner*

Bass 1 Joey Miller Barry F. White Bass 2 Bob Brittingham Edward M. Holt, Jr. Steven R. Larson Lewis R. Wright Chris Yanes

Tenor 2 Larry Denman Brad Harrell Adam LaSalle

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Lawrence Edwards

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

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

University of Memphis Chamber Choir Soprano Maddie Gero Blake Longcrier Lauren Moscato Melanie Scarborough

Alto Jacquelene Cooper Alex Hall Erin Kulinski Veda Polk LaNita Smith 28

Tenor Mark Blackburn Taylor Daniel Lucas Hefner Charles McGowan Micah Pounds Brandon Rodgers Donovan Sisco

Bass Nathan Dumser Diego Froget Steven Milam Christopher Mitchell Josh Peterson

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Family Matters

at Playhouse 2/22–24

Wizard of Oz

America’s fairytale ballet at The Orpheum 4/20–21

Taking Flight

a FedEx Hangar experience 5/11

Tickets starts at just $5 Visit balletmemphis.org for details.

For Tickets 901-537-2525

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Translations Ehre sei dir, Gott, gesungen? from Christmas Oratorio, BWV 248 Ehre sei dir, Gott, gesungen, Dir sei Lob und Dank bereit’.

Dich erhebet alle Welt, Weil dir unser Wohl gefällt, Weil anheut Unser aller Wunsch gelungen, Weil uns dein Segen so herrlich erfreut.

Let honor be sung to You, o God, praise and thanks be prepared for You. All the world exalts You, since our well-being was Your pleasure, since today all our wishes have come to pass, since Your blessing so gloriously delights us.

Singet dem Herrn ein neues Lied from Motet No.1, BWV 225

Singet dem Herrn ein neues Lied!

Die Gemeine der Heiligen sollen ihn loben, Israel freue sich des, der ihn gemacht hat.

Die Kinder Zion sei’n fröhlich über ihrem Könige.

Sie sollen loben seinen Namen im Reihen, mit Pauken und Harfen sollen sie ihm spielen.

Sing to the Lord a new song!

The congregation of the saints shall praise Him, Israel rejoices in Him, who has created it.

Let the children of Zion be joyful in their King.

Let them praise His name in dances, with drums and harps let them play to Him.

Gott, nimm dich ferner unser an!

Denn ohne dich ist nichts getan mit allen unsern Sachen.

Drum sei du unser Schirm und Licht, und trügt uns unsre Hoffnung nicht, so wirst du’s ferner machen.

Wohl dem, der sich nur steif und fest auf dich und deine Huld verläßt!

God, take us to Yourself from now on!

For without You we can accomplish nothing with all of our belongings.

Therefore be our protection and light, and if our hope does not deceive us, You will make it happen in the future.

Happy is the person who strictly and tightly abandons himself to You and Your mercy!

Wie sich ein Vat’r erbarmet Üb’r seine junge Kindlein klein: So tut der Herr uns Armen, So wir ihn kindlich fürchten rein.

Er kennt das arme Gemächte, Gott weiß, wir sind nur Staub.

Gleichwie das Gras vom Rechen, Ein Blum und fallendes Laub, Der Wind nur drüber wehet, So ist es nimmer da: Also der Mensch vergehet, Sein End, das ist ihm nah.

As a father has mercy upon his young children: so the Lord does with us poor ones, when we fear Him with pure and childlike hearts.

He knows his poor creatures, God knows we are but dust.

Just as the grass that is mowed, a flower or a falling leaf, the wind only blows over it, and it is no longer there; So also man passes away, his end is near to him.

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Lobet den Herrn in seinen Taten, loben ihn in seiner großen Herrlichkeit.

Alles was Odem hat, lobe den Herrn, Halleluja!

Praise the Lord in His works, praise Him in his great glory.

Everything that has breath, praise the Lord, Hallelujah!

Cantata No. 147 Herz und Mund und Tat und Leben

Herz und Mund und Tat und Leben Herz und Mund und Tat und Leben Muß von Christo Zeugnis geben Ohne Furcht und Heuchelei, Daß er Gott und Heiland sei.

Heart and mouth and deed and life must give testimony of Christ without fear or hypocrisy, that He is God and Savior.

Jesu bleibet meine Freude Jesus bleibet meine Freude, Meines Herzens Trost und Saft, Jesus wehret allem Leide, Er ist meines Lebens Kraft, Meiner Augen Lust und Sonne, Meiner Seele Schatz und Wonne; Darum laß ich Jesum nicht Aus dem Herzen und Gesicht.

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Jesus shall remain my joy, my heart’s comfort and sap, Jesus shall fend off all sorrow, He is the strength of my life, the delight and sun of my eyes, the treasure and wonder of my soul; therefore I will not let Jesus go out of my heart and sight.

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program notes BACH “Ehre sei dir, Gott gesungen?” from Christmas Oratorio, BWV 248 Duration: 8 minutes After interviewing several candidates in 1723 for the vacant position of Kantor, the Town Council of Leipzig finally concluded, “since the best could not be obtained, mediocre ones would have to be accepted.” They subsequently settled upon Johann Sebastian Bach as the most likely person for the job―a decision that engendered bitter disputes, notorious Johann Sebastian Bach differences of opinion, and some of Bach’s most famous and best-loved vocal works. From Christmas Day to Epiphany, the holiday season in eighteenth-century Leipzig was filled with music―and as town cantor, Johann Sebastian Bach was responsible for every piece that was performed. Were Leipzig listeners aware of Bach’s importance? Probably not, but the quality and variety of what they heard must have made an impression. Between December 25 and January 6, 1723― Bach’s first year in Leipzig―he composed (or revised) the first version of the Magnificat, a Sanct us, and six cantatas. And it was for this very same set of feast days in 1734, eleven years later, that he produced the Christmas Oratorio.

Unlike Handel’s Messiah, a large-scale, unified work actually intended for performance in the theater, Bach’s Christmas Oratorio consists of six separate cantatas, each intended for a different feast day of the Christmas celebration, when it would have been performed between the Gospel and the sermon. The chorus “Ehre sei dir, Gott, gesungen,” opens Part Five, which commemorates the journey of the Magi. While much of the music in the Christmas Oratorio was adapted from preexisting works, “Ehre sei dir” is one of two numbers Bach composed anew. Throughout the entire chorus, bustling strings and oboes join forces with brilliantly virtuosic choral singing, giving voice to the praise-filled sentiments expressed in the text.

BACH/ORCH. WEBERN: Ricercare No. 2 from Musical Offering, BWV 1079 Duration: 8 minutes By the time he reached his fifties, Bach had achieved fame on a number of fronts. In addition to his post as cantor and music director of St. Thomas’s in Leipzig, he was the preeminent keyboard player of his generation. He was an experienced conductor, respected composer in nearly all musical genres, and one of the foremost organ experts. He was a sought-after instructor, with students like Johann Friedrich Agricola and Johann Philipp Kirnberger who went on to become formidable composers, theorists, and musicians in their own right. Given the magnitude of his accomplishments, it is perhaps not surprising that he took time simply to bask in the afterglow, seeking out fewer commissions and 32

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performing in public less frequently. In 1741 and 1747, however, he made two official trips to Berlin―and as biographer and musicologist Christoph Wolff summarizes, “The second trip to Berlin and Potsdam…turned into one of the most important events of Bach’s life.”

On May 11, 1747, the German newspaper Spenersche Zeitung published the following anecdote (stated here in its entirety): In the evening…His Majesty was informed that Capellmeister Bach had arrived at Potsdam and was waiting in His Majesty’s antechamber for His Majesty’s most gracious permission to listen to the music. His August self immediately gave orders that Bach be admitted, and went, at his entrance, to the so-called Forte et Piano, condescending also to play, in His Most August Person and without any preparation, a theme for Capellmeister Bach, which he should execute in a fugue. This was done so happily by the aforementioned Capellmeister that not only his Majesty was pleased to show his satisfaction thereat, but also all those present were seized with astonishment. Mr. Bach found the theme propounded to him so exceedingly beautiful that he intends to set it down on paper as a regular fugue and have it engraved on copper. On Monday…

His Majesty charged him again with the execution of a fugue, in six parts, which he accomplished just as skillfully as on the previous occasion, to the pleasure of His Majesty and to the general admiration.

The theme Frederick the Great performed for Bach “without any preparation” eventually formed the basis for the Musical Offering, BWV 1079. Bach dedicated the work―consisting of two fugues (or ricercars), a trio sonata, and five two-voice canons―to the king, and references to him can be found throughout, from the use of the theme (known today as the “Thema Regium,” or King’s Theme) to emblematic references in the canons. The Ricercar a 6, here orchestrated by twentieth-century composer Anton Webern (1883-1945), may well be the six-part fugue Bach improvised. Although his own atonal music differs radically from Bach’s, Webern found his music hugely inspiring, and approached his orchestration with a great deal of reverence. The “King’s Theme” is audible from the start―first in the trombone, and then in the horn and trumpet.

PÄRT If Bach Were A Beekeeper Duration: 8 minutes Born in Estonia on September 11, 1935, composer Arvo Pärt’s career was shaped by politics. His early compositions generally fall into one of two camps: neoclassical (he was particularly influenced by Shostakovich, Prokofiev, and Bartók); or twelvetone, following the lead of Schoenberg. After Soviet censors banned some of his music, Pärt stopped composing altogether, instead spending his time studying medieval and Renaissance music. According to conductor and biographer Paul Hillier, “He had reached a position of complete despair in which the For Tickets 901-537-2525

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program notes composition of music appeared to be the most futile of gestures, and he lacked the musical faith and will-power to write even a single note.”

In 1976, Pärt emerged from this silence with a group of seven pieces he called “tintinnabuli,” a term that came to define his new stylistic direction. Most of these works illustrate the repetition, harmonic and rhythmic simplicity, and steady tempos that characterize some of his most popular works, including Spiegel im Spiegel, Tabula rasa, Fratres, and Cantus in memoriam Benjamin Britten. One of them―Wenn Bach Bienen gezüchtet hätte (If Bach Were a Beekeeper)―echoes both old and new elements of Pärt’s compositional voice. Like a twelve-tone composer constructing a “row,” Pärt uses Bach’s name as a musical motive (in the German system, B stands for the note B-flat, while H equals B-natural). He then layers this motive and its transpositions both vertically (or harmonically) and horizontally (as a melody), further thickening the texture with material from Bach’s Prelude in B Minor from the Well-Tempered Clavier. A frantic, buzzing tremolo in the strings mimics the sound of bees throughout.

BACH Singet dem Herrn ein neues Lied, BWV 225 Duration: 14 minutes In addition to composing hundreds of cantatas for Leipzig, Bach also wrote five motets in the late 1720s, the purpose of which is not known. Scholars have proposed several theories for their origin, ranging from occasional pieces for funerals to instructional works for his pupils. In the case of Singet dem Herrn ein neues Lied (Sing unto the Lord a new song), the most popular of the five, its sheer inventiveness and creativity may be more suggestive of the latter. Interestingly, while Bach’s cantatas fell into obscurity after their creator’s death, the motets continued to be performed. After hearing Singet dem Herrn during a visit to Leipzig, Mozart reportedly remarked, “That is really something from which one can learn a great deal!” Consisting of three sections, Bach plays with choral textures throughout the work, sometimes casting the ensemble as a monolithic eight-part group, other times dividing it antiphonally.

