Volume 4 of 2011|2012 Season's Experience Book

Experience

Experience

James Gholson, 39 years, Retiring Principal Clarinetist Volume 4 2 • 2011|2012 SeaSon Season

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Contents

Volume 4

Concert Experience • Beyond the Score®: The Rite of Spring March 17 & 18............................................... 19 • Mendelssohn, Schubert & Dvorˇák March 23........................................................ 29 • Mahler 2, Ressurection April 14........................................................... 41 • Carmina Burana May 19 & 20.................................................. 55 • Mei-Ann Chen, Music Director ................... 66 • Stilian Kirov, Associate Conductor............... 67

•

2011|2012 Season

• Sponsors & Foundations............................... 76 • Membership Benefits..................................... 78 • Contributors................................................... 79 • Honorariums & Memorials .......................... 90 • Patron/Ticket Information ........................... 92

Symphony Gallery • Memphis Symphony League Valentine Celebration....................................................... 8 • Romeo & Juliet with Gil Shaham................. 26

• Susanna Perry Gilmore, Concertmaster ..... 68

• Mei-Ann Circle of Friends…

An Instrument of Inclusion........................... 52

• Lawrence Edwards, MSO Chorus Director.... 69

• Opus One Connections.................................. 63

• Orchestra Roster............................................. 70

Community Experience

Patron Experience

• T hank You Jim!..................................... 10

• Advertiser Listing........................................... 21

• MSO Takes the Lead...................................... 16

• MSO Board of Directors, League & Staff .. 72

• “I ♥ the Memphis Symphony”.................... 36

• Memphis Symphony League......................... 74

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

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

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SHAKESPEARE’S

Macbeth

OCTOBER 5-23

TRUMAN CAPOTE’S

A Christmas Memory DECEMBER 14-24

SHAKESPEARE’S

The Tempest

APRIL 11-22

TENNESSEE WILLIAM’S

The Glass Menagerie MAY 23-JUNE 3

GENERAL ADMISSION TICKETS: ADVANCE $25 / GATE $30

INTRODUCING AT SHELBY FARMS PARK &

Shakespeare in the Park Southern ExposureSeries AT DIXON GALLERY & GARDENS

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Our support extends beyond our delivery routes.

We understand. Something this good deserves all our support. At FedEx our greatest delivery may be the resources we give to our communities. FedEx is proud to support the Memphis Symphony Orchestra and all those who strive to improve the lives of those around us and the many places we call home.

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Memphis Symphony League Valentine Celebration honoring Susanna Perry Gilmore February 10, 2012 Racquet Club of Memphis

The Memphis Symphony League was pleased to honor Susanna Perry Gilmore, MSO Concertmaster, who will be completing her tenure at the end of the 2011-2012 season.

Lura Turner, League President Billie Jean Graham, Susanna Perry Gilmore, Laura Fleur

Ted and Robin Gibboney, Chapman and Bonnie Smith

Carrie Hardy, Barbara Migliara, and Sara Folis

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Ryan Fleur and Elsie Burkhart

Gary Beard, Margaret Ann Burnett and Joe Lackie

Zernia Peacock, Dr. Yvonne Jones, Carole Klein, Nancy Lou Jones, Chris Owens

Mary Nell Ballew, Mary Booker, Millie Hill

Jenny Compton, Susanna Perry Gilmore, Rhonda Causie, Irene Wade, Laura Fleur

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Thank You Jim! When Dr. James Gholson, Jr. announced plans to retire from the Memphis Symphony Orchestra at the end of the 2011-12 season, the entire MSO family paused for reflection.

An inspired and talented musician, Jim’s presence in the orchestra has spanned five decades. Memphis’ principal clarinetist since the mid-70s, he has been a consistent friend, mentor and teacher to many players, on paths traveled from modest community centers to institutions of higher learning. Jim is a proud son who has distinguished himself academically and professionally, and he is a proud father who has imparted a love for music and artistic excellence to his own talented son.

Jim’s career with the MSO began under founding music director Vincent de Frank, and he has watched de Frank’s budding organization bloom into a professional orchestra recognized for stretching the boundaries of the industry. “My experience in Memphis has been terrific,” says Jim. “I really loved working with Alan Balter. He was cool and classy.

Alan liked working with the community, and the idea of symphony collaborations started with him – he was great that way.” Jim also deeply appreciated David Loebel’s interest in new music, and he highly regards the talent of current music director Mei-Ann Chen.

Ever humble about his range of accomplishments, Jim explains, “Even as a boy at Interlochen, I never expected to be a professional musician. I just loved music.” As he matured artistically, Jim was inspired by great composers, and he would marvel at how they each approached and shared their emotions as individuals. “Composers express their own life experiences through music. They give us the full range of love, despair, heartbreak.” Those glimpses into the human experience drove Jim to explore many lesser known works, especially those of black composers. Daniel Bernard Roumaine, the Haitian-American known for blending funk, rock, hip-hop and classical music, is one of Jim’s favorites.

In coming years, he hopes the MSO will begin to present the music of living black composers and invite them to Memphis to speak and teach.

Dr. Shirley C. Raines and Dr. James Gholson, Jr. 10

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Interestingly, literature is as essential to Jim as music, and many literary giants have gouged his mind. He cites the work of Nobel Prize winner Vargas Llosa of Peru as a model for study. “Any artistic statement,” says Jim, “music or literature, should exist to improve the human condition.”

This personal mantra is evident in Jim’s own literature. His book, FEETS, A CIVIL WAR NOVEL, published in 2010, and available at Amazon.com, taps the human spirit and condition through the eyes of an apprentice blacksmith caught up in the turmoil of Memphis during the Civil War. Jim began researching the novel James Gholson with former student Michael McDonald, as a student, tracing and tramping battlefields at Shiloh, Vicksburg and principal clarinetist of the U.S. Navy Band Gettysburg. Through his character Feets Roche, Jim delves into pressing issues of slavery – political, military and ethical – all compounded by the lack of literacy among period blacks. For Jim, the arts of music and literature, and the skills they require, are essential for quality of life. “Reading and the learning of music, which is another kind of language, is so important. Musicians are mechanics who move past the written word. Like in literature, musical prowess is a stage for improving the human condition.”

Just mention literacy, and the private, unpretentious Jim will blaze with passion.

James Gholson and son Chris Gholson, AKA Drumma Boy

Continued on page 12 For Tickets 901-537-2525

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What else of Dr. Gholson? In addition to playing professionally with the MSO and other ensembles, Jim teaches at the University of Memphis, maintains the UNITUS (a computer system dedicated to education through electronic communication) website, composes music and is working on his second novel. So next season, when we look to the woodwinds on the Cannon Center stage, we will have to speculate on what exactly Jim is doing in his retirement. Is he traveling to experience all the wonders his busy working life kept at bay? Is he setting up a speed reading clinic for inner city kids? Is he researching on battlefields? Regardless of our musings, this we will know – Jim Gholson has music in his heart, literature on his mind and humanity in his soul. He is doing just fine.

James Gholson and sister Sylvia Gholson

James Gholson, Nobuko Igarashi and student 12

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The Piano Studio of Lisa Fairchild Masters Degree in Piano Performance, Nationally Certified Teacher of Music

Ms Fairchild has won national and international piano competitions over the course of her lifetime.

She has performed in Carnegie Hall in New York City, as well as in France and Austria.

She has also been the guest soloist with symphony orchestras in Dallas, Kansas City, and Paducah.

Ms Fairchild has served on the piano faculty at Mississippi State University and has taught class piano at the University of Memphis. She currently maintains a successful private piano studio in Cordova, where her students have been winners in competitions such as the Tennessee Music Teachers Association competition, the Sonatina and Sonata International Youth Piano Competition, the University of Central Arkansas Piano Competition, the UT Martin Piano Competition, and the Beethoven Club Young Artist Competition.

Her students have gone on to study music at such prestigious schools as Carnegie Mellon, Northwestern, and the Interlochen School of the Arts.

Ms Fairchild accepts students of all ages and abilities-- beginners and advanced, as well as the recreational pianist and the competitive pianist.

Please call 901.484.1429 to schedule lessons for yourself or your children.

www.LisaFairchild.com email: lisafairchild@live.com 901.484.1429

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Invest in the Arts.

Invest in Memphis.

Become a member of ArtsMemphis.

ArtsMemphis has invested in the arts for over 48 years, helping to build a better Memphis. Every donor at the $50 level and above is a member. Enjoy benefits like the ArtsCard, giving 2-for-1 discounts to arts events. Become a member today and make Your Support Matter. www.artsmemphis.org

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MSO takes the Lead

Teaching Leadership Skills through Music Lessons on leadership are found in surprising places, like a symphony orchestra. The connections might not seem obvious at first, but observe musicians as they rehearse.

All kinds of similarities appear: collaboration, non-verbal communication, individual responsibility, making decisions, taking the lead, knowing when to be silent and when to make a sound, seeking consensus, solving problems, setting goals and achieving them—the list is long and robust! The Memphis Symphony Orchestra, recognizing that musical performance is a perfect classroom for leadership training, has created Leading From Every Chair® a powerful, interactive leadership workshop.

LFEC® is a daylong event that explores the role each individual plays in creating a great performance and achieving a shared vision. Designed by MSO musicians and staff, LFEC® emphasizes learning through interactive participation. The workshop features music-based activities that allow individuals to explore and experience components of teamwork and leadership using musical motifs. They even compose and perform their own piece of music! The day culminates with everyone invited on stage to experience the MSO in rehearsal. Sitting next to musicians, participants witness firsthand the different leadership qualities they explored in their morning sessions. Everyone is given the chance to reflect, analyze and comment on their observations of how leadership skills and knowledge are applied within the process of making music.

For more information, or to schedule an LFEC® workshop for your group, call Susan Miville at (901) 537-2534.

Workshop attendees demonstrate teamwork as they perform their musical composition.

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One brave participant follows the direction of MSO timpanist Frank Shaffer.

Participants in another group pay close attention to each other’s performance.

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

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Beyond the Score®: Stravinsky The Rite of Spring Saturday, March 17, 2012 at 8:00 p.m. - Cannon Center Sunday, March 18, 2012 at 2:30 p.m. - GPAC

Mei-Ann Chen, conductor Michael Detroit, narrator Bradley Armacost, actor Valeriy Yavor, folk musician Beyond the Score® is produced by the Chicago Symphony Orchestra Gerard McBurney, Creative Director, Beyond the Score® Martha Gilmer, Executive Producer, Beyond the Score®

Beyond the Score®:

Stravinsky The Rite of Spring

INTERMISSION

IGOR STRAVINSKY (1882 - 1971) The Rite of Spring

Part I: The Adoration of the Earth

Part II: The Sacrifice

Thank you to over 1,000 donors who make concerts like this and community work possible!

Sponsored by:

Mei-Ann’s Circle of Friends

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Michael Detroit narrator

Michael was born and raised in Marquette, Michigan, but has called Memphis home since 1989. Honored with a BME in Music Education from Northern Michigan University and an MFA in Musical Theatre from San Diego State University, he has over 60 professional theatre credits, 50 TV commercial credits, and has appeared in five major commercial films: The Client, The People vs. Larry Flynt, Separated By Murder, Chasing the Dragon, and Cast Away. Michael has been a resident company member at Playhouse on the Square in Memphis since 1989, and in 1998 was hired as its first-ever Associate Producer.

Memphis audiences would recognize him in a variety of roles ranging from Brad in The Rocky Horror Show to Milt in Laughter on the 23rd Floor - both of which earned him Memphis Theatre Awards.

Recent roles include Captain Walker in Tommy, the Emcee in Cabaret, the Russian in Chess, and Touchstone in As You Like It. Other than his numerous acclaimed acting and directing accomplishments, his list of accolades includes successfully running the Unified Professional Theatre Auditions - a combined audition with more than 85 professional theatres and 500+ actors and technicians in attendance at Playhouse every February since 1995.

Bradley Armacost narrator

Bradley Armacost is delighted to be a part of BEYOND THE SCORE with Maestro Chen and the Memphis Symphony Orchestra. He has performed narration for Stravinsky’s The Rite of Spring with Gerard McBurney, Esa-Pekka Salonen, conductor; Strauss’ Le Bourgeois Gentilhomme, Andre Boreyko, conductor; and as Pablo Neruda for Miguel HarthBedoya’s Caminos del Inka project. All with the Chicago Symphony Orchestra.

Familiar to Chicago audiences for his work on stage with the Goodman Theatre, Steppenwolf Theatre, Organic and Northlight, he is a regular at Chicago Shakespeare Theatre and an Artistic Associate with Provision Theatre. He is a recipient of the Joseph Jefferson Award for his acting work. He has appeared on regional theatre stages throughout the country, as well as New York and Los Angeles.

His television credits include Missing Persons, Angel Street and recurring roles on The Untouchables and Early Edition. Film credits include Robert Altman’s The Company, Barbershop 2, Repetition, Eight Men Out and Backwoods.

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Valeriy Yavor zhaleika and dudka

A native of Kaliningrad, Russia, Valeriy Yavor studied at the Belarusian State Academy of Music and was a flutist with the Belarusian State Symphony. In 1988 he became a soloist in the orchestra of the Belarusian State Folk Dance Company Khoroshki.

In 1995, he came to the United States as a member of the Folk Group Zabava. In January of 2009 he participated in From Russia with Love concert series with the Detroit Symphony Orchestra and Leonard Slatkin. Mr. Yavor has already participated in the Beyond the Score of Stravinsky’s Rite of Spring: with the Chicago Symphony Orchestra and Esa-Pekka Salonen in 2007, as well as with the Philadelphia Orchestra and Charles Dutoit in 2010.

Valeriy Yavor has participated in numerous international festivals in Russia, France, Germany, Holland, Spain, Italy, Guatemala, United States and is represented by the Ovation! Management.

The Dudka is an old Slavic folk wind instrument made of wood or cane. It has numerous holes and a whistle. The double Dudka is two Dudkas combined into one by a joint whistle. The Zhaleika is an old Slavic reed instrument, whose tube is made of wood and the bell is made of goat’s horn.

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program notes Le sacre du printemps (1913, rev. 1947) Duration: 32 minutes Last performed September 11 & 12, 2004 Igor Stravinsky was born in Lomonosov, Russia, on June 17, 1882, and died in New York on April 6, 1971. The first performance of Le sacre du printemps took place in Paris at the Théâtre des Champs-Elysées on May 29, 1913, with Pierre Monteux conducting. Le sacre du printemps is scored for two piccolos, three flutes, alto flute, four oboes, two English horns, three clarinets, E-flat clarinet, two bass clarinets, four bassoons, two contrabassoons, eight horns, two Wagner tubas, piccolo trumpet, four trumpets, bass trumpet, three trombones, two tubas, timpani, antique cymbals, bass drum, cymbals, güiro, tam-tam, tambourine, triangle and strings.

Stravinsky, Diaghilev and The Rite of Spring Stravinsky’s The Rite of Spring, one of the true landmarks of 20th-century music, was the final work in a trilogy—along with The Firebird (1910) and Pétrouchka (1911)—composed for Sergei Diaghilev’s Ballets Russes. It was during completion of The Firebird that Stravinsky received his inspiration for The Rite of Spring: I had a fleeting vision which came to me as a complete surprise, my mind at the moment being full of other things. I saw in imagination a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.

Such was the theme of the Sacre du Printemps.

However, Stravinsky realized that composing The Rite of Spring would be “a long and difficult task,” and he first looked for a project that would “refresh” him. And so, Stravinsky composed Pétrouchka, which received its first performance in Paris on June 13, 1911. After the premiere, Stravinsky returned to Russia to begin work on The Rite of Spring. There, Stravinsky and his friend Nicholas Roerich met to create the ballet’s scenario. Roerich in turn forwarded the synopsis to Diaghilev.

Nijinsky With the scenario completed, Stravinsky began composition and finally completed The Rite of Spring on March 29, 1913. Diaghilev chose Vaslav Nijinsky—the lead dancer of the Ballets Russes—to choreograph the premiere. Nijinsky, a brilliant dancer who had offered perhaps his crowning performance as Pétrouchka, described by Stravinsky as “one of the most beautiful visions that ever appeared on the stage.” However, Stravinsky added that Nijinsky hardly seemed the appropriate person to choreograph such a complex and revolutionary score.

Stravinsky’s lack of confidence in Nijinsky’s musical abilities was seconded by the great French maestro, Pierre Monteux, who conducted the premieres of Pétrouchka and The 22

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Rite of String. Monteux commented that Nijinsky’s intelligence “was mainly to be found in his feet, legs and arms.”

Stravinsky tried his best to teach Nijinsky: the very rudiments of music: values...bars, rhythm, tempo, and so on. He had the greatest difficulty in remembering any of this. Nor was that all.

When, in listening to music, he contemplated movements, it was always necessary to remind him that he must make them accord with the tempo, its divisions and values. It was an exasperating task, and we advanced at a snail’s pace.

Paris: May 29, 1913 The dress rehearsal for The Rite of Spring took place without incident. However, the May 29, 1913 premiere at the Théâtre des Champs-Elysées was quite another story. Members of the audience began jeering during the very first bars of the prelude. Matters only worsened when the curtain rose on, according to Stravinsky, “knock-kneed and longbraided Lolitas jumping up and down.”

These demonstrations, at first isolated, soon became general, provoking counter-demonstrations and very quickly developing into a terrific uproar.

During the whole performance I was at Nijinsky’s side in the wings. He was standing on a chair, screaming “sixteen, seventeen, eighteen”—they had their own method of counting to keep time. Naturally, the poor dancers could hear nothing by reasons of the row in the auditorium and the sound of their own dance steps. I had to hold Nijinsky by his clothes, for he was furious, and ready to dash on the stage at any moment and create a scandal. Diaghileff kept ordering the electricians to turn the lights on or off, hoping in that way to put a stop to the noise. That is all I can remember about the first performance.

Others present during one of the most infamous moments in music history attested to actual physical altercations between audience members. Throughout the performance, Monteux, according to Stravinsky, “stood there apparently impervious and nerveless as a crocodile. It is still almost incredible to me that he actually brought the orchestra to the end.”

Stravinsky was inclined to blame the production and Nijinsky’s choreography as the reasons for the scandalous premiere. The composer received his vindication when, on April 5, 1914, Monteux led a Paris concert performance of The Rite of Spring: The hall was crowded. The audience, with no scenery to distract them, listened with concentrated attention and applauded with an enthusiasm I had been far from expecting and which greatly moved me. Certain critics who had censured the Sacre the year before now openly admitted their mistake. This conquest of the public naturally gave me intense and lasting satisfaction.

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program notes The Rite of Spring has long been one of the staples of 20th-century orchestral repertoire.

Still, one cannot ignore the effect the music itself must have had upon those attending the premiere. Monteux himself admitted that when he first heard the score, played by Stravinsky at the piano, he “did not understand one note of Le sacre du printemps. My one desire was to flee that room and find a quiet corner in which to rest my aching head.”

Stravinsky was, of course, depicting in music a barbaric tale of pagan sacrificial rites. And it is perhaps also helpful to keep in mind that when Robert Craft asked Stravinsky what he most remembered about his childhood in Russia, the composer responded: The violent Russian spring that seemed to begin in an hour and was like the whole earth cracking. That was the most wonderful event of every year in my childhood...The ice...was several feet thick, a fact that will help you imagine the crash it made the first hour of the spring thaw. The noise then was so great that we could hardly talk...

With such influences at play it’s not surprising that what emerged was a score of unrivaled elemental power, one that still has the capacity to stir, and even shock audiences.

The Rite of Spring Part I—The Adoration of the Earth Introduction: Lento, tempo rubato—The atmospheric introduction, featuring the woodwinds throughout, opens with a bassoon solo derived from a Lithuanian folk melody.

The Augurs of Spring, Dances of the Young Girls; Tempo giusto—The strings repeat a forceful rhythmic pattern that is punctuated by syncopated accents. Another repeated figure is played by the English horn. A solo horn introduces a more lyrical passage, soon taken by other instruments. The music builds to a climax.

Ritual of Abduction; Presto—This brief, frenetic passage opens with mighty strokes of the timpani and bass drum, to which the winds respond with a flurry of activity. Flute trills serve as a bridge to the next section.

Spring Rounds; Tranquillo; Sostenuto e pesante; Vivo; Tranquillo—This section begins softly, but the strings soon introduce a three-note figure that develops into an inexorable motif. It continues to gather strength and finally explodes with frightening power. A reprise of the Tranquillo opening passage concludes Spring Rounds.

Ritual of the Rival Tribes; Molto allegro—This section juxtaposes violent and lyrical elements.

Procession of the Sage—Horns, playing in octaves, herald the arrival of the Sage. The section concludes with a measure of silence.

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The Sage; Lento—A passage of four reflective measures of woodwind chords, punctuated by timpani strokes.

Dance of the Earth; Prestissimo—The bass drum introduces the First Part’s concluding section, a terse passage of unrestrained, violent energy.

Part II—The Sacrifice Introduction; Largo—According to Roerich’s scenario, the First Part of the ballet represents “Day,” the Second, “Night.” The extended Introduction maintains a hushed, nocturnal mood throughout.

Mystic Circles of the Young Girls; Andante con moto—The mystery of the Introduction continues with a passage for divided strings. The horns play a refrain that is repeated by the strings and winds. Suddenly, there is a crescendo and acceleration of tempo. Eleven brutal chords precede the next section.

Glorification of the Chosen One; Vivo—This brief passage features constantly fluctuating time signatures and piercing orchestral sonorities.

Evocation of the Ancestors; L’istesso movimento—Massive drumbeats alternate with orchestral fanfares.

Ritual Action of the Ancestors—The section begins quietly, as rhythmic orchestral figures accompany English horn and alto flute solos. Muted trumpets play a motif that is soon repeated by the oboes and muted horns in a mighty orchestral proclamation, followed by a restatement of the opening music.

Sacrificial Dance (The Chosen One)—The final section of The Rite of Spring is an episode of extraordinary power and rhythmic complexity. Shifting time signatures and violent syncopations accompany the sacrificial dance. The relentless power of the music continues and then comes to a quick halt. A brief ascending flute passage and final emphatic chord mark the stunning conclusion to The Rite of Spring.

– Ken Meltzer

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Romeo & Juliet with Gil Shaham concert Saturday, February 11 at the Cannon Center

Gil Shaham greeting student string musicians who performed in the lobby before the Masterworks concert.

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Gil Shaham with student string musicians who performed in the lobby before the concert.

Wen Yih Yu, MSO violinist, shares the article he wrote for a Chinese newspaper with Gil Shaham

Patrons Striking Our Gong to help raise money for the MSO’s community initiatives.

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

David Sedaris

Thursday, November 10

Swan Lake Moscow Festival Ballet

Saturday, September 17

Ronald K. Brown/Evidence

Sunday, February 26

The Capitol Steps

Saturday, November 12

Diavolo - Friday, March 2

The 5 Browns

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

Friday, September 23

Compañia Flamenca Jose Porcel

Friday, January 27

Friday, October 14

Saturday, February 4

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

Stanley Clarke

Saturday, November 5

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

Friday, April 13

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

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

Delores Kinsolving

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Milton Schaeffer Scheidt Family Foundation www.MemphisSymphony.org

Mendelssohn, Schubert & Dvorˇák Friday, March 23, 2012 at 7:30 p.m. – Hutchison School

MEI-ANN CHEN, conductor

ANTONIN Dvorˇ ák (1841 - 1904) Serenade in D Minor, Op. 44

Moderato quasi marcia Menuetto - Trio: Presto Andante con moto Finale: Alegro molto

RALPH VAUGHAN WILLIAMS (1872 - 1958) Fantasia on a Theme by Thomas Tallis FELIX MENDELSSOHN (1809 - 1847)

The Hebrides Overture, Op. 26 (Fingal’s Cave)

FRANZ SCHUBERT (1797 - 1828) Symphony No. 5 in B-flat Major, D. 485

Allegro

Andante con moto

Menuetto: Allegro molto

Allegro vivace

a

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

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one-minute notes The imagery of Mendelssohn’s Hebrides Overture is set on an island off of Scotland known as Fingal’s Cave. The piece was dedicated to King Frederick William IV of Prussia, who favored the Romantic period of art.

Vaughan Williams’ Fantasia was inspired by his project to revise the Anglican Church’s hymnal, which was full of Thomas Tallis’ compositions. Vaughan Williams wrote this piece right after he studied with composer Maurice Ravel. See if you can pick out the influence of Ravel’s modernist and impressionist styles along with the lush harmonies of hymnal tunes.

Schubert wrote his Symphony No. 5 in six months, when he was only nineteen years old.

He was heavily influenced by Mozart, which you can hear in the musical styling of this piece and see in his choice of instrumentation; this Symphony lacks clarinets, trumpets, or timpani, which is how Mozart’s Symphony. No. 40 is scored.

— Nicole Davis, Patron Engagement Manager

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12.2–4 Nutcracker

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a fairytale evening at The Orpheum

4.28 Connections Season Finale

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balletmemphis.org | 901.737.7322 For Tickets 901-537-2525

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program notes Serenade in D Minor, Op. 44 (1878) Duration: 23 minutes Last Performed November 3, 2006 Antonín Dvorˇák was born in Nelahozeves, Bohemia (now, the Czech Republic), on September 8, 1841, and died in Prague on May 1, 1904. The premiere of the Serenade in E Major took place in Prague on December 10, 1876, with Adolf Cˇech, conducting. The Serenade in D Minor is scored for two oboes, two clarinets, two bassoons (optional contrabassoon), three horns, cello and double-bass.

In the summer of 1874, Czech composer Antonín Dvorˇák applied for the Austrian State Stipendium, an award given by the Vienna Ministry of Education to “young, poor and talented artists.” Dvorˇák submitted numerous compositions for review by a distinguished panel that included Johann Herbeck (Director of the Vienna Court Opera), the noted Viennese critic Eduard Hanslick, and the great German composer Johannes Brahms.

Dvorˇák impressed the panel and, as a result, received a considerable stipend. Following that initial grant, awarded in the early part of 1875, Dvorˇák received an Austrian State Stipendium for two more years. These awards provided Dvorˇák with the much-needed resources to pursue his career as a composer.

In addition, Brahms referred Dvorˇák to the attention of the music publisher, Simrock. The influential German publisher’s distribution of Dvorˇák music helped to catapult the Czech composer to international prominence. One Dvorˇák work published by Simrock is the Serenade in D Minor, Op. 44, completed in 1878, and scored for winds, cello and doublebass.