STRAVINSKY Concerto in E-flat Major, (Dumbarton Oaks) Duration: 15 minutes In 1937, Robert Woods and Mildred Barnes Bliss of Dumbarton Oaks, Washington D. C. commissioned a work from Stravinsky in honor of their 30th wedding anniversary. The Dumbarton Oaks Concerto was the result. The composer later described the work’s relationship to Bach’s music: 34

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I studied and played Bach regularly during the composition, and I was greatly attracted to the Brandenburg Concertos, especially the third, which I have also conducted. The first theme of my Concerto is, of course, very like Bach’s in that work, and so is my instrumentation―the three violins and three violas, both frequently divisi a tré, though not chordally as in Bach. I do not think, however, that Bach would have begrudged me the loan of these ideas and materials, as borrowing in this way was something he like to do himself.

Consisting of three movements performed without interruption, the concerto’s private premiere was given on May 8, 1938 in the music room at Dumbarton Oaks, led by Nadia Boulanger. (Stravinsky was recovering from tuberculosis and unable to be present, but led the concerto’s public debut in Paris less than a month later). The work’s indebtedness to Bach is audible from the start. After the densely polyphonic first movement, the graceful and sparsely textured Allegretto provides the sharp contrast favored in Baroque music. The march-like finale builds to an exhilarating fugal conclusion.

BACH Cantata No. 147 Herz und Mund und Tat und Leben Duration: 9 minutes Any fan of Bach’s knows that cantatas comprise a significant part of his compositional output, and that he excelled in the genre. What is less well-known, however, is that he was on the cutting edge of its development. The cantata itself had been in existence since the early seventeenth century, but the modern Lutheran cantata―which added Biblical commentary and chorales to the arias and recitative―wasn’t in wide use in Lutheran Germany until the second decade of the eighteenth century. Bach’s cantatas may stand at the genre’s apex, but they simultaneously demonstrate his mastery of what was in reality an emerging form.

Cantata 147, “Herz und Mund und Tat und Leben” (Heart and Mouth, Deeds and Life), illustrates the form’s continuing evolution. First performed in Leipzig on July 2, 1723, on the feast of the Visitation of the Virgin Mary, Cantata 147 was based on an Advent cantata Bach composed in 1716, when he was still in Weimar. While the earlier version contained an opening chorale and several arias, Bach enlarged the work for Leipzig, adding recitatives and the grand chorale with which the work concludes. With its trumpet fanfares, contrapuntal chorus, and energetic strings, the opening chorale of the same name embodies the cantata’s joyous tone. The newly added concluding chorus, “Jesu bleibet meine Freude” (Jesu, Joy of Man’s Desiring) is today one of Bach’s most well-known pieces.

In contrast to the triumphant opening, “Jesu bleibet meine Freude” is gentle, with strings and oboes in seemingly perpetual motion underneath choral interjections. Bach’s powerful melding of text and music has spoken to centuries of musicians, inspiring versions from artists as varied as Amy Grant and The Beach Boys.

– Jennifer Glagov For Tickets 901-537-2525

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Opus One

Opus One concert at the New Daisy Theatre on January 24 with guest artists North Mississippi Allstars.

Scott Finney, Ruffin Flowers, Jane Grimes, William Pegg

Kyle Wright, Morgan McCoy, Joshua McCoy, Ronnie B. Booker

Debora Walker, Lisa Daniel, Maria Figueroa

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presents

Symphony in the Mei-Ann Chen, conductor

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Saturday, May 4, 2013 | 6:00 pm Dixon Gallery and Gardens | 4339 Park Avenue Gates open at 4:00 pm. Rain date Sunday, May 5.

TICKET PRICES Adult $20 | Child $5 (6 and under admitted free) Members/subscribers (advance sale only) Adult $12 | Child $5 FOR TICKETS Memphis Symphony Orchestra | (901) 537-2525 MemphisSymphony.org Dixon Gallery and Gardens | (901) 761-5250 Dixon.org

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From Gandolfi to Memphis

Saturday, April 13, 2013 at 7:30 p.m. - Cannon Center Sunday, April 14, 2013 at 2:30 p.m. - GPAC

MEI-ANN CHEN, conductor Anthony McGill, clarinet MICHAEL GANDOLFI (1956 - ) Fourth Chickasaw Variations (World Premiere) This work was commissioned by: Paul and Linnea Bert in honor of the 60th Anniversary of the Memphis Symphony Orchestra, Mei-Ann Chen, Music Director WILLIAM BOLCOM (1938 - ) Concerto for Clarinet and Orchestra

Allegro

Cantabile

Scherzo-Finale

Anthony McGill, clarinet INTERMISSION JOHANNES BRAHMS (1833 - 1897) Symphony No. 2 in D Major, Op. 73

Allegro non troppo

Adagio non troppo

Allegretto grazioso (Quasi andantino)

Allegro con spirito Sponsored by the generous donors of the MSO and our Corporate Circle.

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

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Anthony McGill clarinet

Anthony McGill, principal clarinet of the Metropolitan Opera Orchestra, has quickly earned a reputation as one of classical music’s finest solo, chamber and orchestral musicians. Before joining the MET Orchestra in 2004, he served as associate principal clarinet of the Cincinnati Symphony Orchestra. McGill frequently performs with the MET Chamber Ensemble in Carnegie Hall and in January 2012 will perform the Copland Clarinet Concerto there with the MET Orchestra. He can also be seen on the Live in HD broadcasts from the Metropolitan Opera.

On January 20, 2009, McGill performed “Air and Simple Gifts” by John Williams with YoYo Ma, Itzhak Perlman and Gabriela Montero at the inauguration of President Obama.

In 2000, McGill was a winner of the prestigious Avery Fisher Career Grant. He has appeared as soloist with numerous orchestras including the Baltimore Symphony, New Jersey Symphony, San Diego Symphony and Symphony in C, to name a few. In addition to Carnegie Hall, other 2011-2012 season concerto performances include the Kalamazoo Symphony, and, with his brother Demarre McGill, the world premiere of a concerto for flute and clarinet by Joel Puckett with the Chicago Youth Symphony Orchestra where Anthony and Demarre began their orchestral careers.

Anthony McGill has collaborated with such musicians as Itzhak Perlman, Yo-Yo Ma, Emanuel Ax, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida and Lang Lang, and in many festivals including Tanglewood, Marlboro, Mainly Mozart, Music@Menlo, Grand Teton, Interlochen, Music from Angel Fire, Bridgehampton, and Sarasota Festival.

McGill’s love of chamber music has taken him throughout the United States, as well as Europe and Asia. He has worked such quartets as the Guarneri, Tokyo, Brentano, Shanghai, Pacifica, Miami, Miro and Daedalus, and with such groups as Musicians from Marlboro and the Chamber Music Society of Lincoln Center.

McGill has appeared on Performance Today, MPR’s St. Paul Sunday Morning, Ravinia’s Rising Star Series, on the Philadelphia Chamber Music Society series, and on Mr. Roger’s Neighborhood television show.

He attended Interlochen Arts Academy and the Curtis Institute of Music. His teachers have included Donald Montanaro, Richard Hawkins, Larry Combs, Julie DeRoche, David Tuttle and Sidney Forrest. In high demand as a teacher, McGill currently serves on the faculties of the Juilliard School, the Peabody Institute of Johns Hopkins University, Mannes College and Bard College Conservatory of Music. He has given master classes at the Curtis Institute, University of Michigan, SUNY Stony Brook, Temple University, UCLA, University of New Mexico, Manhattan School of Music, and has been a coach at the Verbier Festival.

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Colleen McCullough guest concertmaster See page 25 for biography

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program notes Gandolfi Fourth Chickasaw Variations Michael Gandolfi’s Fourth Chickasaw Variations celebrates Memphis in a progression of impressionistic passages invoking the city’s multifarious history and unique American character.

The work’s structure was inspired by Benjamin Britten’s Lachrymae: Reflections on a Song of Dowland (opus 48a). Rather than the anticipated organization of a set of variations — in which a relatively straightforward melody is stated at the outset, and thereafter restated in increasingly complex departures (Bach’s Goldberg Michael Gandolfi Variations and Beethoven’s Diabelli Variations are examples) — Britten chose to proceed backwards. The careful listener is confronted, at the outset, with the work’s most complex and multi-layered variation. Dowland’s instigating melody is only gradually reconstituted in subsequent variations until it emerges, finally and in full throat, in its simplest statement.

Fourth Chickasaw Variations, like the Britten work, is comprised of eleven movements: ten variations, then its over-arching theme. The variations will, each in turn, evoke an aspect of Memphis: its culture, its history, its lore and legend; its geography, its politics, its commerce; and — of course — its music.

The listener is invited to discern the particular melody at the heart of the variations — a melody, the composer ardently wishes, that will be familiar (and dear) to most, if not all, Memphians.

Fourth Chickasaw Variations imagines Memphis as a city repeatedly on the cusp of challenge and change. The work celebrates a city that responds to those changes and challenges in a manner that only enhances its status as a vital American metropolis.

Fourth Chickasaw Variations, at its core, contains a hope for Memphis’s continuing, central influence on the American Experience.

The composer dedicates this work — with great affection and gratitude — to Paul and Linnea Bert, whose unflagging support, encouragement, and friendship have been vital to the creation of Fourth Chickasaw Variations.

— Dana Bonstrom

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BOLCOM Concerto for Clarinet and Orchestra Duration: 20 minutes Born in 1938 in Seattle, William Bolcom entered the University of Washington at the age of 11 to study composition and piano. He went on to work with many well-known composers, including Darius Milhaud at Mills College, Leland Smith at Stanford, and Olivier Messiaen at the Paris Conservatory, and taught composition at the University of Michigan from 1973 to 2008. He has won many awards throughout his career, including the Pulitzer Prize in 1988 for 12 New Etudes for Piano, Musical America’s “Composer of the Year” in 2007, William Bolcom and the National Medal of Arts in 2008. While his earliest works were aggressively atonal, his style eventually broadened to include a wide variety of music. In recent years, his self-stated goal has been to eliminate boundaries between popular and art music.

First performed in 1992, Bolcom’s Clarinet Concerto exemplifies this desire to cross over traditional generic lines. Of the work’s genesis, Bolcom explains, In the 1970s, the New York Philharmonic commissioned a number of composers to write concertos for the principals in each section, and I had been asked by my friend, first trumpeter Gerard Schwarz, to write one for him. He then quit the orchestra to begin his career as a full-time conductor, thus disqualifying himself for the commission, and it was another decade before principal clarinetist Stanley Drucker would request a concerto. This was premiered on January 3, 4 and 7, 1992 by Mr. Drucker and conductor Leonard Slatkin with the New York Philharmonic.

Inspired in part by Benny Goodman, the concerto―particularly the first and second movements, as Bolcom points out―has “a strong Goodman nuance,” while the third movement alternates a Brazilian chorinho (a type of urban popular music characterized by a fast tempo, happy mood, and improvisatory-like quality) with a “Ravelian waltz.”

Ultimately, the product is a work with competing and complimentary elements: its threemovement form places it in a long line of concertos for solo instruments, yet it is far from traditional. It clearly belongs to an age of post-tonality, but in many places revels in lush, lyrical melody, particularly in the slow movement. As the review of the concerto’s premiere in the New York Times suggests, listeners at the premiere didn’t know quite how to react: First there were those taken aback by its accessibility. Others were evidently suspicious of it. Still others -- those perhaps unburdened by a recent history of public estrangement from new music -- seemed to welcome accessibility as their due. Mr. Bolcom’s piece…was indeed easy to listen to, so much so that it often fit comfortably under the rubric of easy-listening.

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program notes More earnest patrons were probably asking where the challenge was, the grim complication demanding our moral and intellectual involvement. Where were the intimations of immortality (to borrow from Mr. Wordsworth), the noble reach for the Pantheon of musical greatness? Nothing here gnawed at the listener’s feelings of guilt and inadequacy. Startlingly, Mr. Bolcom’s concerto was fun.

BRAHMS Symphony No. 2 Duration: 39 minutes Shortly after Johannes Brahms met Robert and Clara Schumann in 1853, Robert Schumann published an article in an influential German music magazine announcing the arrival of a composer to watch. As Schumann wrote, “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 Johannes Brahms 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.”

Living up to these expectations―both those of his supporters and those he placed on himself―was an issue Brahms dealt with for his entire career, especially when it came to writing symphonies. Brahms avoided them for years, composing a number of proto-symphonic works before finally producing his First Symphony―sometimes called “Beethoven’s Tenth”―at the ripe old age of 43. The symphony was worth the wait. As the critic Eduard Hanslick proclaimed, “What symphony of the last thirty or forty years is even remotely comparable with those of Brahms?”

While his First Symphony took him nearly twenty years to compose, Brahms produced his Second Symphony in about a year―and its extroverted, lively character reflects the ease with which it was created. Brahms attributed the work’s sunny mood to the surroundings 44

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in which he composed it―Pörtschach, an Austrian summer resort on Lake Wörth. Many regard the work as Brahms’s own “pastoral” symphony. “Pörtschach is an exquisite spot,” he wrote to his friends, “and I have found a lovely and apparently pleasant abode in the Castle! You may tell everybody just this; it will impress them. But I may add in parentheses that I have only two rooms in the housekeeper’s quarters, They could not get my piano up the stairs, it would have burst the walls.” Brahms was well aware of the symphony’s irrepressible joy. Before its premiere, he joked to his friend Elisabeth von Herzogenberg that the orchestra would need to wear armbands during the premiere “because of its dirge-like effect,” and when published, would require a black border.

From the Second Symphony’s first notes, it is clear that Brahms was joking. The Allegro non troppo opens in a tranquil mood before exploding in a profusion of earnest melodic development, while the contrasting second theme recalls his famous “Cradle Song.”

Brahms continues to alternate intense passion with quiet lyricism throughout the movement. The ensuing Adagio non troppo is characteristically rapturous, written in a straightforward three-part form that pushes the lush melody to the foreground. After an unapologetically bucolic third movement, marked Allegro grazioso, quasi andantino, a bustling Allegro con spirit―nearly heroic in tone―propels the work to a triumphant close.

– Jennifer Glagov

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Thank you Melodie!

This year marks the 10th season that 19-year old harpist and Senior at the University of Memphis, Melodie Moore, is performing her harp music in the East lobby of the Cannon Center prior to Memphis Symphony Orchestra First Tennessee Masterworks concerts. She began performing in the East lobby when she was only 9 years old, and has continued to donate her time and music to welcome patrons. It is her way of showing support for the Memphis Symphony Orchestra and lovers of the performing arts.

She recently returned from a tour of Israel with Camp Kirkland’s Celebration Orchestra as the Principal Harpist. She is the Principal Harpist in the University of Memphis Symphony Orchestra, Wind Ensemble, Symphonic and University Bands, Opera Orchestra, Memphis Repertory Orchestra, Balmoral Chamber Orchestra, Kirby Woods Orchestra, Nashville Praise Symphony Orchestra, and several other ensembles in the Mid-South.

She has had the honor to perform for celebrities such as Queen Noor of Jordan, Barbara Bush, Naomi Tutu (human rights advocate and daughter of Archbishop Desmond Tutu), Canadian Consul General, Naomi Judd, and Oprah Winfrey. In 2010, she made her Carnegie Hall debut with Grammy winner and saxophonist, Kirk Whalum and the Overton Wind Ensemble. Melodie has performed in Walt Disney Concert Hall in Los Angeles and various other locations in North America, Europe, and Asia and can be heard on various recordings.

Her harp professors are Susann McDonald, Distinguished Professor of Music, Indiana University Jacobs School of Music and JoAnn Turovsky, Professor of Harp, University of Southern California Thornton School of Music. Melodie has been a tremendous young representative for the city of Memphis.

Melodie Moore 46

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Porgy and Bess Saturday, May 18, 2013 at 7:30 p.m. - Cannon Center Sunday, May 19, 2013 at 2:30 p.m. - GPAC MEI-ANN CHEN, conductor Taylor Johnson, soprano Michael Preacely, baritone Memphis Symphony Chorus Lawrence Edwards, artistic director

Concert sponsored by: and Mei-Ann’s Circle of Friends

FLORENCE PRICE (1887 - 1953) Mississippi River Suite

INTERMISSION

GEORGE GERSHWIN (1898 - 1937) Porgy and Bess: A Concert of Songs Arr. ROBERT RUSSELL BENNETT Introduction Summertime A Woman Is A Sometime Thing Gone, Gone, Gone My Man’s Gone Now Promised Land I Got Plenty O’ Nuttin’ Bess, You Is My Woman Now Oh, I Can’t Sit Down It Ain’t Necessarily So There’s A Boat Dat’s Leavin’ Oh Lawd, I’m On My Way

Taylor Johnson, soprano

Michael Preacely, baritone

Memphis Symphony Chorus Mississippi River Suite sponsored by: Gayle Rose Barbara Perkins Mary McDaniel Jan Lyons Ashley Mayfield Jeanne Jemison Lynda Shea in honor of Gretchen McLennon Peggy Jemison Bodine Mary Alice Quinn

Gloria Nobles Mei-Ann Chen Suzy Mallory Laurie Tucker Buzzy Hussey

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Taylor Johnson soprano

Orangeburg, South Carolina native Taylor Johnson has been involved in music her entire life. Since the tender age of 2, Taylor has been performing for audiences across the world. She began to take voice lessons from the late Mr. James McDaniel, and was featured in annual spring recitals. With a growing interest in music, she participated in the school choir at Felton Laboratory School and later on the Concert Choir of Orangeburg-Wilkinson High School. She was a participant of the South Carolina Governor’s School for the Arts and Humanities summer programs in 2001 and 2002, and also a member of the South Carolina All-State Chorus.

Her musical endeavors took her further to obtain a Bachelor’s degree in vocal performance with a distinction in opera at Converse College in Spartanburg, South Carolina in May 2007. She performed in many of the college opera productions, making her operatic debut performing Countess Almaviva in Mozart’s The Marriage of Figaro in 2006 and Rosalinda in Die Fledermaus. She also received the Mid-Atlantic Regional Competition of the National Association of Teachers of Singing (NATS) 1st place award, the Young Artist Concerto Competition, and 2nd place in the Emerging Young Artist Competition (formerly known as the Leontyne Price Competition) in Long Beach, California. Taylor Johnson matriculated with a master’s degree in vocal performance from Florida State University.

Michael Preacely baritone

Michael Preacely is from Chicago, IL and a graduate of the Oberlin Conservatory of Music. Mr. Preacely recently made his Cincinnati Opera debut singing the role of Jake in Porgy and Bess. His other most recent opera roles include Ford in Falstaff, The High Priest of Dagon in Samson and Delilah, Mercutio in Romeo and Juliet, Porgy in Porgy and Bess and Marcello in La Bohème.

Mr. Preacely has previously performed with Opera Company Philadelphia, Cleveland Opera, Lyric Opera Cleveland, Bohème Opera of New Jersey, Oakland East Bay Symphony, and the Cleveland Orchestra. Michael also made debuts as a guest soloist with the Cincinnati Pops and the Hamilton-Fairfield Symphony Orchestra. Mr. Preacely also made his Kentucky Opera debut as Scarpia in Puccini’s Tosca this past November.

Mr. Preacely currently lives in Lexington, KY with his family.

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Naha Greenholtz

guest concertmaster Canadian violinist Naha Greenholtz was born in Kyoto, Japan, where she began her studies on violin at the age of three. Since debuting at age 14, her concerto appearances include engagements with the Vancouver, Madison, Quad City, Burnaby, Kelowna, National Repertory, and Vancouver Youth symphony orchestras in works ranging from Bach to Stravinsky.

A participant in many prominent music festivals, Ms. Greenholtz has been featured at venues such as Kneisel Hall Chamber Music Festival (Maine), the Taos School of Music (New Mexico), the Spoleto Festival dei Due Mondi (Italy), the Lucerne Festival (Switzerland), and the New York String Orchestra Seminar at Carnegie Hall. She was recently named Artistic Director of Davenport, Iowa’s acclaimed Signature Series, a chamber music festival dedicated to bringing world class performances to the Davenport metro area.

Ms. Greenholtz has also had an active career as an orchestra musician. In addition to her duties as Concertmaster of both the Madison Symphony Orchestra and the Quad City Symphony Orchestra, performance highlights include guest concertmaster appearances with the Oregon Symphony, Calgary Philharmonic, National Ballet of Canada, Omaha Symphony, and Memphis Symphony, among many others. She continues to perform frequently with the Cleveland Orchestra both at Severance Hall and on tour domestically and abroad, and has also been a member of the first violin section of the Milwaukee Symphony Orchestra. Ms. Greenholtz began her career as the Associate Concertmaster of the Louisiana Philharmonic Orchestra (formerly the New Orleans Symphony), a position she assumed at age 21.

In 2010-2011, she was the sole participant in the prestigious Concertmaster Academy at the Cleveland Institute of Music, a mentoring fellowship with William Preucil, Concertmaster of the Cleveland Orchestra and former first violinist of the Cleveland Quartet.

Ms. Greenholtz received her Bachelor of Music from The Juilliard School, where her primary teachers were Joel Smirnoff and Donald Weilerstein. Other teachers have included Andrew Dawes and Judith Ingolfsson. She performs on a 1778 Antonio Gragnani violin (“Ex-Caressa”) and a Eugene Sartory bow.

For Tickets 901-537-2525

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Memphis Symphony Chorus Lawrence Edwards, artistic director Liz Parsons, accompanist Soprano 1 Linda Brittingham Alicia Butler Angelica Carey Janet Carnall * Becky R. Darnell Harmony Duke Claire E. Fox Sandra J. Hunt Hannah Kurlick Rhea Reuter Paula C. Roten Kori Tyler Katherine Elizabeth Womack Tina Dawn Womack Mary Ruth Young Soprano 2 Elizabeth H. Buls * Delia C. Carias Dianne Curtiss Jeannine Edwards Hannah Green Theresa A. Hayes Beth Hoople Susan Keys Rosalyn M. Lake Sharon McDonough Molly K. Rice Katrina Maria Skefos Alisa M. Smallwood Oma R. Strickland Paula L. Wallace Kathy Zhou Alto 1 Laura J. Crane Kim Eggert Lydia Gibson Pamela Gold * Anita Hester * Anita I. Lotz 52

Cindy McCool Lisa Lucks Mendel * Kelley Muller-Smith Patti Nelson Martha Pearson Wesson Terron K. Perk* Katie Roper Chandra D. Savage Christine M. Snyder Keeley Winfield Alto 2 Cindy Armistead Melanie M. Bradshaw Gretchen Carstens Kathie Fox Barbara Frederick Andrea Goughnour Vicki C. Hornsby Leisa B. KInnin Mary A. Kyles Suzanne Lease Jean Matthews MARSHA RIDER Patricia D. Rogoski Mary Seratt * Jamie L. Walker Jackie B. White * Paula B. Witek Tenor 1 JohnPaul R. Abbott Clint M. Early, Jr Russell W. Hardeman Rick W. Johnson Frank Johnson Dustin Phelps Shane Rasner*

Tenor 2 Matthew L. Bowlin Larry Denman Brad Harrell Regi Hinson Doug Johnson Adam LaSalle David A. Simmons David Spear Matthew T. Williams* Jaime Yanes Bass 1 Stephen Alsobrook Father Charles Bauer Steve D. Broome Irvine Cherry David Comperry Stan Craig Brian Earwood Jeff Hanger Reggie M. LeSueur James McClanahan Joey Miller Keith M. Nichols Eugene M. Reyneke Jonathan Schug William G. Weppner Barry F. White Herb Zeman Bass 2 Bob Brittingham Boyd R. Highfield, III Edward M. Holt, Jr. Ryan Johnson Steven R. Larson David G. Orland David M. Patterson Jack Seubert Lewis R. Wright Chris Yanes www.MemphisSymphony.org

program notes Throughout history, music has served as a powerful tool for cultural identity and artistic inspiration. Composers in every era―from Renaissance composers like Josquin Desprez to modern musicians like Claude Debussy and Béla Bartók―drew upon native music and listeners’ associations with these pieces to create new sounds, make political statements, or just have a little fun. In the works on this program, American composers Florence Price and George Gershwin mix classical conventions with local musical customs to paint richly hued, evocative portraits of life in the South. In her Mississippi Suite, Price conjures up the mighty river with a blend of familiar tunes and melodies of her own creation.