Dvorˇák once commented, “I myself have gone to the simple, half forgotten tunes of the Bohemian peasants for hints in my most serious works. Only in this way can a musician express the true sentiment of his people. He gets in touch with the common humanity of his country.” The Serenade in D Minor is a charming example of Dvorˇák transporting the spirit of his beloved homeland to the concert stage. The instrumentation certainly recalls the wind bands Dvorˇák heard in his native Bohemia, as well as Czech folk music.

The Serenade opens with a sprightly march (Moderato quasi marcia). The genial main portion of the ensuing Menuetto (Tempo di menuetto) is based upon a Czech folk dance, the sousedská, Likewise, the lively intervening Trio section is another Czech dance, the furiant.

After a lovely slow movement (Andante con moto), the Serenade concludes with a vibrant Finale (Allegro molto), featuring a reprise of the opening March.

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Fantasia on a Theme by Thomas Tallis (1910, rev. 1919) Duration: 15 minutes Last Performed January 10 & 11, 2004 Ralph Vaughan Williams was born in Down Ampney, England, on October 12, 1872, and died in London, England, on August 26, 1958. The premiere of the Fantasia on a Theme by Thomas Tallis took place at the Gloucester Cathedral in Gloucester, England, on September 6, 1910, with the composer conducting the London Symphony Orchestra.

The Fantasia on a Theme of Thomas Tallis is scored for string quartet, string orchestra, and smaller orchestra of nine strings (two first violins, two second violins, two violas, two cellos, and double bass).

In 1904, Ralph Vaughan Williams agreed to serve as editor for a new edition of The English Hymnal. During the course of his work on the Hymnal, Vaughan Williams discovered a series of melodies by the 16th-century English composer, Thomas Tallis (c.

1505-1585). One Tallis melody in particular greatly appealed to Vaughan Williams. It originally appeared in the 1567 English Psalter as the music for the text “Why fumeth in sight: the Gentiles spite, In fury raging stout?” The Tallis melody is No. 92 in The English Hymnal, set to Addison’s “When rising from the bed of death.” This served as the basis for one of the most radiant English orchestral works of the 20th century, the Fantasia on a Theme by Thomas Tallis.

Vaughan Williams completed the Fantasia in June of 1910. The first performance took place at the Gloucester Cathedral, as part of the renowned “Three Choirs Festival.” At the September 6, 1910 premiere, the composer conducted the strings of the London Symphony Orchestra.

In a review of the premiere, Fuller Maitland, writing for The Times, eloquently captured the unique qualities of Vaughan Williams’s masterpiece: The work is wonderful because it seems to lift one into some unknown region of musical thought and feeling. Throughout its course one is never quite sure whether one is listening to something very old or very new…

The voices of old church musicians…are around one, and yet there is more besides, for their music is enriched with all that modern art has done since…it cannot be assigned to a time or a school, but it is full of visions which have haunted the seers of all times. We can recall no piece of pure instrumental music produced at a Three Choirs Festival which has seemed to belong to its surroundings so entirely as does this Fantasia.

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program notes The Hebrides Overture, Op. 26 (Fingal’s Cave) (1830) Duration: 10 minutes Last Performed October 22 & 23, 1993 Felix Mendelssohn was born in Hamburg, Germany, on February 3, 1809, and died in Leipzig, Germany, on November 4, 1847. The premiere of The Hebrides Overture took place at the London Philharmonic Society in Covent Garden in London, England, on May 14, 1832, with Thomas Attwood conducting. The Hebrides Overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

In April of 1829, twenty-year-old Felix Mendelssohn departed his native Germany to embark upon a series of journeys throughout Europe. These travels provided the inspiration for several of Mendelssohn’s finest compositions. Mendelssohn first traveled to England. Then, in the summer of 1829, Mendelssohn and his friend, the poet Carl Klingemann, journeyed to Scotland.

On August 7, Mendelssohn and Klingemann endured a rather treacherous voyage to visit Fingal’s Cave on the Hebrides island of Staffa. Named for the legendary Gaelic Hero, Fingal’s Cave is a magnificent natural structure that measures 227 feet in length, with pillars made of richly-colored basalt. When the sea is calm, one can actually row into the mouth of the cave, whose murmuring waters have inspired the Scots to call the sight “the cave of music.”

In a letter penned on the day of the visit, Mendelssohn wrote to his sister, Fanny: “In order to make you understand how extraordinarily the Hebrides affected me, I am sending you the following which came into my head there.” Mendelssohn was referring, of course, to the brooding and atmospheric opening of what was to become known as The Hebrides Overture, or “Fingal’s Cave.”

The Overture begins with the famous undulating theme that seems to evoke the waters of “the cave of music.” The cellos and bassoons introduce the majestic cantabile second theme. The ensuing development section conjures images of the stormy waters that surround the Cave’s imposing edifice. The recapitulation leads to a vigorous coda. For all of the Overture’s intensity, however, the work finally ends as quietly and mysteriously as it began, perhaps suggesting the timelessness of the natural wonder that so captivated Mendelssohn.

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Symphony No. 5 In B-flat Major, D. 485 (1816) Duration: 26 minutes Last Performed March 5, 2004 Franz Schubert was born in Vienna, Austria, on January 31, 1797, and died there on November 19, 1828. The premiere of Schubert’s Fifth Symphony took place in Vienna in October of 1816.

The Fifth Symphony is scored for flute, two oboes, two bassoons, two horns and strings.

Franz Schubert began composition of his Symphony No. 5 in September of 1816, and completed the work on October 3. The premiere of the Fifth Symphony took place in Vienna in October of 1816, at the home of Otto Hatwig. The score of the B-flat Symphony disappeared after Schubert’s death. It was discovered approximately four decades later, thanks to the efforts of musicologist Sir George Grove and composer Sir Arthur Sullivan. The first public performance of Schubert’s Fifth Symphony occurred on February 1, 1873, at the London Crystal Palace, with August Manns conducting.

In June of 1816, after attending a performance of one of Wolfgang Amadeus Mozart’s String Quintets (probably K. 516, in G Minor), Schubert wrote in his diary: A light, bright, fine day this will remain throughout my whole life. As from afar the magic notes of Mozart’s music still gently haunt me...Thus does our soul retain these fair impressions, which no time, no circumstances can efface, and they lighten our existence.

They show us in the darkness of this life a bright, clear, lovely distance, for which we can hope with confidence. O Mozart, immortal Mozart, how many, oh how endlessly many such comforting perceptions of a brighter and better life hast thou brought to our souls!

Many commentators have discerned the influence of Mozart Schubert’s Fifth. For example, the orchestration, which omits trumpets, drums and clarinets, recalls Mozart’s original version of his Symphony No. 40 in G Minor, K. 550 (1788). But as with any expression of genius, the Fifth Symphony tells us more about Schubert than those who may have influenced him. This genial work celebrates the rich fount of melodic inspiration that served Franz Schubert so well, particularly in song composition, a realm in which he is still acknowledged as the supreme master.

The first movement (Allegro) begins with four hushed bars of introduction, leading to a statement by the first violins of the charming opening theme. The elegant second-movement (Andante con moto) is built upon two alternating sections. The first is a lovely melody, introduced by the violins, and soon played by the woodwinds. The second provides greater tension, due in part to increased dynamic contrast. The principal theme of the third-movement Menuetto (Allegro molto) is a rather angular ascending and descending melody that rapidly alternates between minor and major. The charming central Trio section has a relaxed quality.

The finale (Allegro vivace) is based upon two principal themes, whose recapitulation, capped by a series of sprightly triplets, brings the Schubert Fifth to a joyous close.

– Ken Meltzer For Tickets 901-537-2525

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“I ♥ the Memphis Symphony” Colonial Middle School’s CAPA Orchestra’s campaign to support the MSO! When five students from Colonial Middle School walked out on stage at the MSO’s annual Young People’s Concert on February 22, no one was more surprised than the musicians of the orchestra when the students unrolled a huge check for $1,000 and presented it to the organization as a donation. The students, who receive coaching throughout the school year as a part of the MSO’s CAPA Virtuousi Initiative, were at the Cannon Center along with 13 of their classmates and their teacher Paula Turner. They came to see and hear their coaches perform and to thank the MSO for all it does in the community.

The students raised the money as a part of community service project connected to Memphis City Schools district-wide ThinkShow, a program that showcases student work with a focus on innovation and creativity. The Colonial CAPA Orchestra students immersed themselves in learning all about the MSO’s YPC and being patrons of the arts: listening to the concert repertoire, reading about the composers and writing program notes. The goal of their project was to raise awareness of classical and symphonic music amongst their peers and the community. Their culminating effort was a fund raiser at the school on Valentine’s Day at which they raised the $1,000!

As he presented the check, eighth grader Erwin Purnell spoke on behalf of the CAPA Orchestra and told the audience of approximately 1300 elementary students, that they too could be patrons of the arts just like the Colonial students. To the musicians of the Memphis Symphony, he said, with great pride, that bringing their music to the community has “a HUGE impact” on Memphis, making it a better city for all.

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Presents

Symphony in the GardenS

Saturday, may 12 at 6:00 p.m

Gates open at 4:00 p.m.

dixon Gallery & Gardens Located at 4339 Park Avenue

ticket priceS advance: Adult $15 | Child $10 day of concert: Adult $20 | Child $15 Members/subscribers 20% off for ticketS Memphis Symphony Orchestra (901) 537-2525 Dixon Gallery & Gardens (901) 761-5250 Tickets (901) 537-2525 www.memphissymphony.org

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3/7/12 9:05 PM

Resurrection Saturday, April 14, 2012 at 8:00 p.m. - Cannon Center

Mei-Ann Chen, conductor Mary Wilson, soprano Christin-Marie Hill, mezzo soprano Memphis Symphony Chorus

Lawrence Edwards, artistic director GUSTAV MAHLER (1860 - 1911) Symphony No. 2 in C Minor (Resurrection)

Allegro maestoso Andante moderato In ruhig fliessender Bewegung Urlicht Scherzo

Mary Wilson, soprano

Christin-Marie Hill, mezzo soprano

This concert will be performed without an intermission.

Please note this concert will not be repeated at Germantown Performing Arts Centre

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Concert Preview a

• Cannon 7:15 p.m.

Morgan Keegan lobby Mezzanine level

one-minute notes Gustav Mahler wrote his Symphony No. 2 in segments between 1888 and 1894. The Resurrection Symphony was a nickname given to it by others based on the choral text and Mahler’s notes.

The entire Symphony is man’s existential search for meaning. It cycles through the emotions that a grieving person would feel during and after a loved one’s death. The Symphony starts with a funeral, during which some of life’s greatest questions are posed: Is there life after death? Is there any meaning to life?

The griever then enjoys a blissful dream of life’s beauty before realizing with anguished fear that life is meaningless. Soon after, he feels faith in God’s salvation and is comforted. Suddenly, the griever awakens from his reverie with a scream of anguish as the trumpets of the Apocalypse sound, and every soul receives Judgment. After the souls have been sorted, the chorus can be heard singing praises to God. There is an overwhelming sense of peace and bliss.

— Nicole Davis, Patron Engagement Manager

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Mary Wilson soprano

Soprano Mary Wilson is acknowledged as one of today’s most exciting young artists. Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase.” (Dallas Morning News) Receiving consistent critical acclaim from coast to coast, “she proves why many in the opera world are heralding her as an emerging star. She is simply amazing, with a voice that induces goose bumps and a stage presence that is mesmerizing. She literally stole the spotlight…” (Arizona Daily Star) In high demand on the concert stage, she has most-recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Jacksonville Symphony, Dayton Philharmonic, VocalEssence, and at the Hollywood Bowl. She has worked with conductors including Nicholas McGegan, Bernard Labadie, Martin Pearlman, Martin Haselböck, JoAnn Falletta, Michael Stern, Anton Armstrong, Philip Brunelle and Leonard Slatkin. An exciting interpreter of Baroque repertoire, especially Handel, she has appeared with Philharmonia Baroque, Musica Angelica, American Bach Soloists, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Baltimore Handel Choir, Florida Bach Festival, Brooklyn Academy of Music, the Casals Festival, and the Carmel Bach Festival. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle “Songs Old and New” written especially for her by Ned Rorem. She was named an Emerging Artist by Symphony Magazine in 2004 in the publication’s first ever presentation of promising classical soloists on the rise On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World premiere performances of Dove’s Flight, Glass’ Galileo Galilei, and Petitgirard’s Joseph Merrick dit L’Elephant Man. She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Mississippi Opera, Southwest Opera, Brooklyn Academy of Music and the Goodman Theatre.

An accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She currently resides in Memphis, Tennessee, with her husband and son.

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Christin-Marie Hill mezzo-soprano

Praised as a “powerful, warm-hued mezzo-soprano” by the New York Times and “majestic in voice and appearance” by the Boston Globe, the young American mezzo-soprano Christin-Marie Hill is captivating audiences and critics alike with her thrilling performances.

In 2010-11 Christin-Marie Hill sings as soloist in Beethoven’s Symphony No. 9 with both Richmond Symphony and Memphis Symphony Orchestra; Brahms’ Alto Rhapsody, also with Memphis Symphony Orchestra; Mahler’s Symphony No. 2 with Anchorage Symphony Orchestra; and Verdi’s Requiem with Lynn University. In the 2009-10 season she sang Monisha in Joplin’s Treemonisha with Théâtre du Châtelet (Paris); as soloist in Mahler’s Symphony No. 2 with the Des Moines Symphony; with Atlanta Symphony Orchestra in Donald Sur’s work entitled Slavery Documents; and appeared in recital at New York City’s Middle Collegiate Church. Ms. Hill made her Carnegie Hall debut in 2008-09 as Petrovna in Rimsky-Korsakov’s The Tsar’s Bride with the Opera Orchestra of New York, and appeared in Peter Eötvös’ Angels in America with Oper Frankfurt.

Her most recent successes include her third summer as a Fellow at the Tanglewood Music Center where she performed the role of Anna in Berlioz’s Les Troyens with the Boston Symphony Orchestra under James Levine as well as the role of Leokadia Begbick in Weill’s The Rise and Fall of the City of Mahagonny. Other recent engagements included the roles of both Jezibaba in Rusalka and Ulrica in Un ballo in maschera with Minnesota Opera as well as the role of Sorceress in Dido and Aeneas with Mark Morris Dance Company.

Christin-Marie Hill’s operatic highlights include singing the role of Stella in the American stage premiere of Elliot Carter’s What Next? at the Tanglewood Music Center, Dido in Dido and Aeneas with Kansas Opera Theater, and Tisbe in La Cenerentola with Lyric Opera of Kansas City.

As a member of San Francisco Opera’s Merola Program Ms. Hill performed excerpts of Dalila in Samson et Dalila and added the role of Baba the Turk in The Rake’s Progress to her repertoire.

She has also appeared as Gertrude in Roméo et Juliette with Lyric Opera of Kansas City, Tituba in The Crucible with the Des Moines Metro Opera, and Third Lady in Die Zauberflöte with the University of Missouri - Kansas City.

An avid concert and oratorio soloist, Ms. Hill’s extensive list of concert credits include performing William Bolcom’s A Whitman Triptych for mezzo-soprano and orchestra at the Tanglewood Music Center, Beehoven’s Mass in C with the New River Valley Symphony, and Mendelssohn’s Elijah with Utah Festival Opera Orchestra. A frequent soloist with the Blacksburg Chorale of Virginia, she has performed Bach’s Mass in B Minor, Haydn’s Lord Nelson Mass, and Handel’s Messiah. She has also sung Vivaldi’s Gloria with Baroque Artists of Champaign, Duruflé’s Requiem with The Prairie Ensemble, Bach’s St. John Passion with Sinfonia di Camera, Beethoven’s Missa solemnis with the University of Illinois Symphony, and performed selected arias in concert with the Springfield Symphony.

A native of Evanston, Illinois, her distinctions include a fellowship in voice from the University of Illinois as well as career grants from the San Francisco Opera, the Rislov Foundation, the Kaplan Foundation, and the 2005 Elardo International Opera Competition. Ms. Hill holds bachelor’s degrees in French literature and sociology, and a master’s degree in vocal performance from the University of Illinois.

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Memphis Symphony Chorus Lawrence Edwards, Artistic Director

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

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

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

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

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Memphis Symphony Chorus Dr. Lawrence Edwards, Artistic Director

Alto 1 Elizabeth M. Andrew Lily S. Axelrod Laura J. Crane Kim Eggert Pamela Gold * Deborah K. Goodman * Anita Hester * Anita I. Lotz Lisa Lucks Mendel * Martha Pearson Wesson Terron K. Perk * Chandra D. Savage Terri V. Watts Alto 2 Cindy Armistead Melanie M. Bradshaw Gretchen Carstens Kathie Fox Barbara Frederick Jennifer N. Friedman Andrea Goughnour Vicki C. Hornsby Leisa B. Kennin Jean Matthews Vivian H. Norman Stephony L. Robinson Patricia D. Rogoski Mary Seratt * Jamie L. Walker Jackie B. White * Paula B. Witek Bass 1 Stephen Alsobrook Father Charles Bauer Steve D. Broome Irvine Cherry Stan Craig Brian Earwood 46

Reggie M. LeSueur James McClanahan Martin “Skip� Monfort Eugene M. Reyneke Sandeford J. Schaeffer, III Jonathon Schug Jeremy T. Warner William G. Weppner Barry F. White Herb Zeman Bass 2 Bob Brittingham Boyd R. Highfield, III Ryan Johnson Joseph S. Matesich David G. Orland David M. Patterson Jack Seubert Lewis R. Wright Soprano 1 Linda Brittingham Marcia Buster Alicia Butler Janet Carnall * Kimberly Cox Becky R. Darnell Jennifer J. Dickerson Mary Egdorf Claire E. Fox Leslie A. Goldberg Elizabeth Harned Sandra J. Hunt Jordan Riddle Hannah Smith Rae L. Williams * Rosemary Winters Paula M. Wood

Soprano 2 Ruth K. Allen Elizabeth H. Buls * Aimee L. Cancienne Delia C. Carias Beth Chenault Dianne Curtiss Jeannine Edwards Roberta K. Gibboney Betsy Hamric Theresa A. Hayes Beth Hoople Emily Huseth Shay M. Kearney Rosalyn M. Lake Oma R. Strickland Deb Dallas Walker Paula L. Wallace Linda H. Waltz Nancy M. Wiggs Tenor 1 JohnPaul R. Abbott Clint M. Early, Jr Russell W. Hardeman Rick W. Johnson Frank Johnson Dustin Phelps Shane Rasner* Matthew T. Williams Tenor 2 Matthew L. Bowlin John T. Killmar David Spear Jaime Yanes *Denotes current board member

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University Singers Rudi E. Scheidt School of Music Dr. Lawrence Edwards, Conductor Liz Parsons, Accompanist Soprano Breanna Cochran Helen Fentress Kaitlyn Fleet Hannah Good Mikenzie Gregory Courtney Harrough Rayna M. Holmes Julie Jacobson Jessica McCullough Margaret McMurray Melanie Scarborough Alto Jacquelene Cooper Kayla Grieme Molly Johnson Erin Kulinski Rebecca Payne Shauntyce Plowden Veda Polk Mandy Rackley Nicole Smith Tanisha Ward Ciyadh Wells

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University of Memphis Jeremy Warner, Assistant Conductor Matthew Hayner, Graduate Assistant Tenor Mark Blackburn Jordan Cook Nathan Dumser Ali Yunus Gencer Jonathan Glisson Lucas Hefner Michael Mathenia Brett Nelson Landon Rodgers Kelvin Shotwell Bass Courtland Baskerville Datris Cobb Logan Green Matthew Hayner Benjamin Hight Lambert Milam Christopher J. Mitchell Jeremy Warner

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program notes Symphony No. 2 in C Minor, “Resurrection” (1894) Duration: 1 hour 18 minutes Last performed September 20, 2003 Gustav Mahler was born in Kalište, Bohemia, on July 7, 1860, and died in Vienna, Austria, on May 18, 1911. The premiere of the complete “Resurrection” Symphony took place in Berlin, Germany, on December 13, 1895, with the composer conducting the Berlin Philharmonic. The “Resurrection” Symphony is scored for soprano and alto solos, mixed chorus, four piccolos, four flutes, four oboes, two English horns, two E-flat clarinets, five clarinets, bass clarinet, four bassoons, two contrabassoons, ten horns, eight trumpets, four trombones, tuba, timpani (two players), orchestra bells, snare drum, low chimes, triangle, rute, cymbals, suspended cymbals, high tam-tam, bass drum, low tam-tam, two harps, organ and strings.

“Absolutely hopeless as a composer” Gustav Mahler’s epic “Resurrection” Symphony was the product of an extended and mighty struggle. Mahler composed the various movements in fits and starts over a sevenyear period. Even after he had completed four of the Symphony’s five movements, the composer despaired that he would never be able to fashion a suitable conclusion.

In January of 1888, Mahler began to sketch the massive opening movement he called Totenfeier (Funeral Rites), which he completed that August. It appears that the composer intended from the outset that Totenfeier would be the opening movement of a symphony.

The original score bears the work’s title, as well as the designations “Symphony in C Minor” (crossed out) and “Movement I” (not crossed out).

In March of 1891, Mahler was appointed conductor of the Stadttheater in Hamburg. That September, Mahler asked the eminent conductor and leader of the Hamburg Orchestra, Hans von Bülow, to hear Totenfeier.

The meeting was a disaster. Bülow had the utmost respect for Mahler as a conductor, but did not care for the young man’s compositions. Mahler played a piano reduction of the score for Bülow. As Mahler related to his friend, composer Josef Foerster: When I had finished I awaited the verdict silently. But my only listener remained at the table silent and motionless. Suddenly, he made an energetic gesture of rejection and said: “If that is still music then I do not understand a single thing about music.” We parted from each other in complete friendship, I, however, with the conviction that Bülow considers me an able conductor but absolutely hopeless as a composer.

Mahler seemed to abandon the idea of making Totenfeier part of a multi-movement symphony.

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A “stroke of lightning” Then in the summer of 1893, Mahler suddenly found new inspiration. He quickly completed the second-movement Andante and third-movement Scherzo. Mahler used an orchestration of the song, Urlicht, from Des Knaben Wunderhorn, as the Symphony’s fourth movement. But once again, Mahler became frustrated, this time with creating a finale that would properly answer the questions posed in the opening Totenfeier.

As it turned out, the source of inspiration for the finale of Mahler’s Second Symphony came from Hans von Bülow. The conductor died, at the age of 64, on February 12, 1894. Mahler attended the March 28 memorial service. In a February 17, 1897 letter to conductor Anton Seidl, Mahler recalled: The mood in which I was in as I sat there thinking of the deceased was very much in the spirit of the work I had on my mind at the time. Then, from the organ loft, the choir sang (Friedrich G.) Klopstock’s chorale Resurrection! This hit me like lightning, and everything appeared clearly and distinctly before me! Every creative artist waits for that stroke of lightning; it is a kind of holy conception!

That very afternoon, Mahler resumed work on his “Resurrection” Symphony. On June 29, 1894, Mahler announced the Symphony’s completion.

The first performance of the entire “Resurrection” Symphony took place on December 13, 1895. Despite a severe migraine attack that incapacitated Mahler on the afternoon of the performance, the premiere was a great success with the public, although critical reaction was mixed.

To learn more scan this QR code on your smart phone.

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translations IV. Urlicht

IV. Primal Light

Alto solo O Röschen rot!

Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein!

Ja lieber möcht’ ich im Himmel sein!

Da kam ich auf einem breiten Weg; Da kam ein Engelein und wollt’ mich abweisen.

Ach nein! Ich liess mich nicht abweisen!

Ich bin von Gott und will wieder zu Gott!

Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!

Alto solo O red rose!

Man lies in greatest need!

Man lies in greatest pain!

Yes, I would rather be in heaven!

Then I came upon a broad road: There came an angel who wanted to refuse me.

Ah no! I would not be refused!

I am from God and will return to God! The dear God will give me a small light, Will light my way unto eternal blessed life!

V. Chorus and Soprano Solo Aufersteh’n, ja aufersteh’n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben wird, der dich rief dir geben!

V. Chorus and Soprano Solo Rise again, yes, you will rise again, My dust, after a short rest!

He who called you will give you Eternal Life.

Wieder aufzublüh’n, wirst du gesä’t!

Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben!

You are sown to bloom again!

The Lord of the Harvest goes forth And gathers the sheaves, Of us who have died!

Alto Solo O glaube, Mein Herz, O glaube: Es geht dir nichts verloren!

Dein ist, was du gesehnt!

Dein, was du geliebt, Was du gestritten!

Alto Solo Oh believe, my heart, oh believe: Nothing of you will be lost!

What you longed for is yours!

What you loved for, What you fought for!

Soprano Solo O glaube, Du wardst nicht umsonst geboren!

Hast nicht umsont gelebt, Gelitten!

Soprano Solo Oh believe, You were not born in vain!

Have not lived, suffered in vain!

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Chorus What was created, Must perish!

What perished, must rise again!

Chorus Was enstanden ist, Das muss vergehen!

Was vergangen, auferstehen!

Chorus and Alto Solos Stop trembling!

Prepare yourself to live!

Chorus and Alto Solo Hör’ auf zu beben!

Bereite dich zu leben!

Soprano and Alto Solos O pain, that pierces all!

I have been taken away from you!

O death! That overcomes all!

Now you are conquered!

With wings that I have won for myself, In love’s fervent striving, I shall soar To the light no eye has reached!

Soprano and Alto Solos O Schmerz! Du Alldurchdringer!

Dir bin ich entrugen!

O Tod! Du Allbezwinger!

Nun bist du bezwungen!

Mit Flügeln, die ich mir errungen, In heissem Liebesstreben, Werd’ ich entschweben Zum Licht, zu dem kein Aug’gedrungen!

Chorus With wings that I have won for myself, I shall soar I shall die, in order to live!

Chorus Mit Flügeln, die ich mir errungen, Werd ich entschweben Sterben werd ich, um zu leben!

Chorus, Soprano and Alto Solos Rise again, yes you will rise again My heart, in an instant!

What you have conquered, Will carry you to God!

Chorus, Soprano and Alto Solos Aufersteh’n, ja aufersteh’n Wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen!

– Ken Meltzer

For Tickets 901-537-2525

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Mei-Ann Circle of Friends…

An Instrument of Inclusion February 13, 2012

Launch party, held at Barbara Hyde’s home, for Mei-Ann’s Circle of Friends for a diverse circle of women who are committed to serving Memphis through the Symphony.