Gershwin uses a potent synthesis of American jazz, folk tunes, and opera to portray the fictitious Catfish Row of South Carolina in Porgy and Bess.

PRICE Mississippi River Suite Duration: 28 minutes Born in Arkansas in 1887, Florence Price was the first African-American woman to earn national recognition as a composer. She received her early music education from her mother, a soprano and pianist. At the age of fourteen, she enrolled in the New England Conservatory of Music, studying piano, organ, and composition. After teaching music in Arkansas for twenty years, she and her family moved to Chicago in 1927, where she established herself as a leading concert pianist, organ, and prolific composer of over 300 works. In 1932, she won a Wanamaker Foundation Award for her Symphony Florence Price in E Minor. Under the baton of Frederick Stock, the Chicago Symphony Orchestra premiered the work a year later. Other ensembles that played her works include the WPA Symphony Orchestra of Detroit and the Chicago Women’s Symphony, and many top singers including Marian Anderson and Leontyne Price performed her songs.

Composed in 1934, Mississippi Suite is dedicated to Arthur Olaf Anderson, head of the theory department at the American Conservatory in Chicago and one of Price’s mentors and champions in the city. Its evocative subheading, “The river and the songs of those dwelling on its banks,” sets the tone―and from the start, Price devotes all musical resources to the realization of this miniature program. The piece begins with a colorful evocation of nature, replete with undulating currents, bird calls, and gentle breezes, followed by an imaginative rendition of Native American music scored for “Indian drum,” marimba, and other percussion. Familiar tunes gradually emerge from the texture, such as “Nobody Knows the Trouble I’ve Seen,” “Deep River,” “Go Down, Moses,” and “Steamboat Bill,” intertwined with melodies of Price’s own creation.

For Tickets 901-537-2525

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program notes GERSHWIN, arr. BENNETT Porgy and Bess: A Concert of Songs Duration: 40 minutes When DuBose Heyward’s novel Porgy was published in 1925, it was an immediate success; as the Virginia Quarterly Review wrote, “No more beautiful or authentic novel has been published in America for a decade.” George Gershwin had a similar reaction to the book. After he read it in 1926, he immediately contacted Heyward and invited him to collaborate on an operatic treatment of the novel. Heyward was enthusiastic, but Gershwin’s schedule proved prohibitive: he wasn’t able to start work for several years. Heyward and George Gershwin his wife Dorothy subsequently produced a dramatization of the novel that opened on Broadway in 1927, in what is now known today as the August Wilson Theater. The production ran for 367 performances, attracting a great deal of attention from artists interested in making their own musical treatments of the novel (including Al Jolson), but nothing materialized.

In 1934, George and Ira Gershwin met Heyward in his native Charleston to finally get down to the business of writing what Gershwin called an “American folk opera.” The trio moved for the summer to Folly Beach, a barrier island close to Charleston in close proximity to the Gullahs, a relatively isolated and unique culture that served as a model for the community portrayed in the opera. It was truly a collaborative effort. Heyward wrote the libretto and worked with Ira Gershwin on the lyrics (Heyward, in fact, wrote the words to “Summertime,” one of the work’s most popular tunes). George Gershwin began work in earnest after the brothers left the island in August, finally completing the work in July 1935.

According to biographer David Ewen, Gershwin “never quite ceased to wonder at the miracle that he had been its composer, he never stopped loving each and every bar, never wavered in the conviction that he had produced a work of art.” Todd Duncan, the very first Porgy, concurred. Describing the process of getting the role, Duncan recalled an evening with George and Ira Gershwin and many prominent backers. After Duncan sang for over an hour, the Gershwins took out the score of Porgy and Bess and sang through the opera in “their awful, rotten voices.” Duncan continued, “I just thought I was in heaven. These beautiful melodies in this new idiom, it was something I had never heard. I just couldn’t get enough of it.”

Porgy and Bess was not truly successful in George Gershwin’s lifetime, however. Its run at the Alvin Theater in New York City―starting on October 10, 1935―lasted for only 124 performances. A two-month tour to Philadelphia, Pittsburgh, Chicago, and Washington D.C. began in January 1936; while in Washington, the cast protested segregation at the National Theatre, resulting in the first integrated audience at the venue. Other than a short revival in 1940, Porgy and Bess went unperformed in the United States until the Houston Grand Opera presented the work in its entirety in 1976. Nine years later, the Metropolitan Opera followed 54

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suit―and now, Gershwin’s “American folk opera” is performed frequently all over the world.

While the artistic accomplishment of the Gershwins and Heyward is universally acknowledged, some critics view it as a racist portrayal of African-American culture.

Although Porgy and Bess was slow to enter the operatic canon, numerous arrangements of the work have been made for the concert stage. In 1935, Gershwin made a purely instrumental version of a few numbers from the opera entitled Catfish Row. At the request of conductor Fritz Reiner, in 1942, composer Robert Russell Bennett created an orchestral medley with slightly different instrumentation called Porgy and Bess: A Symphonic Picture that is frequently performed today. Bennett returned to Porgy in 1956, creating the work that will be heard in this performance―a concert version for soprano and baritone soloists, chorus, and orchestra based more closely on Gershwin’s original orchestration. Other notable versions include a 1950s suite by Morton Gould.

Porgy and Bess takes place in the fictitious Catfish Row, based on the area known as Cabbage Row in Charleston, South Carolina. Porgy, a disabled African-American beggar attempts to rescue Bess from her violent and possessive lover, Crown, and a drug dealer named Sportin’ Life. (Heyward based his novel in part on a well-known local character nicknamed “Goat Sammy,” who couldn’t stand upright and had to travel in a goat-drawn cart.) As the drama begins, a young mother sings a lullaby to her baby (“Summertime”). Her husband, who is nearby shooting craps with Crown and Robbins, responds with his own sarcastic song (“A Woman is a Sometime Thing”). A fight breaks out between Crown and Robbins and Robbins is killed, sending Crown and his girlfriend, Bess, into hiding. Porgy, who secretly loves Bess, takes her in. The action moves to the house of Robbins’s widow, Serena, where mourners have gathered (“Gone, Gone, Gone”), including Porgy, who encourages everyone to chip in and help (“Overflow”). Serena laments her husband’s death (“My Man’s Gone Now”), and Bess leads everyone in a spiritual (“Promised Land”).

[Act II] As preparations for a church picnic are underway, Porgy sings cheerfully (“I Got Plenty O’ Nuttin’). Sportin’ Life, a drug dealer and pimp, arrives and tries to persuade Bess to run away with him, but Porgy chases him away. He and Bess proclaim their love for one another (“Bess, You Is My Woman Now”). Everyone except Porgy boats to Kittiwah Island for the picnic, where the community frolics and sings several spirituals (“Oh I Can’t Sit Down,” “I Ain’t Got No Shame”). Sportin’ Life mocks them (“It Ain’t Necessarily So”). As the picnickers prepare to leave, Crown suddenly appears and forces Bess to stay behind with him. She returns to Catfish Row a few days later and begs Porgy for help. A violent hurricane erupts―and at its height, Crown appears and beats Porgy.

[Act III] In the storm’s aftermath, a devastated community cleans up. Crown appears and attempts to kill Porgy, but Porgy strangles him first. A detective comes to investigate and takes Porgy away. In his absence, Sportin’ Life tries to lure Bess to New York (“There’s a Boat Dat’s Leavin’”)―and she follows him. When Porgy returns a week later, he learns that Bess has left.

Determined to find his love, Porgy gets into his goat cart and heads north (“Oh Lawd, I’m On My Way”).

– Jennifer Glagov For Tickets 901-537-2525

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Hot Springs Music Festival Season Eighteen: Coming of Age Hot Springs, Arkansas

2-15 JUNE 2013

For the Hot Springs Music Festival: Danses sacrĂŠe et profane by Hugh Dunnahoe after the musical composition by Claude Debussy

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!

For Tickets 901-537-2525

501.623.4763

hotmusic.org

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Mei-Ann Chen music director One of the most dynamic young conductors in America, MeiAnn Chen is currently in her third year as Music Director of the Memphis Symphony Orchestra. She is also beginning her second season as Music Director of the Chicago Sinfonietta.

During this time, the impact of her energy, enthusiasm and high level of music-making has been felt by both of these orchestras, their audiences and entire communities, as well.

The League of American Orchestras recognized this fact by choosing her for the prestigious Helen M. Thompson Award at their 2012 national conference in Dallas.

Among Ms. Chen’s upcoming highlights are debuts on the Chicago Symphony subscription series, the San Francisco Symphony Chinese New Year Celebration, North Carolina Symphony, San Diego Symphony, the São Paulo Symphony in Brazil, and the Tampere Philharmonic in Finland. Among last season’s debuts were the Netherlands Philharmonic at the Amsterdam Concertgebouw, the Aspen Music Festival, and the symphonies of Jacksonville, Naples and Sarasota.

In great demand as a guest conductor, Mei-Ann Chen recently stepped in on short notice for her very well-received subscription concert debut with the Cincinnati Symphony. She has been engaged by the Cincinnati Symphony for this season as well. Ms. Chen has also appeared with the Rochester Philharmonic and the symphonies of Alabama, Atlanta, Baltimore, Chicago, Colorado, Columbus, Edmonton (Canada), Florida, Fort Worth, Nashville, National (Washington, D.C.), Oregon, Pacific, Pasadena, Phoenix, Seattle and Toronto. Worldwide engagements include all the principal Danish orchestras, BBC Scottish Symphony, Bournemouth Symphony, Graz Symphony, National Symphony of Mexico, Norrlands Opera Orchestra, Norwegian Radio Orchestra and the Trondheim Symphony.

Festival appearances include Grand Teton, Wintergreen, Chautauqua Institute and the Texas Music Festival in Houston.

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

In 2002, Ms. Chen was unanimously selected as Music Director of the Portland Youth Philharmonic in Oregon, the oldest of its kind and the model for many of the youth orchestras in the United States.

During her five-year tenure with the orchestra, she led its sold-out debut in Carnegie Hall, received an ASCAP award for innovative programming, and developed new and unique musicianship programs for the orchestra’s members. She was honored with a Sunburst Award from Young Audiences for her contribution to music education.

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

For more information, visit www.meiannchen.com

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Conner Gray Covington assistant conductor At 25 years old, Conner Gray Covington was recently appointed Assistant Conductor of the Memphis Symphony Orchestra, a position he began in September of this year. In Memphis, he will conduct various community and outreach concerts while working closely with Music Director Mei-Ann Chen. Covington will also serve as the Music Director of the Memphis Youth Symphony Program. He recently completed his master’s degree in orchestral conducting in May 2012 at the Eastman School of Music where he studied with Neil Varon. This past May 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.