Gayle Rose, Mei-Ann Chen, Ritche Bowden & Barbara Hyde

Linda McNeil & Lila Saunders

Alisa Smallwood, Belinda Anderson & Gretchen McLennon Becky West, Anita Vaughan & Lillian Brown 52

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Bonnie Smith & Joey Beckford

Florence Leffler & Cynthia Ham

Ellen Klyce talking to Andie Uiberall

Rachel Shankman, Suzanne Landau, Joanna Lipman & Suzana Lightman

For Tickets 901-537-2525

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Carmina Burana Saturday, May 19, 2012 at 8:00 p.m. - Cannon Center Sunday, May 20, 2012 at 2:30 p.m. - GPAC

Mei-Ann Chen, conductor Priti Gandhi, soprano John McVeigh, tenor Philip Cutlip, baritone Memphis Symphony Chorus

Lawrence Edwards, artistic director GIOACHINO ROSSINI (1792 - 1868) Selections from The Barber of Seville

Overture

Ecco ridente in Cielo

John McVeigh, tenor

Largo al factotum

Philip Cutlip, baritone

Una voce poco fa

Priti Gandhi, soprano

Ah! Qual colpo inaspettato. Zitti, Zitti, Piano, Piano

Trio

INTERMISSION

CARL ORFF (1895 - 1982) Carmina burana - Cantiones profanae

Fortuna imperatrix mundi

Primo vere

Uf dem Anger

In taberna

Cour d’amours

Blanziflor et Helena

Fortuna imperatrix mundi

Priti Gandhi, soprano

John McVeigh, tenor

Philip Cutlip, baritone

Memphis Symphony Chorus

For Tickets 901-537-2525

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Concert Preview a

• Cannon 7:15 p.m.

Morgan Keegan lobby Mezzanine level

• GPAC 1:45 p.m.

Ballet Room

one-minute notes Carmina Burana was composed by Carl Orff in the height of the Nazi regime in 1935 and 1936. Orff was interested in medieval German poetry and based his piece on the twenty-four poems in the collection of the Burana Codex. There are four main themes: morals and mockery, love, drinking and gaming, and spirituality.

Carmina Burana starts and ends with the movement entitled O Fortuna, which reflects the imagery of the Wheel that the goddess Fortuna spins at random to determine a man’s fate. You will hear the mood of each musical movement change suddenly and violently from happiness to misfortune, as quickly as the Wheel turns.

The Nazi regime embraced Carmina Burana, despite its erotic tone, and it quickly became the most popular piece in Germany. Today it is highly recognizable thanks to the usage of O Fortuna in popular films and media. You might recognize Orff indirectly through his branch of pedagogy. Many city schools and universities in Memphis use the Orff-Schulwerk model, which is to teach children to learn music through enjoyable body movements rather than notes on a page.

The Burana Codex includes a drawing of the Wheel of Fortune with four phrases outside of the wheel: I shall reign, I reign, I have reigned, I am without a realm.

— Nicole Davis, Patron Engagement Manager

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Priti Gandhi soprano

A native of Mumbai, India, Priti Gandhi has been praised by the New York Times for her “creamy sound and agile coloratura technique,” and Opera News described her as “languid, sensuous… her voice never lost its velvety character.”

Ms. Gandhi’s career spans the soprano repertoire with houses including the Théâtre du Châtelet, New York City Opera, Royal Opera House at Covent Garden, Los Angeles Opera, Seattle Opera, the Caramoor International Music Festival, UNAM in Mexico City, San Diego Opera, the Estates Theatre in Prague, Opera Pacific, and Michigan Opera Theatre.

Current engagements include Rossweisse in Francesca Zambello’s staging of Die Walküre with San Francisco Opera. In 2011, she will sing her first Countess in Le nozze di Figaro with San Antonio Opera.

Recent engagements have included her debut as Rosina in Il barbiere di Siviglia at the Caramoor Music Festival; the New York Philharmonic in Elektra with Lorin Maazel; covering Vesselina Kasarova at Covent Garden last fall in Rossini’s Matilde de Shabran; New York City Opera, covering Donna Elvira in Don Giovanni, debut as Mercedes in Carmen; her first Musetta in San Diego Opera’s La bohème; Angelina in La cenerentola with Opera North Carolina, Dayton Opera, and San Diego Opera; Meg Page in Falstaff with Toledo Opera; Mallika in Lakmé with the Michigan Opera Theatre and Tulsa Opera; Second Lady in Die Zauberflöte with San Diego Opera and Opera Pacific; Dorabella in Così fan tutte with Austin Lyric Opera; Amahl and the Night Visitors with Lyric Opera San Diego; her Los Angeles Opera debut in the Grammy-nominated Rise and Fall of the City of Mahagonny with Audra McDonald and Patti LuPone (including a Great Performances PBS broadcast).

In concert, she has been a featured soloist with the Mainly Mozart Festival and the San Diego Symphony in works such as Mozart’s Mass in C-minor, Beethoven’s Ninth Symphony, Luciano Berio’s Folksongs, and Mozart’s Mass in C, Spatzen-Messe.Early in her career as a promising young artist, Ms. Gandhi was the subject of a documentary coproduced by San Diego Opera and UCSD-TV, entitled “The Education of an Opera Singer.”

She is currently the subject of an ongoing documentary following the lives of musicians, and is writing a popular weekly column with the San Diego Union Tribune about life on the road and backstage. Her recordings include Anthony Davis’ contemporary opera Tania (based on the abduction of Patty Hearst), available on Koch International Classics; and the PBS broadcast/ DVD release of Los Angeles Opera’s Mahagonny.

For Tickets 901-537-2525

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John McVeigh tenor

Acclaimed for his “fresh-toned and touching portrayal” by Opera News and lauded by the New Orleans Times-Picayune for his “rich lyrical tenor, fabulous top notes, and striking good looks,” John McVeigh returns to the role of Acis in Acis and Galatea in the 2011-12 season at the Macau International Music Festival. He reprises Handel’s L’allegro with the Mark Morris Dance Group at the Kennedy Center, sings Bach’s St. Matthew Passion with the Dallas Symphony and Handel’s Messiah with the Philadelphia Orchestra and Charlotte Symphony Orchestra, and returns to the WinstonSalem Symphony for Bach’s St. John Passion and further performances of Handel’s Messiah and the Memphis Symphony for Orff’s Carmina Burana.

John McVeigh has become renowned for his performances of the Novice in Benjamin Britten’s Billy Budd, having sung the role in his debuts with the Lyric Opera of Chicago, Los Angeles Opera, Washington National Opera, Teatro Carlo Felice, as well as in a return to Houston Grand Opera. He has sung Lysander in A Midsummer Night’s Dream in his debut at the Teatro Real, Central City Opera, and Utah Opera as well as Johnny Inkslinger in Paul Bunyan, also with Central City Opera and Hot Biscuit Slim in the same opera in performances at New York City Opera that were broadcast on Live from Lincoln Center on PBS. He joined the Metropolitan Opera for Little Bat in the company’s first production of Carlisle Floyd’s Susannah conducted by James Conlon. He created the role of Will Tweedy in the world premiere of Cold Sassy Tree at Houston Grand Opera. He repeated his performances of the role with Atlanta Opera, Austin Lyric Opera, Lyric Opera of Kansas City, Opera Omaha, San Diego Opera, and Opera Carolina. In addition, he sang the world premiere of the composer’s Soul of Heaven for tenor and piano.

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Philip Cutlip baritone

Philip Cutlip has garnered consistent critical acclaim for his performances across North America and Europe. Established on both concert and opera stages, he has performed with a distinguished list of conductors that includes Nicholas McGegan, Yves Abel, Miguel HarthBedoya, Gerard Schwarz, and Donald Runnicles.

In 2011-12 Philip Cutlip sings as Aeneas in Dido and Aeneas with Mark Morris Dance Group for Cal Performances; as Guglielmo in Così fan tutte with New York City Opera; as soloist in Handel’s Alexander’s Feast with Philharmonia Baroque Orchestra under Nicholas McGegan; in Messiah in a staged presentation with the Pittsburgh Symphony Orchestra, Manfred Honeck conducting; Brahms’ Requiem with Spokane Symphony; Carmina Burana with Memphis Symphony; Splendiano in Bizet’s “Djamileh” with American Symphony Orchestra;as Jesus in St. Matthew Passion at New York’s Church of the Ascension; and in Haydn’s The Seasons with St. Paul Chamber Orchestra, also under Nicholas McGegan. In the 2010-11 season he sang Joseph de Rocher in Heggie’s Dead Man Walking with Houston Grand Opera, and returned to Seattle Opera to sing both Enrico in Lucia di Lammermoor and Papageno in Die Zauberflöte. He also appeared as soloist to sing Haydn’s The Creation with both Philharmonia Baroque and the Charlotte Symphony Orchestra; sang de Falla’s Suite from Atlantida: El amor brujo (in Catalan) with Boston Symphony Orchestra; and returned to the Minnesota Orchestra as soloist in Messiah, in Beethoven’s Symphony No. 9 and Vaughn Williams “Serenade to Music”, under conductor Osmo Vanska. In season 2012-13 he sings the title role in Eugene Onegin with Edmonton Opera.

Mr. Cutlip has also appeared as soloist with nearly every major North American orchestra.

He has performed such works as Bach’s Christmas Oratorio with the Handel and Haydn Society under Grant Llewellyn, Beethoven’s Symphony No. 9 with the Philadelphia Orchestra, Brahms’ Requiem with the Portland Symphony Orchestra, Carmina Burana with the Detroit Symphony Orchestra, and Haydn’s The Seasons with Philadelphia Baroque.

A distinctive element in Mr. Cutlip’s career is his ongoing collaboration with wellestablished dance companies and avant-garde ensembles alike. He has toured internationally with the Hamburg Ballet singing Bernstein’s Dances, and has appeared on European and American tours of Philip Glass’ Les Enfants terribles. Mr. Cutlip has appeared with the Mark Morris Dance Company in performances of Morris’s popular fully-staged dance production of Handel’s L’Allegro, il Pensoroso ed il Moderato at Lincoln Center, the Ravinia Festival, and at Cal Performances on the UC Berkeley campus.

For Tickets 901-537-2525

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program notes Selections from Il barbiere di Siviglia (The Barber of Seville) (1816) Duration: 28 minutes Last performed: April 30 & May 1, 2005 Gioachino Rossini was born in Pesaro, Italy, on February 29, 1792, and died in Passy, France, on November 13, 1868. The first performance of Il barbiere di Siviglia took place at the Teatro Argentina in Rome, Italy, on February 20, 1816. The excerpts from The Barber of Seville are scored for soprano, tenor and baritone solos, piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, trombone, timpani, bass drum, cymbals and strings.

Rossini’s Il barbiere di Siviglia (The Barber of Seville) belongs to a select group of masterpieces that were absolute flops at their premieres. Other operas in this unusual category are Giuseppe Verdi’s La traviata (1853) and Giacomo Puccini’s Madama Butterfly (1904).

The Barber of Seville is based upon the play of the same name by the French author, Beaumarchais. But Rossini’s Barber was not the first operatic adaptation of the Beaumarchais comedy. A Barber of Seville by the eminent Italian composer, Giovanni Paisiello, had already premiered in St. Petersburg, Russia, in 1782. Rossini and his librettist, Cesare Sterbini, were afraid of a negative reaction by Paisiello and his supporters to their new Barber. Rossini and Sterbini tried to placate everyone by re-titling their Barber of Seville, “Almaviva, Or the Useless Precaution.” They publicly stated that this name change was out of respect for Paisiello and for his prior version of The Barber.

As it turned out, Rossini and Sterbini’s efforts proved to be their own “useless precaution.”

The February 20, 1816 premiere in Rome of Rossini’s The Barber of Seville was one of the greatest fiascoes in operatic history. Supporters of Paisiello and of the rival theaters turned out en masse to jeer any shortcomings in the performance. And to be sure, they had ample material at their disposal.

Manuel García, the great Spanish tenor, sang the role of the Count Almaviva. In his first aria, García accompanied himself on an out-of-tune guitar, snapping one of the strings.

The Don Basilio, Zenobio Vitarelli, made his grand entrance and immediately tripped over a trapdoor, fell, and injured his nose. Vitarelli sang his great “Calumny” aria while holding a handkerchief and sleeve to his bleeding face. As a coup de grace, a theater worker’s pet cat walked onto the stage during the first-act finale, and made its way from performer to performer, looking for attention.

For the next evening’s performance, Rossini decided to go to bed, rather than be subjected to more audience derision. But, as Rossini noted in his diary: I was sleeping peacefully when I was awakened suddenly by a deafening uproar out in the street, accompanied by a brilliant glow of torches; as soon as I got up, I saw that they were coming toward my hotel. Still half asleep, and remembering the scene of the preceding night, I thought that they were coming to set fire to the building, and I saved myself by going to a stable in the back of the courtyard.

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But lo, after a few moments, I heard García calling me at the top of his voice.

He finally located me. “Get a move on you; come now; listen to those shouts of ‘bravo, bravissimo Figaro.’ An unprecedented success. The street is full of people.

They want to see you.”

Since that time, Rossini’s The Barber of Seville has maintained its lofty status as one of the greatest and most beloved of comic operas.

Excerpts from The Barber of Seville The concert opens with the Overture, one of the most famous orchestral selections in all of opera. Many have commented on how the sparkling Overture ideally sets the mood for the comic intrigues that follow. In that context, it should be noted that the Overture also served as the curtain-raiser for two serious operas by Rossini; Aureliano in Palmira (1813) and Elisabetta, regina d’Inghilterra (1815) The story of The Barber of Seville takes place in the Seventeenth Century. The Count Almaviva (tenor) is in love with Rosina (soprano), the ward of Dr. Bartolo. Disguised as the poor Lindoro, the Count stands below Rosina’s balcony, and sings the beautiful serenade, “Ecco ridente in cielo”.