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

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Memphis Symphony Orchestra mei-ann chen, music director conner gray covington, assistant conductor Violin I Guest Concertmaster The Joy Brown Wiener Chair

Paul Turnbow, Assistant Concertmaster

Griffin Browne Jeffrey Jurciukonis Hannah Schmidt Mark Wallace

The Maxine Morse Chair

Marisa Polesky, Assistant Principal* Barrie Cooper, Assistant Principal Diane Zelickman Laurie Pyatt* Wen-Yih Yu Jessica Munson Greg Morris Long Long Kang

Bass Scott Best, Principal Christopher Butler, Assistant Principal Sean O’Hara Andrew Palmer Timothy Weddle Jeremy Upton Sara Chiego

Violin II Gaylon Patterson, Acting Principal

Flute Karen Busler, Principal

The Dunbar and Constance Abston Chair

Heather Trussell, Acting 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

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

Iren Zombor, Assistant Principal Milena Albrecht, Assistant Principal Phyllis Long Jonathan Kirkscey 62

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Bassoon Susanna Whitney, Acting Principal Jennifer Rhodes* Michael Scott Christopher Piecuch

Bass Trombone Mark Vail

Contrabassoon Christopher Piecuch

Timpani Frank Shaffer, Principal

Horn Samuel Compton, Principal

Percussion David Carlisle, Principal Ed Murray, Assistant 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 James Albrecht Mark Vail

For Tickets 901-537-2525

Tuba Charles Schulz, Principal

Harp Marian Shaffer, Principal The Ruth Marie Moore Cobb Chair

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

Guest Artists The Emily Klyce Fisher Chair

* Currently on leave.

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Memphis Symphony Orchestra governance & staff Board of Directors

Mark Crosby Crosby & Higgins LLP

Officers Mike Edwards Chair Paragon Bank

Michael J. Douglass Gerber/Taylor Capital Advisors, Inc.

Al Lyons Interim Executive Director Memphis Symphony Orchestra Louis Jehl Chair-Elect Diversified Trust Louise Barden Secretary Lowry Howell Treasurer Southeastern Asset Management Paul A. Bert Immediate Past Chair Retired Corporate Executive

Board Paul Berz Ritche Manley Bowden Arts Advocate Dr. Karen Bowyer Dyersburg State Community College Austin Byrd Bailey & Greer, PLLC Darrell Cobbins Universal Commercial Real Estate Nancy Hughes Coe Dominion Partners Private Wealth Management

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Mary Lawrence Flinn Memphis Symphony League Pam Guinn St. Mary’s Episcopal School Larry J. Hardy Retired Corporate Executive Scott Heppel Retired Corporate Executive Buzzy Hussey Babcock Gifts Bryan Jordan First Horizon National Corp.

Natalie C. Kerr, MD Hamilton Eye Institute Joanna Lipman Arts Advocate Hon. Mark Luttrell Shelby County Government Alec McLean New South Capital Management Lisa Mendel Memphis Symphony Chorus Scott Moore Memphis Symphony Orchestra Carol W. Prentiss River Oaks Investments Robert Quinn FedEx

Arthur N. Seessel, III Janet Seessel Arts Advocate Charles Shipp Architect John Speer Bass, Berry & Sims, PLC Jim Vining Vining Sparks Russ Wigginton Rhodes College 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* 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) www.MemphisSymphony.org

Administrative Staff Al Lyons Interim Executive Director Accountability Anita McLean Chief Financial Officer

Grace McAlister, PHR Finance Manager Rodney Gilchrist Technical Support Grants Team Rhonda Causie Director of Grants & Innovation

Ricardo Callender Grants & Accountability Specialist

Artistic Engagement Brandon Knisley Vice President of Artistic Engagement

Development Nicki Inman Vice President of Patron Engagement

Jenny Compton Music Librarian

Erica Eason Patron Engagement Assistant

Molly Mangialardi Artist Coordinator

Ellen Rolfes Advancement Specialist

Susan Miville Director of Musician Engagement

Marketing & Public Relations Denise Borton Director of Patron Engagement & Marketing

Operations Douglas Whitaker Director of Operations

Laura Mirahver Orchestra Personnel Manager

Jessica Batey Patron Engagement Manager Mandy Porch Box Office Manager

Joseph Nelson Soulsville Project Manager

Memphis Symphony League Board of Directors Mary Lawrence Flinn, President Priscilla Alexander Honey Cannon Scottie Cobb Jeanette Cooley Jean de Frank Billie Jean Graham Eula Horrell

Mindy Johnson Nancy Lou Jones Florence Leffler Sissy Long Carol Martin Amy Meadows Laurie Monypeny Charlotte Neal Gloria Nobles

Marilyn Powell Shelly Sublett Lura Turner Sharon Turner Joy Brown Wiener

Memphis Symphony Chorus Board of Directors Steve Alsobrook Cindy Armistead Elizabeth Buls Janet Carnall Larry Edwards Pamela Gold For Tickets 901-537-2525

Deborah Goodman Anita Hester Lisa Mendel David Patterson Terron Perk Shane Rasner

Mary Seratt Jack Seubert Ginny Vann Jackie White Matthew Williams Rae Williams

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Letter from the League President What a wonderful year this has been for both the Memphis Symphony Orchestra and the Memphis Symphony League! Next year will be even better.

There are so many people to thank for their hard work, support, and dedication to promoting the work of the Memphis Symphony Orchestra. The Board of the Symphony League deserves a huge round of applause for all they continue to do to raise money and support for our orchestra. The staff at the Symphony office is unequalled in their efficiency and enthusiasm. These are the people behind the musicians, doing all they can to help!

This year the League has grown in number and in our contribution to the Symphony, and we are very proud. In February we hosted a beautiful luncheon at which time we honored our special Sweetheart, Mei-Ann Chen, with candy and flowers, a Randal Rushing serenade, and the prestigious Amphion Award, given to an individual for outstanding national and international contribution and service to the arts. It was a wonderful day!

The League also said a big “thank you” to the orchestra with delicious refreshments at two rehearsals. Don’t forget to join us for Symphony in the Gardens on May 4, and the Picnic Contest sponsored by the League.

Now is the time for you to join the League and be a part of all this! We would love for you to join us and work with us as we support our Memphis Symphony Orchestra.

Mary Lawrence Flinn President Memphis Symphony League

2012-2013 Memphis Symphony League Membership Form (PLEASE PRINT) Name _____________________________________ Spouse’s Name _________________________________________ Address __________________________________________________________________________________________ City _______________________________________________ State _____________ Zip _________________________ Home Phone _____________________ Work Phone _______________________Cell Phone ______________________ Fax _______________________ E-mail Address ________________________________________________________

PAYMENT _____ I have enclosed a total of $______ (Single $40; Couple $50; President’s Circle $100) _____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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Thank You Memphis Business!

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 have joined us for the 2012-2013 season. $100,000+

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Nancy Hughes Coe Senior Vice President, Financial Advisor

$5,000-$9,999

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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

Diamond International of Memphis

Kelman-Lazarov, Inc.

Legacy Wealth Management

Wunderlich Securities

Lipscomb & Pitts Insurance

In Kind

Interim R E S TA U R A N T & B A R

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 have joined us for the 2012-2013 season.

The Andrew W. Mellon Foundation

The Jeniam Foundation

Thomas W. Briggs Foundation Hyde Family Foundation

For Tickets 901-537-2525

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Symphony Fund 2012-2013 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. For more information, please call Nicki Inman, Vice President of Patron Engagement at (901) 537-2519.

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 (901) 537-2525 or mail to 585 S. Mendenhall Road, Memphis, TN 38117 70

www.MemphisSymphony.org

Contributions 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 January 5, 2012 and February 5, 2013. We are most appreciative.

Virtuoso - ($100,000 + ) Anonymous (2) ArtPlace ArtsMemphis Impresario - ($50,000 - $99,999) Anonymous (2) Paul & Linnea Bert Jeniam Foundation Visionary - ($25,000 - $49,999) Anonymous (1) Mr. & Mrs. George E. Cates Scott & Carolyn Heppel Wil & Sally Hergenrader Dorothy O. Kirsch Susan & Robert J. Quinn Gayle S. Rose Mr. Milton T. Schaeffer Mr. & Mrs. Arthur N. Seessel III Mr. & Mrs. Frederick W. Smith Ann & Jim Vining Joy & Russel Wiener Pacesetter - ($15,000 - $24,999) The Day Foundation Scheidt & Hohenberg Charity Trust Families Marion & James McClure Mrs. Thomas N. Stern Sustainer - ($10,000 - $14,999) Anonymous (1) Phyllis and Paul Berz Kitty Cannon & Jim Waller Mr. & Mrs. Robert E. Craddock Mr. & Mrs. Jeffrey Engelberg Buzzy Hussey and Hal Brunt Kim & Bryan Jordan Sylvia Goldsmith Marks Robin & Billy Orgel Francis J. & Laverne Scott Estelle & John Sheahan Craig Simrell & Mark Greganti Dr. Chapman Smith The Sparks Foundation Lynne & Henry Turley Mr. & Mrs. Joseph C. Weller

For Tickets 901-537-2525

Benefactor - ($5,000 - $9,999) Anonymous (1) Ann and Gordon Getty Foundation William & Mary Louise Barden David & Betty Blaylock Mr. & Mrs. Marion S. Boyd, Jr. Charles & Nancy Coe Michael & Maria Douglass Mike and Carolyn Edwards Farrell Calhoun, Inc. Dr. Suzanne Gronemeyer & Mr. Ellis Delin Pam and Steve Guinn Larry J. Hardy Laura & Lowry Howell Lisa & Louis Jehl Michael & Joan Lightman Stephen Lightman Al & Janet Lyons J. W. & Emily McAllister Mark & Suzanne Medford Mr. & Mrs. Joseph H. Powell Mrs. Alice J. Rawlins Schadt Foundation, Inc. John & Cristina Speer Watkins Uiberall, PLLC Michael & Andie Uiberall Jack & Cristina Ward Patron - ($2,500 - $4,999) Jack & Kathleen Blair Scott E. Bohon Ms. Mei-Ann Chen Harriett & Hilliard Crews Liz & Glenn Crosby Mark Crosby Mr. & Mrs. John S. Evans Fred & Mary Lawrence Flinn Martha & Robert F. Fogelman and Bradley & Robert F. Fogelman, II Kathy & J. W. Gibson Mr. & Mrs. Robert A. Goodman Mr. Sigmund F. Hiller Dr. & Mrs. Masanori Igarashi Dr. Natalie Kerr Mr. Edwin Koshland III Jerry and Elizabeth Marshall Mr. & Mrs. Alexander D. McLean Dr. & Mrs. Dan Meadows

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Contributions Ron & Jessica Morris Gloria P. Nobles Gloria & John Parker Robert G. Patterson, Jr. & Patricia Gray Capt. & Mrs. Robert R. Procter, USN (Ret.) The Wharton Charitable Foundation Mrs. Charles E. Walker Gary Wunderlich Mr. & Mrs. Charles L. Wurtzburger Golden Circle - ($1,000 - $2,499) Anonymous (2) Rev. Dr. Jane Abraham Connie & Dunbar Abston Ben & Kathy Adams Peter & Fran Addicott Kay Farrish & Roger Arango Pamela & Esmond Arrindell Charles S. & Stephanie Baer Mr. Ion Balu Richard W. Barnes & Peter R. Pauciello Carol & Bert Barnett Sharon Barnett-Myers Neal & Joey Beckford Joyce Blackmon Mr. & Mrs. Richard H. Bodine, Jr. The Honorable Joseph Boeckmann, Jr. Carmen C. Bond Phillip Bowden & Ritche Manley Bowden Dr. Karen A. Bowyer Martha & James Boyd Charles R. & Ronell C. Brindell Lillian Hammond Brown Shannon & Beryl Brown Mr. & Mrs. Michael J. Bruns Canale Foundation Mr. & Mrs. Henry Cannon Karen M. Carlisle Jeanne Gray Carr Gale Jones Carson Robert & Jenny Carter Rhonda & Dan Causie Dr. Fenwick W. Chappell Dr. Nancy A. Chase, M.D. Gloria & Irvine Cherry Dorothy Cleaves Colonial Middle School Ms. Jeanette S. Cooley Bill and Foy Coolidge Mr. & Mrs. Robert E. Craddock Jill & Joe Crocker Elaine & Loren Crown Dr. & Mrs. Ray E. Curle