The Count hides as he hears someone approach. It is Figaro (baritone), the Barber of Seville. In his brilliant aria “Largo al factotum,” Figaro describes how the entire city depends upon his talents. Almaviva and Figaro are old acquaintances. Almaviva enlists the services of Figaro to help him gain entrance to Dr. Bartolo’s house.

The scene changes to Rosina’s bedroom. In the aria “Una voce poco fa,” the wily Rosina vows to defeat Dr. Bartolo, and marry Lindoro.

In the opera’s final act, Rosina learns that Lindoro is, in fact, the Count Almaviva. In the trio “Ah! qual colpo,” Rosina, Almaviva and Figaro reflect on this turn of events and plot their escape from Bartolo’s house. Despite a few remaining twists and turns of the plot, all finally ends happily for the lovers.

Carmina burana (Songs of Beuren) (1936) Duration: 1 hour Last performed: November 15 & 16, 1985 Carl Orff was born in Munich, Germany, on July 10, 1895, and died there on March 29, 1982. The first performance of Carmina burana took place in Frankfurt, Germany, on June 8, 1937. Carmina burana is scored for soprano, tenor and baritone solos, large chorus, small chorus, boy chorus, two piccolos, three flutes, three oboes, English horn, E-flat clarinet, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, xylophone, castanets, ratchet, sleigh bells, triangle, suspended cymbals, cymbals, tam-tam, chimes, tambourine, bass drum, orchestra bells, snare drum, antique cymbals, church bell, two pianos, celeste and strings.

For Tickets 901-537-2525

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program notes The 20th-century German composer Carl Orff was born into a family of army officers who demonstrated a keen interest in science, history and music. Orff began his own music studies (piano, organ and cello) at the age of five. While pursuing further studies in Munich, Orff became interested in the music of French Impressionist composer Claude Debussy (1862-1918) and the Austrian composer Arnold Schoenberg (1874-1951), a pioneer in atonal music expression.

Orff was drafted into the army in 1917. After being wounded at the front, he was discharged from service. Upon his return to Munich in 1919, Orff began an intensive study of music from the 16th and 17th centuries, and in particular, the works of the great Italian Baroque composer, Claudio Monteverdi (1567-1643). Orff also co-founded the Güntherschule, an educational center that explored the synthesis body movement, poetry and music.

On June 8, 1937, Carl Orff’s “scenic cantata,” Carmina burana, premiered in Frankfurt.

Carmina burana (Songs of Beuren) is Orff’s setting of texts discovered in the monastery of Benediktbeuren, located south of Munich. The texts are taken from the songs of the goliards—medieval students, monks, and seminarians who seem to have spent as much time carousing as they did studying. The songs of the goliards celebrate (sometimes in the most explicit terms) the pleasures of food, wine and lovemaking.

Orff scored his Carmina burana for soprano, tenor and baritone soloists, as well as huge choral (large chorus, small chorus and boy chorus) and orchestral forces. Orff also envisioned dance as an integral part of his “scenic cantata.”

In the early 20th century, many composers attempted to stretch the traditional concepts of tonality as far as possible. Some 20th-century composers, such as Schoenberg, even abandoned tonality altogether. Their atonal compositions inspired heated reactions, both by critics and audiences. To this day, the subject of atonality is guaranteed to inspire lively exchanges among music lovers.

In that context, Carl Orff’s Carmina burana represents a stunning departure from the course of much of the concert music of the time. From the opening chorus, “O Fortuna”—a hymn to the inexorable power of Fate—it is clear that Orff’s Carmina burana marked an emphatic return to the forces of melody and rhythm in their most elemental form. 20th–century atonality is nowhere to be found. Instead, Orff’s infectious and decidedly tonal melodies are repeated over and over, with variety supplied by contrasts in dynamics, vocal and instrumental colors. Throughout, Carmina burana’s raucous celebration of the philosophy of carpe diem creates an irresistible force of energy guaranteed to leave the audience breathless at the conclusion.

To this day, Orff’s Carmina burana remains one of the most wildly popular of all classical works, a constant presence in the concert hall and on recordings. Carmina burana may also be heard in numerous movies, television shows and advertisements. More than seventy years after its premiere, the attraction of Orff’s Carmina burana remains as irresistible as ever.

– Ken Meltzer 62

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Opus One Connections Community Programs Hickory Ridge Mall

Ed Murray leads a drumming session

The MSO Big Band

Salsa lessons

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Mei-Ann Chen music director One of the most dynamic young conductors in America, Mei-Ann Chen has recently completed her first season as Music Director of the Memphis Symphony Orchestra.

During this time, the impact of her energy, enthusiasm and high level of music-making has already been felt by the orchestra, audiences and entire community. In July of 2011, she also assumed the music directorship of the Chicago Sinfonietta, only the second person in the orchestra’s history to hold this position.

Among Ms. Chen’s upcoming highlights are debuts on the Chicago Symphony subscription series, the Netherlands Philharmonic at the Amsterdam Concertgebouw and the Aspen Music Festival. Other debuts include the symphonies of Jacksonville, Naples, North Carolina, San Diego, Sarasota and Tucson, as well as the Louisiana Philharmonic, National Taiwan Symphony Orchestra, the São Paulo Symphony and the Tampere Philharmonic in Finland.

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

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Stilian Kirov associate conductor Stilian Kirov is currently the Associate Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program. In the 2011-12 Season, he also joins the conducting staff of the Seattle Symphony for a few weeks of residency. For the 20122013 season Mr. Kirov will become the Seattle Symphony’s new Assistant Conductor, leaving his post in Memphis. He previously served as Music Director and founder of the Art Symphony Orchestra in New York and has conducted major orchestras in France, Germany, Italy, Greece, United States and in his native country Bulgaria. Mr. Kirov was awarded numerous prizes and merits including Third Prize and the Orchestra Preference Award at the 2010 Mitropoulos Conducting Competition, The Charles Schiff Conducting Award for outstanding achievement at the Juilliard School, 1st distinction (equal 4th place) at the V Witold Lutosławski International Contest for Young Conductors and the Bruno Walter Memorial Scholarship. Mr. Kirov has been awarded France’s 2010 "Young Conducting Talent" Prize by ADAMI Association, culminating in a showcase concert at the Salle Gaveau with Orchestre Colonne in October, 2010. Following the successful performance, Mr. Kirov was re-invited to conduct the orchestra's 2011-12 Season Opening Concert in Paris. 2011 also marks Mr. Kirov's debut at the prestigious Musical Olympus International Festival in St. Petersburg, Russia. The members of the Festival's honorary committee include some of the world's most distinguished artists such as Claudio Abbado, Daniel Barenboim, Placido Domingo, Montserrat Caballe, Zubin Mehta, Yuri Temirkanov, Mariss Jansons, Yo-Yo Ma, among others.

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

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

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

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

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

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

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

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

She performs on a 1776 Joseph Odoardi violin.

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

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www.MemphisSymphony.org

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

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

2011 | 2012 SEASON Beyond the Score®: The riTe of Spring March 17 & 18

Student Tickets$5 Experience the MSO symphony your way!

Mahler SyMphony no. 2 reSurreCTion april 14

With our student ticket option, purchase one $5 ticket per concert with your student I.D. card for First Tennessee Masterworks, Pops and Paul & Linnea Bert Classic Accents.* It’s easy! Purchase your tickets at the MSO Box Office, by phone, or at the concert.

(901) 537-2525 | MemphisSymphony.org/studentdiscounts

Carmina Burana May 19 & 20

* Subject to availability. Visit MemphisSymphony.org/studentdiscounts for more information. All programs, dates, times, artists, and venues are subject to change. All sales are final. No refunds will be offered. This student ticket offer does not include special event concerts and performances, including Memphis Messiah, The Nutcracker and the Opus One series.

MSO_Student tickets_0212.indd 1

For Tickets 901-537-2525

2/21/12 7:52 AM

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

Paul Turnbow, Assistant Concertmaster The Maxine Morse Chair

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

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

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

Iren Zombor, Assistant Principal Milena Albrecht, Assistant Principal Phyllis Long Jonathan Kirkscey Griffin Browne 70

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

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

Contrabassoon Christopher Piecuch

Bass Trombone Mark Vail

Horn Samuel Compton, Principal

Tuba Charles Schulz, Principal

The Morrie A. Moss Chair

Robert Patterson Caroline Kinsey Pamela Kiesling Ion Balu* 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

Timpani Frank Shaffer, Principal Percussion David Carlisle, Principal Ed Murray, Assistant Principal Harp Marian Shaffer, Principal The Ruth Marie Moore Cobb Chair

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

* Currently on leave.

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Memphis Symphony Orchestra governance & staff Board of Directors Officers Paul Bert Chair Retired Corporate Executive

Darrell Cobbins Universal Commercial Real Estate

Scott Moore Memphis Symphony Orchestra

Mark Crosby Crosby & Higgins LLP

Gloria Nobles Emeritus

Ryan Fleur President & CEO Memphis Symphony Orchestra

Billie Jean Graham Memphis Symphony League

Carol W. Prentiss River Oaks Investments

Steven L. Guinn Highwoods Properties

Robert Quinn FedEx

Michael Edwards Chair Elect Paragon Bank

Larry J. Hardy Retired Corporate Executive

Janet Seessel Arts Advocate

Bryan Jordan Secretary First Horizon National Corp

Scott Heppel Retired Corporate Executive

Louis Jehl Treasurer Diversified Trust Company Michael Uiberall Immediate Past Chair Watkins Uiberall Board Louise Barden First Tennessee Bank Paul Berz

Jim Vining Vining Sparks

Lowry Howell Southeastern Asset Management

Anneliese Watts Morgan Keegan

Buzzy Hussey Babcock Gifts

Jeff Weintraub Weintraub, Stock & Grisham

Natalie Kerr UT Medical Group, Inc

Russ Wigginton Rhodes College

Joanna Lipman Arts Advocate

Past Chairs Dunbar Abston, Jr. Newton P. Allen, Esq.* Walter P. Armstrong, Jr.* Leo Bearman, Jr., Esq. Troy Beatty* Paul Bert Jack R. Blair Robert L. Booth, Jr. Judge Bailey Brown* Robert E. Cannon* George E. Cates Charles P. Cobb, Esq.* Nancy R. Crosby*

Ritche Manley Bowden Arts Advocate

The Honorable Mark Luttrell Shelby County Government

Dr. Karen Bowyer Dyersburg State Community College

Alec McLean New South Capital Management

Austin Byrd

Lisa Mendel Memphis Symphony Chorus

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Charles Shipp Architect

www.MemphisSymphony.org

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*

The Memphis Symphony League Board of Directors Florence Leffler Billie Jean Graham Sissy Long President Babbie Lovett Priscilla Alexander Eloise Mays Donna McManus Honey Cannon Mabel McNeill Scottie Cobb Mary Lawrence Flinn Amy Meadows Eula Horrell Susan Moskop Charlotte Neal Nancy Lou Jones

Administration Ryan Fleur President & CEO

Veronica Bashbush Director of Strategic Planning & Projects Accountability Anita Redden Chief Financial Officer

Grace McAlister Finance Manager Frieda Campbell Accounting Clerk Rodney Gilchrist Technical Support Artistic Engagement Brandon Knisley Vice President of Artistic Engagement For Tickets 901-537-2525

Douglas Whitaker Director of Operations Jenny Compton Music Librarian

Michael Uiberall Joseph Weller Dr. Russel L. Wiener (*deceased)

Gloria Nobles Tommie Pardue Dr. Chloee Poag Dr. Marilyn Powell Dr. Libby Pritchard Shelly Sublett Lura Turner Joan Weiss Joy Brown Wiener

Patron Engagement Nicki Inman Vice President of Patron Engagement

Laura Mirahver Orchestra Personnel Manager

Denise Borton Director of Patron Engagement & Marketing

Susan Miville Director of Musician Engagement

Nicole Davis Patron Engagement Manager

Rebekah Skoog Artist Liaison Grants Team Rhonda Causie Director of Grants & Innovation

Ricardo Callender Grants & Accountability Specialist

Erica Eason Patron Engagement Assistant Chris Owens Patron Engagement & Advancement Manager Mandy Porch Box Office Manager Ellen Rolfes Philanthropy Consultant

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Letter from the League President Wow! What a thrilling and enjoyable year this has been.

Thanks for the cooperation, dedication and enthusiasm of many, many people. We can safely say that this has been a successful year for the Memphis Symphony League.

There has never been a better time for you to become a part of the League family. We would love for you to join us and share our passion‌work with us as we support our Memphis Symphony Orchestra.

See you in 2012|2013.

Billie Jean Graham President Memphis Symphony League

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

PAYMENT

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

_____Check

Check# ________

_____Credit Card

Visa/Mastercard CC#_________________________ Exp. _________

Interested in volunteering?