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Saryn Doucette M.D. & Eric Doucette Megan Dunbar Turner Mrs. Bryan M. Eagle Drs. Lawrence Edwards & D. Shane Rasner Susan & David Ellison Mr. & Mrs. David B. Ferraro Barbara & Hiram Fry Kathleen C. Gardner Allison Garrott Dr. Phillip George Mr. & Mrs. James S. Gilliland Susan & Richard Glassman Dr. Raquel Gomez Kate & Robert Gooch Katherine Smythe Gould Martha & Jerrold Graber Mrs. James E. Harwood III Sarah Haizlip Judith & John Hansen Ann & O. Mason Hawkins Emil Henry Paul & Marisa Hess Deborah Hester Harrison David O. Hill & Elisabeth Hills Lunida & Lewis Holland Mr. & Mrs. Walter B. Howell, Jr. Greg & Trina Huelsman Terri & Don Hutson Barbara Hyde Nicki & Brian Inman Janas L. Jackson Laurita Jackson Mr. Frank & Dr. Jeanne Jemison Rose M. Johnston Edith Kelly-Green Dale Kelman Susan Kingston Delores Kinsolving Knapp Foundation Dr. & Mrs. Sheldon Korones Bruce & Susanne Landau Leslie & Nathaniel Landau Mr. & Mrs. George Lapides Dr. Peter G. & Susan J. Law LeMay+Lang, LLC Joanna & Josh Lipman Mr. & Mrs. Lester F. Lit Aron Livnah & Rose Merry Brown Dr. & Mrs. William E. Long Babbie Lovett Mr. & Mrs. Jerome Makowsky B. Lee & Susan Mallory Martha Ellen Maxwell

www.MemphisSymphony.org

Ashley Mayfield Sandra H. Mays Mary McDaniel Mr. & Mrs. Michael McDonnell Anita & Don McLean Gretchen McLennon Linda McNeil Phillip & Mabel McNeill Dr. & Mrs. Michael McSwain Memphis Symphony Chorus Dr. Lisa & Dr. Maurice I. Mendel Nancy & Rodgers Menzies Rose & Walter Montgomery Foundation Henry & Snowden Morgan Ms. Brooke Morrow Christine B. Munson Dr. Frank and Mrs. Sarah Ognibene Sally Pace Marianne Parrs Mrs. Barbara J. Perkins Arnold & Mary Lynn Perl Carol W. Prentiss Mary Alice Quinn Mr. & Mrs. Bryson Randolph Dr. Sandra Reed Beverly Robertson Dr. & Mrs. Brown Robertson Ellen Rolfes Carol Lee & Joe Royer Diane Rudner Bev and Ken Sakauye Dr. Craig & Mrs. Andrea Sander Jeff Sanford & Cynthia Ham Lila Saunders Mary & Joe Scheuner Mary M. Seratt Patricia & John Seubert Dr. John J. & Mrs. Lynda Shea William W. Siler Alisa & Arwin Smallwood Bruce R. & Jane Scharding Smedley Jenny & Graham Smith Maxine Smith Mrs. Rita Sparks Susan L. Springfield Nancye Starnes Bruce & Gillian Steinhauer Eugene & Helga Stengel Anne & John Stokes Owen & Margaret Tabor Mary E. Tate-Smith The Women’s Foundation Dr. Paul G. Thomas

For Tickets 901-537-2525

Ashley & Todd Tobias Keith & Anne Townsend Mr. & Mrs. Philip H. Trenary Mr. & Mrs. Corey B. Trotz Laurie Tucker Steve & Lura Turner Dr. Eugene A. Vaccaro Family Ms. Susan K. van Dyck & Dr. James Newcomb Mr. & Mrs. Henry D. Varnell, Jr. Mr. & Mrs. William M. Vaughan, Jr. Mr. & Mrs. David S. Waddell Patricia & Charles Walker Dr. Jane Walters Graham Warr Dr. and Mrs. Otis S. Warr III K. C. & Jeff Warren Mrs. Cassandra H. Webster Martha & Lee Wesson Becky West Barry White & Dr. Janice Garrison Julia Williams Manning Ms. Tracey Williams Dr. Ethelyn Williams-Neal Barbara Williamson Becky Webb Wilson Oneida Wittichen Jocelyn Wurzburg Jan Young Associate - ($600 - $999) Carol Beachey & Don Voth Joy & Leo Bearman Stanley & Dot Bilsky Dr. & Mrs. Allen Street Boyd Monte & Grace Brown Sara G. Folis Dot and Luther Gause Father Albert Kirk Mr. & Mrs. Lloyd C. Kirkland, Jr. Ms. Yoriko Kitai Mrs. Emily Ruch John Pickens & Suzanne Satterfield Robert Vidulich & Diane Sachs Don Vollman Julia Wilkins Member - ($300 - $599) Anonymous (2) Mr. & Mrs. William E. Baker Jr. Mary L. Belenchia Flona & Lance Binder Denise & Scott Borton Jerry Bowman

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Contributions Gregory Buckley & Susan Berry-Buckley Dr. & Mrs. Paul Burgar Joanne & George Buzard Gary Carlson Ms. Laura J. Crane Robert K. Crane Lewis Donelson Jed Dreifus Betty Jo & William P. Dulaney Mr. Charles K. Gilder Jim & Harriett Gillis Phyllis Guenter Robert Hanusovsky Judith & Howard Hicks Bill & Marian Himmelreich Dr. G. Leon Howell Joanna Hwang Susan & Frank Inman John Paul & Sandra Jones Mr. & Mrs. Brandon Knisley Barbara Burch & Barry W. Kuhn Dr. Gumersindo & Mrs. Marianne Leal Frank & Mary Markus John & Jo Maxwell Mr. & Mrs. James W. McDonnell, Jr. Phillip and Mary Ellen McDow Shirley W. McRae Richard and Betsy McStay Simone & Logan Meeks Dr. & Mrs. Lee Milford, Jr. Pam & Fred Montesi Ed & Anne Motley Cecile & Frederick Nowak Max B. Ostner, Jr. Gwen Owen Nancy M. Penisten Mr. & Mrs. Curtis E. Ringold Sandy & Beth Schaeffer Marcia Schlesinger Kenneth & Mary Sipley Charles & Mary Stagg Ryals & Gwendolyn Thomas Mary L. Belenchia Lee & Mary Wardlaw Jules & Betty Weiss Dr. Russell Wigginton Mary Jane and Herman Wolfe, AIA Mr. Winston Wolfe Dr. George R. Woodbury & Dr. Cathy M. Chapman Friend - ($100 - $299) Anonymous (12) Doug & Meg Adams

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Larry Adler Ray & Nancy Albonetti Harriet Alperin Frank Anthony Mrs. Eleanor Appling Murphy Appling Dot Arata Genni Arledge Dr. & Mrs. Philip Aronoff Sue & Wesley Atwood Clayton Baker Sue & A.E. Balkin Mary Nell & Pervis Ballew David & Debbie Balling Rosemary Banta Allan Bardos Robert & Ellen Hutchinson-Bartolotta Mrs. Frank Barton, Jr. Patricia Barton John & Wanda Barzizza Donald Bashford Dr. & Mrs. Allen O. Battle Becky Bayless Dr. & Mrs. Tom Beasley Dr. Bryan & Mrs. Heidi Bell Ernest & Georgia Bell Mr. & Mrs. Jack A. Belz Ron & Anise Belz Eugene & Michelle Bernstein Dr. & Mrs. Michael P. Berry Dr. Harry Berryman Stanley & Dorothy Bilsky Kathryn B. Black Mr. & Mrs. James C. Blackburn Sam Blair Emilie Blanchard Clark & Yolanda Blatteis Dr. & Mrs. Gene Boeckman Lois E. Bohon Scott Bojko Modine & Lee Bolen Steven Boor Jan & John Boudreaux Aretha Bourne Jennifer Brady Peggy Brawner Reggi and Sharon Burch Judy & Charles Burkett Mr. & Mrs. Irvin Califf Ricardo Callender Dr. Patty & Dennis Calvert Larry Campbell Jeanne N. Carr

www.MemphisSymphony.org

James Charles Ruby Chittenden Brian Clement Mr. & Mrs. Charles P. Cobb, Jr. Allen E. Cohen James P. Cole Viola Cole Samuel & Jenny Compton Anne Connell Tim & Mary Cook Alice & Jack J. Craddock Mr. & Mrs. William S. Craddock Dale & Gina Cunningham Ms. A. J. Daneman Leslie Daniel Fred Davis Diane & Joe Davis Steve Davis Jean M. de Frank Phili & Terry Deboo Jeanne Decker Kathryn Deshpande & Jon Katze Ann Dixon Curtis and Jean Dohan Joe & Martha Dooley Dr. Michael R. Drompp Regina Duberstein John & Alice Dudas Gerry and Charles Duff Delories Duncan Mrs. Ruth Edmonds Patti & Lew Ellis Edward & Gloria Felsenthal Fredrika & Joel Felt James & Sue Ferguson Donna Fisher Tanya Fitts Molitor Ford Turner Foster Ms. Kathie Fox Desi Franklin Dr. Jerre Freeman Mrs. Caroline Fruchtman Juan Fuentes Ana & Mark Gardner Joseph Garrone Bill and Jeannine Gaudet Frank & Anne Gianotti Mr. & Mrs. James D. Gibson Lyda & John Gibson Marsh & Ann Gibson Sharon Gilbert Mary Gill

For Tickets 901-537-2525

Joan Gips Marylon R. Glass Kenneth Goldman & Winnie Wang Capt. & Mrs. James P. Googe, Jr. Dr. Leslie Gordon Arthur Graesser Rita Mercille Green Diane Greenhill Gerard & Alessandra Grosveld Phil Guichelaar Hemant Gupta Bela & Nan Hackman Joanne B. Hackman Clarence & Harriett Halmon Louis Hamric Malvis Hardaway Dr. & Mrs. O. Brewster Harrington Jeffery & Cathy Harris Dallas Harrison Albert C. Harvey, Jr. Geraldine Haspel Mr. Paul Henry Hawkins Diane Hawks Mr. & Mrs. Allan Hayden Dr. Jean S. Hayden Nikki Haynes Kathleen Helton Mr. & Mrs. James R. Hillis Vivian Hilton Walter Hoehm Sara Holmes Dr. & Mrs. Horace K. Houston, Jr. Bobby and Eva Hussey Matt Blake & Nobuko Igarashi Mr. & Mrs. Antonino Incardona Bertha Means & Michael Jacewicz Mr. & Mrs. James B. Jalenak Anita James David & Ann James Dr. & Mrs. Russell James Harriette Jenkins Mr. David Jennings Dr. Pu-Qi Jiang Darrell & Betty Z. Johnson Mr. Mickey Johnson Mr. Jeff Johnston Nancy Lou & Mott Jones Mr. & Mrs. Robert K. Jones Warren and Betty Lu Jones Kathy Junkin Tom and Anne Marie Kadien Mr. & Mrs. William Kaelin III Beulah Kasselberg

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Contributions Helen & J.D. Kelly John Kelyman Charlotte King Nadine King Mr. & Mrs. Jerry D. Kirkscey Preston & Sally Klinke Jon Knight Zeynep Kocer Janie & Martin Kocman Nancy & Brian Kuhn Michael & Diane Kuhn Mr. & Mrs. Pierre T. Landaiche III Marti & Mike Laslavic Ms. Demetra Lawrence Suzanne Lease & Michael Watts Lucy Lee Mr. Shelby R. Lee III Sandra Leftwich Kristin Lensch & Tim Huebner Tom & Celesta Letchworth Dr. & Mrs. Michael J. Levinson Jean & Melvyn Levitch Pamela & Robert Levy Leticia Lindsey Mrs. Esther K. Lubin William Payson & Melissa Luck Leonard & Jennifer Lyons Jose & Nancy Magallanes Nelda & Freeman Marr Shannon G. Matta, Ph.D. Richard & Nancy Mattox Mrs. Ethel T. Maxwell Connie May Grace McAlister Michael McCanless Marcia L. McCullough Marion McDonald Robert McEniry Pat & James McFarland Lucius and Holley McGehee Anthony McGregor Mary Allie & Denton McLellan Sylvia & Ron McSwain Tina McWhorter Gale Medley T. Medlin Susan Miville Dr. & Mrs. David M. Mirvis Dr. Shamim Moinuddin Mrs. Houston Niller Moore Ms. Patricia T. Moran George Morris Dr. Robert Neimeyer & Ms. Kathryn E. Story

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Drs. Thomas J. & Monika Nenon Mr. & Mrs. Herbert L. Notowich Mr. & Mrs. Thomas Oates Adrienne Oeding David Ogdon Mr. & Mrs. Mark O’Malley Jason & Rita Ortiz Norma Davis Owen & Penn Owen Jr. Bob Owens Christopher Owens Joy Ozbirn Eugene Pearlman Ms. Peggy Perkins Dr. William S. Phillips Hajnal & Lawrence A. Pivnick O.C. Pleasant, Jr. Charles & Carole Plesofsky Chloee & Dan Poag Paula Posey-Destefanis Peter A. Pranica Kara & Thomas Preston Mr. & Mrs. Julian Prewitt Libby and Howard Pritchard Lana & Gary Prosterman Brenda & Robert Rachor Karen & James Ralston Lynn Rawlings Nancy Reed Jimmy and Mary Jane Richens Mr. & Mrs. Neil Ringel Mr. Luther L. Robinson III Dr. & Mrs. E. William Rosenberg Marco & Cynthia Ross Barbara Rubenstein Thelma Rudd Melanie Runyon Amy & William Ryan Barbara J. Sax Christopher Scholik Doug Schrank Mike Schwartz Michael & Kelly Scott William Scott Douglas Seymour Jill & Scott Shanker Phil & Fran Shannon Bonnie and Bill Siler Liz and Rouben Simonian Ben & Robyn Slen John H. Sligh Mr. & Mrs. Richard W. Smith Betty Smith Cecil Smith

www.MemphisSymphony.org

Charles Smith Ritchie and Patti Smith Marshall and Maida Smith Dan & Melissa Smith John Snowden Mrs. Robert Snyder Trish & Richard R. Spore III Sheri L. Spunt, M.D. Shirley St. Hilaire Terry Starr Jill & Kenneth Steinberg Fred & Joan Stephenson Betty & Vaughn Stimbert George S. Sullivan Mr. & Mrs. Parrish Taylor The Womans Exchange of Memphis, Inc Doris Thomas Hill Patricia Wilson Tripp Alison Turner Barbara B. Turner Mariet & Sam Rogers Harriette Vanderford Mike Vaughn Robert Waldo Drs. Anni B. Walker and William S. Walker Sonia Walker Mr. Edward Wallace Gerald & Julie Walton Shihung & Chingfun Wang

Matilda Washington Patrick & Vicki Washington Judge & Mrs. Bernie Weinman Harry Wellford Diane & Walker Wellford Dr. & Mrs. Benton Wheeler Stuart Wilkinson Elsa & David Williams Jane Williams Tige Williams Mrs. Barbara H. Wilson Carol Wilson Mrs. Frances Wilson Major & Donna Wilson Stewart Wingate Evelyn B. Wofford Jerry Wolfe Josephine M. Wood Gary Woodard Nick and Charlotte Woodward Mary & Lucius Wright Berje & Kathy Wade-Yacoubian Paul & Laura Yacoubian Mr. & Mrs. William M. Yandell III John & Donna Young Dr. Herbert D. Zeman Qihong Zhou

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

For Tickets 901-537-2525

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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MEI-ANN’S CIRCLE OF FRIENDS A women’s philanthropic giving 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.

Ritche Bowden, co-chair Mary McDaniel, co-chair Becky Wilson, co-chair Rev. Dr. Jane Abraham Connie Abston Anita Allison Belinda Anderson Pam Arrindell Louise Barden Sharon Barnett-Myers Joey Beckford Phyllis Berz Joyce Blackmon Kathy Blair Peggy Bodine Carmen Crane Bond Dr. Marcia Bowden Martha Boyd Sonji Branch Ronell Brindell Ruby Bright Lillian Brown Rose Merry Brown Marian Bruns Alice Burnett Kitty Cannon Karen Carlisle Jeanne Gray Carr Gale Jones Carson Jenny Carter Dr. Nancy Chase Dorothy Cleaves Nancy Hughes Coe Jeanette Cooley Kim Cox Deborah Craddock

Jill Crocker Elaine Crown Dr. Saryn Doucette Joy Doss Mary Ann Eagle Barbara Enright Marsha Evans Kathy Fish Mary Lawrence Flinn Mary Lee Formanek Kathleen Gardner Allison Garrott Kate Gooch Billie Jean Graham Pam Guinn Sarah Haizlip Cynthia Ham Deborah Hester Harrison Ann Hawkins Carolyn Heppel Frances Hooks Trina Huelsman Buzzy Hussey Barbara Hyde Nicki Inman Janas Jackson Laurita Jackson Jeanne Jemison Rose M. Johnston Dale Kelman Edith Kelly-Green Delores Kinsolving Dorothy Kirsch Ellen Klyce Suzanne Landau Florence Leffler Suzana Lightman Joanna Lipman Babbie Lovett

Sponsorships Baptist Mem Health Care Fd. Blue Cross Blue Shield TN Gerber/Taylor Hyde Foundation Women's Foundation

Jan Lyons Gretchen McLennon Bickie McDonnell Linda McNeil Mabel McNeill Lisa Chow Mallory Suzy Mallory Julia Manning Ashley Mayfield Sandra Mays Suzanne Medford Nancy Menzies Snow Morgan Brooke Morrow Christine Munson Jenny Nevels Gloria Nobles Sarah Carpenter Ognibene Sally Pace Tommie Pardue Barbara Perkins Carol Prentiss Mary Alice Quinn Susan Quinn Dr. Sandra Reed Beverly Robertson Ellen Rolfes Gayle Rose, former co-chair Carol Lee Royer Diane Rudner Beverly Sakauye Lila Saunders Honey Scheidt Janet Seessel Rachel Shankman Lucy Shaw Lynda Mead Shea

Independent Bank NewSouth Capital Paragon Bank Phyllis Berz Ritche Bowden Deborah Craddock

Alisa Smallwood Bonnie Smith Maxine Smith Rita Sparks Susan Springfield Nancye Starnes Helga Stengel Susan Stephenson Anne Stokes Margaret Tabor Mary Tate-Smith Ashley Tobias Tish Towns Anne Townsend Bridget Trenary Laurie Tucker Lynne Turley Lura Turner Meg Turner Andie Uiberall Jeanne Varnell Anita Vaughn Kimmie Vaulx Ann Vining Stacie Waddell Ann Marie Wallace Jane Walters Cassandra Webster Becky West Monica Wharton Sharon Wheeler Joy Wiener Dr. Ethelyn WilliamsNeal Tracey Williams Barbara Williamson Oneida Wittichen Jocelyn Wurzburg Jan Young

Ellen Klyce Brooke Morrow Sarah Carpenter Ognibene Gayle Rose

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

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www.MemphisSymphony.org

Memphis Youth Symphony Program Conner Gray Covington, Music Director ||Musical Musical Leaders Since 1966 Youth Symphony, Conner Gray Covington, Conductor Fall Concert | Sunday, November 18, 7:30 Winter Concert | Sunday, February 24, 7:30 Spring Concert | Sunday, April 28, 7:30 *venues TBD

String Orchestra, Ray Pak Chung Cheng, Conductor Fall Concert | Sunday, November 11, 4:30 Winter Concert | Sunday, February 24, 4:30 Spring Concert | Sunday, May 5, 4:30 *venues TBD String Sinfonia, Karla Philipp, Conductor Fall Concert |Tuesday, November 6, 7:30 pm Winter/Spring Concert | Tuesday, March 5, 7:30 pm *venues TBD

String Ensemble, Karla Philipp, Conductor Fall Concert |Tuesday, November 6, 7:30 pm Winter/Spring Concert |Tuesday, March 5, 7:30 pm *venues TBD

Visit us and become a supporter! Sponsor a child, a concert, name a chair or a scholarship!

Contact Todd Skitch, 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 Find us on Facebook!

For Tickets 901-537-2525

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Unexpected Conversations Continued…

80 members of Mei-Ann’s Circle of Friends met at the Crescent Club in February to network and hear updates of the new season from the Maestra.

Buzzy Hussey, Marsha Evans, Mei-Ann Chen and Joy Wiener

Mary McDaniel and Barbara Hyde

Ashley Mayfield and Barbara Perkins Dorothy Cleaves, Deanie Parker and Joyce Blackmon 80

www.MemphisSymphony.org

WKNO 2012 Christmas Special with Kallen Eserian

Spring

2013 Schedule

pentecost Sunday eucharist

Sunday May 19, 2013 at 10:30 a.m.

The Memphis Girlchoir Saint John’s Episcopal Church, 3245 Central Avenue, Memphis, TN 38111

25th Anniversary celebration of the Memphis Boychoir Friday June 7, 2013 at 7:30 p.m.

The Memphis Boychoir & The Memphis Chamber Choir Saint John’s Episcopal Church, 3245 Central Avenue, Memphis, TN 38111

Ongoing Auditions for the Memphis Boychoir and Memphis girlchoir Please contact Dr. Geoffrey Harris Ward for more information (901) 351-8540

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

Honorariums and Memorials

The following Honorarium and Memorial contributions were made to the Symphony Fund between January 5, 2012 and February 5, 2013.