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

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_____ Concert Concierge

_____ Special Events

www.MemphisSymphony.org

© 2010 Highwoods Properties

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

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

Baker Donelson proudly supports the

Memphis Symphony Orchestra ALABAMA GEORGIA LOUISIANA

E x p a n d y o u r E x p E c t a t i o n s SM

MISSISSIPPI TENNESSEE TEXAS WASHINGTON, DC

www.bakerdonelson.com

The Rules of Professional Conduct of the various states where our offices are located require the following language: THIS IS AN ADVERTISEMENT. Ben Adams is Chairman and CEO of Baker Donelson and is located in our Memphis office, 165 Madison Avenue, Suite 2000, Memphis, TN 38103. Phone 901.526.2000. No representation is made that the quality of the legal services to be performed is greater than the quality of legal services performed by other lawyers. FREE BACKGROUND INFORMATION AVAILABLE UPON REQUEST. © 2011 Baker, Donelson, Bearman, Caldwell & Berkowitz, PC

For Tickets 901-537-2525

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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 2011-2012 season. $100,000+

$50,000-$99,999

$25,000-$49,999

$15,000-$24,999

$10,000-$14,999

$5,000-$9,999

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www.MemphisSymphony.org

$2,500-$4,999

$1,500-$2,499

Less than $1,500

Commercial Bank & Trust Company In Kind

Diamond International of Memphis

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 2011-2012 season.

The Andrew W. Mellon Foundation

Bank of America Charitable Foundation

The Jeniam Foundation

Children’s Foundation of Memphis Kemmons Wilson Family Foundation Thomas W. Briggs Foundation

For Tickets 901-537-2525

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Symphony Fund 2011-2012 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 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 Masterworks or Classic Accents rehearsal Personalized concierge ticket services (with waiver of service fees) Plus all below Patron $2,500 - $4,999 (Fair Market Value is $275) Invitation to MSO Annual Review meeting Invitation to the annual Season Preview Party Invitation to luncheons with musicians Eight passes for free parking at the Cook Convention Center, good for Masterworks or Pops concerts.

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 Masterworks and Pops concerts.

Plus all below MSO Associates Associate $600 - $999 (Fair Market Value is $100) Invitation to a backstage tour of the Cannon Center for the Performing Arts by Ryan Fleur.

Opportunity to purchase tickets in advance Plus all below Member $300 - $599 (Fair Market Value is $100) Invitation to MSO open rehearsals Plus all below Friend $100 - $299 (Fair Market Value is $40) Two tickets to Contributor Recognition Night Acknowledgment in Experience, the MSO concert magazine, in all volumes published during the season Supporter Up to $99 Acknowledgment in Experience, the MSO concert magazine, in one volume published during the season.

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.

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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, 2011 and February 6, 2012. We are most appreciative.

Virtuoso ($100,000 + ) Anonymous (2) ArtsMemphis Impresario - ($50,000 - $99,999) Paul & Linnea Bert Estate of Billy J. Christian Estate of Jean Mosow Mr. Milton T. Schaeffer Visionary - ($25,000 - $49,999) Anonymous Mr. & Mrs. George E. Cates Scott & Carolyn Heppel Wil & Sally Hergenrader Jeniam Foundation Mr. & Mrs. Frederick W. Smith Mrs. Thomas N. Stern Joy & Russel Wiener Pacesetter - ($15,000 - $24,999) Anonymous Phyllis & Paul Berz Buzzy Hussey & Hal Brunt Kim & Bryan Jordan Marion & James McClure Scheidt & Hohenberg Charity Trust Families Susan & Robert J. Quinn Mr. & Mrs. Arthur Seessel III Sustainer - ($10,000 - $14,999) Anonymous Mr. & Mrs. Michael J. Bruns Kitty Cannon & Jim Waller Children’s Foundation of Memphis Mr. & Mrs. Robert E. Craddock Michael J. Douglass Mary Lee & Peter Formanek Sylvia G. Marks Andrew R. & Anne H. McCarroll Phillip & Mabel McNeill Craig A. Simrell & Mark Greganti Bonnie & Chapman Smith Lynne & Henry Turley Ann & Jim Vining Mr. & Mrs. Joseph C. Weller For Tickets 901-537-2525

Benefactor - ($5,000 - $9,999) Ann & Gordon Getty Foundation Violet Apperson Mr. & Mrs. Marion S. Boyd, Jr. Phyllis Brannon Mrs. Alice Rawlins Burnett Nancy & Chuck Coe Andrew Clarkson Mark Crosby Mike & Carolyn Edwards Jeff & Tara Engelberg Robin Lauren & Peter Hale Formanek Advised Fund Dr. Suzanne Gronemeyer & Mr. Ellis Delin Larry J. Hardy Lowry Howell Dorothy O. Kirsch J. W. & Emily McAllister Carol W. Prentiss Schadt Foundation, Inc. Charles & Nino Shipp Michael & Andie Uiberall Jack & Cristina Ward Patron - ($2,500 - $4,999) William & Mary Louise Barden Jack & Kathleen Blair Florence & Scott Bohon Ms. Mei-Ann Chen Mr. & Mrs. John H. Coats Mr. & Mrs. John S. Evans Farrell Calhoun, Inc. Ryan Fleur & Laura Banchero Robert & Martha Fogelman Bradley & Robert Fogelman Kathy & J. W. Gibson Mr. & Mrs. Robert A. Goodman Pam & Steve Guinn Mr. Sigmund F. Hiller Dr. & Mrs. Masanori Igarashi Brian & Nicki Inman Lisa & Louis Jehl Ellen Cooper Klyce Mr. Edwin Koshland III Joanna & Josh Lipman Mr. & Mrs. Alexander D. McLean 79

Contributions Dr. & Mrs. Dan Meadows Mark & Suzanne Medford Ron & Jessica Morris Sadie & C.J. Pickering Mr. & Mrs. Joseph H. Powell CAPT & Mrs. Robert R. Proctor, USN (Ret.) Gayle S. Rose Anne & John Stokes Mrs. Charles E. Walker Dr. Jane Walters Mr. & Mrs. Jeff Weintraub Partner - ($1,000 - $2,499) Ben & Kathy Adams Peter & Fran Addicott Ms. Anita Allison Kay Farrish & Roger Arango Charles S. & Stephanie Baer Carol & Bert Barnett Dot & Stanley Bilsky Mr. & Mrs. Emile A. Bizot III Mr. & Mrs. Richard H. Bodine, Jr. Joseph Boeckmann, Jr. Carmen C. Bond Phillip Bowden & Ritche Manley Bowden Dr. Karen Bowyer Martha & James Boyd Lillian Hammond Brown & Gilbert Allen Austin Byrd Canale Foundation Robert & Jenny Carter Dan & Rhonda Causie Dr. Fenwick W. Chappell Gloria & Irvine Cherry Chorus Board of Directors Mikki & Darrell Cobbins Bill & Foy Coolidge Robert & Kim Cox Mr. & Mrs. David Crippen Dr. & Mrs. Ray E. Curle Barbara A. Denley Mr. & Mrs. William W. Deupree, Jr. Mrs. Bryan M. Eagle Susan & David Ellison Mr. & Mrs. David B. Ferraro Ms. Kathy Fish Mr. William H. French III Barbara & Hiram Fry Allison Garrott Dr. Phillip George 80

Trow Gillespie Salil & Malika Goorha Martha & Jerrold Graber Billie Jean Graham Judith & John Hansen Mrs. James E. Harwood III David O. Hill & Elisabeth Hills Lunida & Lewis Holland Mr. & Mrs. Walter B. Howell, Jr. Terri & Don Hutson Barbara Hyde Dr. & Mrs. Eric E. Johnson Ms. Rose M. Johnston Dr. Edward S. & Linda S. Kaplan Sue Kaplan Dale V. Kelman Dr. Natalie Kerr Delores Kinsolving Knapp Foundation Sheldon Korones Bruce & Susanne Landau Mr. & Mrs. George Lapides Florence Leffler LeMay+Lang Daniel Lewis Suzana & Michael Lightman, Jr. Aron Livnah & Rose Merry Brown Dr. & Mrs. William E. Long Al & Janet Lyons Mr. & Mrs. Jerome B. Makowsky Jerry & Elizabeth Marshall William D. & Marcia B. Mathis III Martha Ellen Maxwell Ashley Mayfield Mary McDaniel Mr. & Mrs. Michael McDonnell Jean & Michael McSwain Dr. Lisa & Dr. Maurice I. Mendel Nancy & Rodgers Menzies Brooke Morrow Zoe & Alan Nadel Gloria P. Nobles Dr. Frank & Mrs. Sarah Ognibene Mr. & Mrs. J. A. O’Neill, Jr. Tommie Pardue Marianne Parrs Robert G. Patterson, Jr. & Patricia Gray Clint & Esther Pearson Mrs. Barbara J. Perkins Arnold & Mary Lynn Perl www.MemphisSymphony.org

Jeff Sanford & Cynthia Ham Dr. Charles A. & Mrs. Sharen Schulz Mary M. Seratt Patricia & John Seubert John Shea Estelle & John Sheahan William W. Siler Ron & Linda Sklar Alisa & Arwin Smallwood Bruce R. & Jane Scharding Smedley

Elisabeth & Lewis Perry Chloee & Dan Poag Anca Pop Mary Alice Quinn Mr. & Mrs. Bryson Randolf Anita Redden & Donald McLean Dr. & Mrs. Brown Robertson Carol Lee & Joe Royer Diane Rudner Jocelyn & William Rudner

2011|2012 MEI-ANN’S CIRCLE OF FRIENDS Mei-Ann’s Circle of Friends is 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.

Gayle Rose, co-chair Ritche Bowden, co-chair Anita Allison Belinda Anderson Pam Arrindell Louise Barden Sharon Barnett-Myers Joey Beckford Phyllis Berz Kathy Blair Peggy Bodine Carmen Crane Bond Dr. Marcia Bowden Martha Boyd Sonji Branch Ruby Bright Lillian Brown Rose Merry Brown Marian Bruns Alice Burnett Kitty Cannon Karen Carlisle Jeanne Gray Carr Jenny Carter Dr. Nancy Chase Dorothy Cleaves Mikki Cobbins Sponsorships:

Seandria Cobbins Nancy Coe Jeannette Cooley Kim Cox Deborah Craddock Jill Crocker Joy Doss Mary Ann Eagle Marsha Evans Kathy Fish Mary Lee Formanek Allison Garrott Billie Jean Graham Rose Johnston Cynthia Ham Ann Hawkins Sarah Haizlip Carolyn Heppel Michelle Higdon Buzzy Hussey Barbara Hyde Nicki Inman Dale Kelman Edith Kelly-Green Delores Kinsolving Dorothy Kirsch Ellen Klyce Suzanne Landau Florence Leffler

Suzana Lightman Joanna Lipman Gretchen McLennon Mary McDaniel Bickie McDonnell Linda McNeil Mabel McNeill Ashley Mayfield Sandra Mays Suzanne Medford Nancy Menzies Snow Morgan Brooke Morrow Christine Munson Jenny Nevels Gloria Nobles Sally Pace Tommie Pardue Barbara Perkins Carol Prentiss Mary Alice Quinn Susan Quinn Dr. Sandra Reed Ellen Rolfes Diane Rudner Lila Saunders Honey Scheidt Janet Seessel Rachel Shankman

Baptist Memorial Healthcare Fd. Blue Cross Blue Shield of TN Ritche Bowden

Phyllis Berz Deborah Craddock Hyde Foundation

Lynda Mead Shea Alisa Smallwood Bonnie Smith Maxine Smith Rita Sparks Susan Springfield Nancye Starnes Anne Stokes Margaret Tabor Mary Tate-Smith Ashley Tobias Bridget Trenary Lynne Turley Lura Turner Andie Uiberall Anita Vaughn Kimmie Vaulx Ann Vining Stacie Waddell Ann Marie Wallace Jane Walters Becky West Sharon Wheeler Joy Wiener Julia Williams Tracey Williams Barbara Williamson Becky Wilson Jocelyn Wurzburg Ellen Klyce Paragon Bank Gayle Rose

For more information please contact Ellen Rolfes at the Memphis Symphony: 901.537.2526

For Tickets 901-537-2525

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Contributions Ms. Karen Spacek & Mr. William S. Solmson Rita Sparks Nancye Starnes Bruce & Gillian Steinhauer Owen & Margaret Tabor The Rose & Walter Montgomery Foundation Paul G. Thomas Ashley & Todd Tobias Mr. & Mrs. Corey B. Trotz Steve & Lura Turner Dr. Eugene A. Vaccaro Family Ms. Susan Van Dyck & Dr. James Newcomb Mr. & Mrs. William M. Vaughan, Jr. Patricia & Charles Walker James Walker James L. Waller Graham Warr Dr. & Mrs. Otis S. Warr III Frank & Houston Watson Anneliese & William Watts Martha & Lee Wesson Barry White & Dr. Janice Garrison Joy & Russel Wiener Mike & Gay Williams Julia G. Williams Ms. Tracey Williams Barbara Williamson Mr. & Mrs. Charles L. Wurtzburger Jocelyn Wurzburg Associate - ($600 - $999) Ms. Carol Beachey & Mr. Donald Voth Walter Brown Gary Carlson Betty & Leiland Duke Lillian & Kemper Durand First Horizon National Corporation Sara G. Folis Ms. Barbara A. Frederick Dot & Luther Gause Emily & Jerry Gay Susan Lawless-Glassman & Richard Glassman Jack Hildebrand Susan Kingston Mr. & Mrs. Lloyd C. Kirkland, Jr. Johnny & Kim Pitts Mrs. Emily Ruch Dr. Craig & Mrs. Andrea Sander John Pickens & Suzanne Satterfield Jenny & Graham Smith 82