In Honor of Kathy and Ben Adams Camille & William Mueller In Honor of Jim Albrecht Kathryn A. King In Honor of Michael Barar Anonymous In Memory of Dr. Bernard B. Beard Dr. Jerre Freeman In Honor of Paul & Linnea Bert Mr. & Mrs. George E. Cates Ms. Mei-Ann Chen Leonard & Jennifer Lyons Anneliese & William Watts In Memory of Florence Bohon Dorothy S. Atkinson Mr. & Mrs. James C. Blackburn Lois E. Bohon Marti & Mike Laslavic Myron & Gail Lewis Nancy M. Penisten Barbara Van Ness In Honor of Ritche Bowden Mei-Ann Chen

In Honor of the Birthday of Charles “Chuck” Coe Dr. & Mrs. Dan Meadows

In Memory of Mr. Jimmy Graham Mr. & Mrs. John S. Evans Buzzy Hussey and Hal Brunt

In Honor of Mr. & Mrs. Robert Craddock Mr. & Mrs. Arthur N. Seessel III

In Honor of the Anniversary of Dr. Ron & Mrs. Mimi Grossman Dr. Edward S. & Linda S. Kaplan

In Memory of Dr. V. Glenn Crosby Buzzy Hussey and Hal Brunt Lisa & Louis Jehl Dr. Edward S. & Linda S. Kaplan

In Memory of Mrs. Barbara Ramsey Harris Lisa & Louis Jehl

In Memory of Mrs. Eleanor Dean Ron & Linda Sklar In Honor of Mr. & Mrs. John Dulin Mr. & Mrs. Arthur N. Seessel III In Memory of Dan Duncan Buzzy Hussey and Hal Brunt

In Honor of Buzzy Hussey Adrienne Oeding Mr. & Mrs. Bryson Randolph Patricia Williams

In Memory of Kemper Durand Robert & Kate Gooch Buzzy Hussey & Hal Brunt

In Honor of Dr. Hal Brunt & Ms. Buzzy Hussey Bill and Foy Coolidge

In Honor of Jane Dutcher Norma Rogers

In Honor of the Birthday of Pitt Hyde Mr. & Mrs. Arthur N. Seessel III

In Honor of Linda Brittingham Memphis Symphony Chorus

In Honor of Dr. Lawrence A. Edwards Memphis Symphony Chorus

In Honor of Mr. & Mrs. Howard Byers Mr. & Mrs. Arthur N. Seessel III

In Honor of Mr. & Mrs. Thomas Farnsworth Mr. & Mrs. Arthur N. Seessel III

In Honor of the Marriage between Kitty Cannon and Jim Waller Nancy & Rodgers Menzies

In Honor of Laura, Ryan, Robert and Anna Fleur Mr. & Mrs. Henry Cannon Dr. & Mrs. Dan Meadows Lyda Parker

In Honor of Mei-Ann Chen Stanley & Dorothy Bilsky Mr. & Mrs. Lester F. Lit Mr. & Mrs. Bryson Randolph

In Honor of Sara G. Folis Anonymous

In Memory of Mr. Ross Clark Buzzy Hussey and Hal Brunt

In Honor of James “Jim” Gholson Ron & Linda Sklar

In Honor of Mr. & Mrs. Andrew Clarkson Mr. & Mrs. Arthur N. Seessel III

In Memory of Elaine and Louis Gompertz Louise Stern

In Honor of Mrs. Ruth Moore Cobb Mr. & Mrs. Charles P. Cobb, Jr. Dr. & Mrs. Horace K. Houston, Jr.

In Memory of Michael Gompertz Joan Gips

In Honor of Mrs. Scottie Cobb The Womans Exchange of Memphis, Inc

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In Memory of Mrs. Evelyn Foote Horrell Jean Lewis Robert McEniry

In Honor of Billie Jean Graham Mr. & Mrs. James Alexander Fred & Mary Lawrence Flinn Dr. & Mrs. William E. Long Dr. & Mrs. Dan Meadows

In Memory of Max E. Johns Mike and Carolyn Edwards Gerber-Taylor Family Buzzy Hussey and Hal Brunt Lisa & Louis Jehl Memphis Symphony Chorus Andie & Michael Uiberall Mike & Gay Veazey Williams Becky and Spence Wilson In Honor of Dr. & Mrs. AW Karchmer Mr. & Mrs. Arthur N. Seessel III In Honor of Mr. & Mrs. Leonard Kaye Mr. & Mrs. Arthur N. Seessel III In Memory of Dr. Abraham D. Kriegel Dr. & Mrs. H. Delano Black Walter Brown Thomas & Marcia Collins Jed Dreifus Gail Murray Leslie Stratton Major & Donna Wilson In Honor of the Birthday of Florence Leffler Dr. & Mrs. William E. Long

www.MemphisSymphony.org

Honor/Memorial Contributors List Honor/Memorial Overture 11-12 In Memory of Richard Lightman Jocelyn & William Rudner

In Honor of Gayle S. Rose Mei-Ann Chen

In Honor of Sissy Long Mr. & Mrs. James Alexander Dr. & Mrs. O. Brewster Harrington Mrs. Van Pritchartt Jane Williams

In Honor of Mr. & Mrs. Mike Rose Mr. & Mrs. Arthur N. Seessel III

In Memory of Louise Lucks Drs. Lawrence Edwards & D. Shane Rasner Mr. & Mrs. Lester F. Lit Memphis Symphony Chorus

In Honor of Mr. & Mrs. Rudi Scheidt Mr. & Mrs. Arthur N. Seessel III

In Honor of Barbara H. Marshall Doris Thomas Hill In Honor of Martha Ellen Maxwell Kathleen C. Gardner In Honor of Mary McDaniel Mei-Ann Chen In Honor of the Marriage of Don and Anita McLean Lisa & Louis Jehl Meg Jones

In Memory of Rita Satterfield Marti & Mike Laslavic

In Honor of Charles Schulz Sandra Leftwich In Honor of Art & Janet Seessel Bowers & Brooke Clement In Honor of Art Seessel, III Gary Wunderlich In Honor of Mr. & Mrs. Phil Shannon Rosemary Banta In Memory of Mrs. Dena Shapiro Dr. & Mrs. Sheldon Korones

In Honor of Dr. and Mrs. Lee Milford Martha & James Boyd

In Honor of the Marriage of Sam Shoup & Heather Trussell Ellen Rolfes

In Memory of Cornelia Morris Robert & Eula Horrell

In Memory of Mrs. Lucille “Bonnie” Smith Dr. Bryan & Mrs. Heidi Bell Paul & Linnea Bert Jack & Kathleen Blair Blount International Family Steven Boor David Chancellor James Charles Michele Robin Crump Delta Asset Management Family Jed Dreifus David Gioia Kenneth Goldman & Winnie Wang Tina & Len Al Hass Howard and Barbara Halliburton Wil & Sally Hergenrader Lunida & Lewis Holland Buzzy Hussey and Hal Brunt Susan & Frank Inman Lisa & Louis Jehl Stephanie Jones Mr. & Mrs. William Kaelin III Dr. Edward S. & Linda S. Kaplan Marti & Mike Laslavic LeMoyne-Owen College Family Mr. & Mrs. Lester F. Lit Dr. & Mrs. William Long Mr. Myron M. & Mrs. Dianne Shockley Mall B. Lee & Susan Mallory Martha Ellen Maxwell Mr. & Mrs. Eugene McDermott III Dale & Eugene McDermott Ms. Peggy Seessel Jenny & Graham Smith Dan & Melissa Smith

In Honor of Greg & Ellen Morris John & Lynn Joyner In Memory of Ms. Angela Mullikin Mr. & Mrs. Hubert Minton In Honor of Gloria Nobles Bill and Foy Coolidge In Honor of Liz Parsons Memphis Symphony Chorus In Memory of Ms. Marguerite Piazza Jean M. de Frank Mr. & Mrs. David B. Ferraro Buzzy Hussey and Hal Brunt In Memory of Mr. William “Bill” Prest Virginia Gandy In Honor of Perry Redfearn The Christ United Methodist Church Chancel Choir In Memory of Thomas M. Roberts Mr. & Mrs. John S. Evans Lucy Lee Dale & Eugene McDermott In Honor of Ellen Rolfes Kathryn B. Black

For Tickets 901-537-2525

Ms. Karen Spacek & Mr. William S Solmson George S. Sullivan UT Medical Group Dept. of Radiology Barbara & Tom Willmot Benjamin Willmott Gary Wunderlich In Honor of Mr. Bill Solmson & Ms. Karen Spacek Mr. & Mrs. Arthur N. Seessel III In Memory of Peter Spurbeck Jean M. de Frank Mr. & Mrs. John S. Evans Dr. Raquel Gomez Dr. & Mrs. Horace K. Houston, Jr. Shirley W. McRae Shirley St. Hilaire Jane & Reede Taylor Robert Vidulich & Diane Sachs In Memory of Harriet Stern Marti & Mike Laslavic Dr. Suzanne Gronemeyer & Mr. Ellis Delin In Memory of Mrs. Cele Carolyn Lubin Lisa & Louis Jehl In Honor of Mr. & Mrs. Mike Williams Mr. & Mrs. Arthur N. Seessel III In Honor of Jeremy Warner Memphis Symphony Chorus In Honor of Bill Weppner Memphis Symphony Chorus In Honor of Mr. & Mrs. Tom Whitman Mr. & Mrs. Arthur N. Seessel III In Honor of Joy Brown Wiener Lucia Outlan In Honor of the Marriage between Julia Williams & Vann Manning Wallace & Olivia Bruce Diversified Trust Phillip & Mabel McNeill In Honor of Becky Webb Wilson Mei-Ann Chen In Honor of Mr. & Mrs. Spence Wilson Mr. & Mrs. Arthur N. Seessel III In Memory of Josephine “Jo” Wood Gerry and Charles Duff Peggy and Mac McAneney Frank & Marian Shaffer Honor or Memorialize family and friends with a gift to the MSO. Call (901) 537-2523

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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 and 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. Symphony Soul Project concerts are performed at The Magnet, 879 E. McLemore. Free parking is available at Lindenwood Christian Church, The Magnet 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 west mezzanine 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 available seats for your series before tickets go on sale to the general public. You also have the same great seats all season and every year! Subscribers also have the opportunity to purchase tickets for special events before they are available to the general public! New season ticket patrons receive up to a 50% savings off the single ticket price. For subscriber services or to order, call the Box Office at (901) 537-2525 or visit www.

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 1 ticket per ID is available. All discount tickets are subject to availability.

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

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

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

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

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

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

First Aid • Contact an usher for assistance.

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

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

For Tickets 901-537-2525

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Nationally recognized for creative quality and community vision.

Join us for a stellar season with a variety of entertaining shows in our 2012-13 season.

See classics, comedies, musicals and new works on the Lohrey Stage and Next Stage.

Memberships include six tickets to use in any combination on any unrestricted show and Member Card benefits are all part of your Membership,including discounts on adult tickets to A Christmas Carol, TM’s special events and ShoWagon children’s camps.

Season Memberships may be purchased through November 30, 2012 for only $120.

Purchase individual tickets online at www.theatrememphis.org or call 901.682.8323 to become a member.

2011-12 production photos by Skip Hooper

Pure Entertainment

2012-13 Season FIDDLER ON THE ROOF Aug 24 – Sept 16, 2012

A CHRISTMAS CAROL* Nov 30 – Dec 23, 2012

SYLVIA April 5 – 21, 2013

TALLEY’S FOLLY Sept 21 – Oct 7, 2012

SIX DEGREES OF SEPARATION Jan 25 – Feb 10, 2013

BRIGHTON BEACH MEMOIRS April 26 – May 12, 2013

A STEADY RAIN Feb 15 – March 3, 2013

SINGIN’ IN THE RAIN June 7 – 30, 2013

DANGEROUS LIAISONS Oct 12 – 28, 2012 ALTAR BOYZ Nov 2 – 18, 2012 Jan 11 – 20, 2013

A CHORUS LINE March 8 – 30, 2013

*Not part of the season membership but members do get discounts on A Christmas Carol tickets.

UNRIVALED PERFORMANCE. UNENDING APPLAUSE. Season Presenting Sponsor

Season sponsored by

Generous support received from

Arthur F. and Alice E.

Adams Foundation

PURCHASE TICKETS ONLINE WWW.THEATREMEMPHIS.ORG OR CALL 682.8323

Bon Appétit, Y’all Sample our food section with a distinctive Southern flavor in Wednesday’s paper and online at

facebook.com/sotastes

For home delivery, call 529.2666

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www.MemphisSymphony.org