Robert Vidulich & Diane Sachs Mary & Herman Wolfe, AIA Mr. Winston Wolfe Member - ($300 - $599) Anonymous (2) Gwendolyn & John Ahlemann Mary Nell & Pervis Ballew Richard W. Barnes & Peter R. Pauciello John & Wanda Barzizza Mary & Allen Battle Mrs. Irvin Bogatin Denise & Scott Borton J. Richard Briscoe Gregory Buckley & Susan Berry-Buckley Judy & Charles Burkett Joanne & George Buzard Dr. Nancy A. Chase Mrs. Laura J. Crane Drs. Robert & Heather Donato Lewis Donelson Dr. Michael R. Drompp Fredrika & Joel Felt Joseph & Anne Fisher Mary Gill Mr. & Mrs. James S. Gilliland John Gilmer Diane Greenhill Phyllis Guenter Robert Hanusovsky Dr. Jean S. Hayden Janet D. Held Paul & Marisa Hess Judith & Howard Hicks Bill & Marian Himmelreich Susan & Frank Inman David & Ann James Tom & Anne Marie Kadien William B. Keiser, Jr. Father Albert Kirk Janie & Martin Kocman Barry Kuhn Dr. & Mrs. Mack A. Land Marti & Mike Laslavic Gumersindo & Marianne Leal Lucy Lee Jennifer Lyons Ramona & Harry Mahood Ethel T. Maxwell Jake & Harriett McFadden www.MemphisSymphony.org

Lucius & Holley McGehee Mary Allie & Denton McLellan Shirley W. McRae Richard McStay Sylvia & Ron McSwain T. Medlin Simone & Logan Meeks Stanley & Emelia Miekicki Dr. & Mrs. Lee Milford, Jr. Dr. & Mrs. David M. Mirvis Ms. Patricia T. Moran Ed & Anne Motley Mr. & Mrs. Greg Nomland Max B. Ostner, Jr. Ronald Pfeiffer William Phillips Betsy Reeder Marco & Cynthia Ross Sandy & Beth Schaeffer Marcia Schlesinger Sheri L. Spunt, M.D. Fred & Shirley Stinson Keith & Anne Townsend Joan & James Vogel Don B. Vollman Dr. William W. Walker & Ms. Mary L. Belenchia Jules & Betty Weiss Dr. & Mrs. Benton Wheeler Dr. Ethelyn Williams-Neal Dr. Herbert D. Zeman Friend - ($75 - $299) Anonymous (9) John Albertson Harriet Alperin Frank Anthony Dot Arata Dr. & Mrs. Philip Aronoff Elsie Bailey Clayton Baker Dr. & Mrs. George I. Balas Sue & A.E. Balkin David & Debbie Balling Rosemary Banta George & Carol Barnes Robert Bartolotta & Ellen Hutchinson-Bartolotta Mrs. Frank Barton, Jr. Mr. Herbert Battle Dr. & Mrs. Tom Beasley Ann Bell For Tickets 901-537-2525

Ernest & Georgia Bell Mr. & Mrs. Jack A. Belz Ron & Anise Belz Kathryn & William Bendall Eugene Bernstein Dr. Karen Berry Allen & Mary Blair Clark & Yolanda Blatteis Dr. Gene Boeckman Modine & Lee Bolen Jan & John Boudreaux Aretha Bourne Jerry Bowman Jennifer Brady Augustus Brown Caroline Brown Anne Brown Monte & Grace Brown Whitney Brown Deana Brunjes Reggi & Sharon Burch Dr. & Mrs. Paul Burgar Linda Butler Raymond Butts Eleanor & Gerald Byrne Mr. & Mrs. Irvin Califf Ricardo Callender Dr. Patty & Dennis Calvert Cham & Hazel Canon Daniel Case Ruby Chittenden David Ciscel Andrew & Julie Clarke Charles Clerget Mr. & Mrs. Charles P. Cobb, Jr. Thomas Coffelt Allen E. Cohen Alan K. Cole James P. Cole George & Jan Colgate Samuel & Jenny Compton Jerry Conway Jeff & Lisa Cook Mike & Jane Coop Brad Crawford Ann & Drury Crawley Elaine & Loren Crown Susanna & Daniel Cullen Dale & Gina Cunningham Sally Damron 83

Contributions Susanne Darnell Diane & Joe Davis Karen Davis Marilu Davis Steve Davis Kathryn Deshpande & Jon Katze Lisa & Timothy DiScenza Ann Dixon Joe & Martha Dooley George Douglas Amy Downing Jed Dreifus John & Alice Dudas Betty Jo & William P. Dulaney Mr. & Mrs. Douglas Duncan Earline Duncan Teresa Dunlap Betty & Robert Ebbers Mrs. Ruth Edmonds Patti & Lew Ellis Veronica Engle Karen English Lillian & Thomas Ernst Dorothy Evans Dr. & Mrs. John Fain Eddie Felsenthal Helen Ferguson James & Sue Ferguson Ms. Pat Fernicola Nita Faye & Brooke Ferris Tanya Fitts Jackie & David Flaum Turner Foster Desi Franklin Joan D. Freund Caroline Fruchtman Christine & William Fulliton Virginia Gandy Kathleen C. Gardner Bill & Jeannine Gaudet Frank & Anne Gianotti Mr. & Mrs. James D. Gibson Ann & Marsh Gibson Sharon Gilbert Jim & Harriett Gillis Marylon R. Glass Rose & Wesley Goldfarb Paul & Mary Evelyn Goodwin Betty Tully Graves Rita Mercille Green 84

Adam & Amy Grossman Gerard & Alessandra Grosveld Bela & Nan Hackman Mr. Reb Haizlip Clarence & Harriett Halmon William Haltom Doug Hamik Robert Hamilton Thomas Harrison III Albert C. Harvey, Jr. Geraldine Haspel Diane Hawks Emil Henry Martha & Robert S. Hester, Jr. Sara M. Holmes Dr. & Mrs. Horace K. Houston, Jr. Dr. G. Leon Howell James Howell Julia Howell Mr. & Mrs. Jerry L. Huff Bobby & Eva Hussey Joanna Hwang Mr. & Mrs. Antonino Incardona Ann Indingaro Carmen Inquilla Bertha Means & Michael Jacewicz Mr. & Mrs. James B. Jalenak Dr. & Mrs. Russell James Mr. David Jennings James & Theresa Johnson Mr. & Mrs. Robert K. Jones Betty Lou & Warren Jones Kathy Junkin Helen & J.D. Kelly Mr. & Mrs. Jerry D. Kirkscey Ms. Yoriko Kitai Nancy & Brian Kuhn Michael & Diane Kuhn Bobbie Kyle Kitty & Howard Lammons Mr. & Mrs. Pierre T. Landaiche III Ms. Patsy Lane Frank M. Langford, Jr. James W. Langston Ms. Demetra Lawrence Sandra Leftwich Kristin Lensch & Tim Huebner Dr. & Mrs. Michael J. Levinson Jean & Melvyn Levitch Lipscomb & Pitts www.MemphisSymphony.org

Col. George M. Livers Mrs. Molly Lockwood Michael Lubiani Nancy Lubiani Mrs. Esther K. Lubin Mr. Joseph Luttrell Jose & Nancy Magallanes Jeanine Mah Mr. & Mrs. Hugh Mallory Mr. Allen T. Malone Cameron Mann Charles & May Lynn Mansbach Mr. & Mrs. Jack H. Marks Frank & Mary Markus Nelda & Freeman Marr Randy & Carol Martin Nancy Masterson Kris & Lori Matula Robin Mayhall Mrs. Eloise Mays Jill & Tibor Mazar Michael McCanless Peggy & Don McClure, Jr. Dave McConnico Sandra & Lynn McCorry Mr. & Mrs. James W. McDonnell, Jr. Jeffrey McEvoy Geneva McGee Martha & I. W. “Dan” McGuire Diane Meess Mr. & Mrs. John E. Minton Susan Miville Mrs. Houston Niller Moore Dr. R. J. & Susan Moskop, Jr. Martha Myers Mrs. Sue Myers Alan’s Carpetland Ken Neill Stephen & Mary Nelson Drs. Thomas J. & Monika Nenon Julie & William Nicholson Ben Nicol Irene & Svend Nielsen Cecile & Frederick Nowak Michael Ostien Fred Ousley Norma Davis Owen & Penn Owen Jr. Christopher A. Owens Mrs. Ernest Owens Bob Owens For Tickets 901-537-2525

Joy Ozbirn Rose Mary Pace Mr. & Mrs. Keith M. Parker Roylyn & Bill Parks Christina Parrott Eugene Pearlman Ms. Margaret Philbin Mr. & Mrs. Tom Phillips W. Phillips Hajnal & Lawrence A. Pivnick O.C. Pleasant, Jr. Charles & Carole Plesofsky Maryanna Popper Kara Preston Libby & Howard Pritchard Lana & Gary Prosterman Brenda & Robert Rachor Lynn Rawlings Nancy Reed Ralph Reed Mr. & Mrs. G Rhodes Jimmy & Mary Jane Richens Mr. & Mrs. Neil Ringel Mr. & Mrs. Curtis E. Ringold Mr. Luther L. Robinson III Dr. & Mrs. E. William Rosenberg Elena & Tom Ross Dr. & Mrs. Richard T. Ross Mr. R. H. Routon Thelma Rudd Barbara & Bill Runyan Amy & William Ryan Leonid & Fridrerica Saharovici Bev & Ken Sakauye Vincent Samuel Joseph & Mary Scheuner J. Allen Scoggin Mary Lynn Scoggins Joan Senhausen Douglas Seymour Jill & Scott Shanker Phil & Fran Shannon Roy & Cyndy Shepherd Bonnie & Bill Siler Kenneth & Mary Sipley John H. Sligh Richard & Michelle Smeyne Ritchie & Patti Smith Marshall & Maida Smith John Snowden 85

Contributions Mr. John C. Speer Charles & Mary Stagg Shannon Stanley Jill & Kenneth Steinberg Fred & Joan Stephenson Diane D. Steven Betty & Vaughn Stimbert David & Alicia Stires Leslie Stratton Harriett Surprise Michael Taube Herbert & Diane Taylor Robin Taylor Mrs. Janet Templeton Dr. & Mrs. Terry Templeton Heather L. Tetleton The Womans Exchange of Memphis, Inc Ryals & Gwendolyn Thomas John J. Thomason, Esq. Mrs. Barbara Thompson Dr. & Mrs. Steve Tower Rev. & Mrs. Robert Van Doren Mr. Donald Van Riper Mr. & Mrs. David S. Waddell Sonia Walker Mr. Edward Wallace Evelyn Walpole

Gerald & Julie Walton Nicole Ward Matilda Washington Patrick & Vicki Washington Susan S. Webb Dr. Lawrence Weeda, Jr. Judge & Mrs. Bernie Weinman Ira & Deborah Weinstein Harry Wellford James Werkhoven Julia Wilkins Elsa & David Williams Tige Williams Mrs. Barbara H. Wilson Major & Donna Wilson Elise & Robert Wilson Stewart Wingate Jerry Wolfe Josephine M. Wood Eugene Woods Nick & Charlotte Woodward Peggy Wroten Berje & Katherine Yacoubian Mr. Paul Yacoubian Mr. & Mrs. William M. Yandell III 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) 537-2500.

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

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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

www.MemphisSymphony.org

Photograph by Donna Olswing

Memphis Youth Symphony Program Musical Leaders Since 1966 | Stilian Kirov, Music Director 66 South Cooper Street Suite 509, Memphis, TN 38104 | www.mysp-music.org | (901) 722-4004 The Memphis Youth Symphony Program is a 501(c)(3) Non-Profit and depends on generous support from a variety of donors and sponsors. Give generously to support great music education in our community!

Youth Symphony, Stilian Kirov, Conductor Fall Concert | November 20, 2011 6:00 PM Harding Academy Concerto Concert | February 19, 2012 4:30 PM Harding Academy Spring Concert | April 29, 2012 4:30 PM Harding Academy

String Orchestra, Ray Pak Chung Cheng, Conductor Fall Concert | November 13, 2011 4:30 PM Harris Auditorium U of M Winter Concert | February 26, 2012 4:30 PM Venue: TBD Spring Concert | May 6, 2012 4:30 PM Harris Auditorium U of M

String Sinfonia and String Ensemble, Karla Philipp, Conductor Fall Concert | November 8, 2011 7:30 PM Colonial Middle School Winter Concert | February 28, 2012 7:30 PM Colonial Middle School

Sounds Of The Season Concert! | December 17, 2011 3:30 PM Featuring All Four Groups! | Venue: McCallum Ballroom Rhodes College

2012-2013 Season Auditions In May, 2012 For All Four Groups

For Tickets 901-537-2525

Youth Symphony Full orchestra: strings, winds, brass, percussion, harp, piano Advanced - Ages 13-18 approximately Four concerts per season Side-by-side concert/rehearsal with professional performers Concerto Competition - winners featured as soloists

String Orchestra All string instruments - violin, viola, cello, bass Intermediate to Advanced - Ages 12-16 approximately Four concerts per season

String Sinfonia All string instruments Training group for String Orchestra Intermediate - Ages 12-16 approximately Three concerts per season

String Ensemble All string instruments Training group for String Orchestra Beginner to intermediate - Ages 8-14 approximately Three concerts per season

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passion has a price

tosca

orpheum theatre

when the mask goes on the gloves come off

die fledermaus Germantown performing arts centre

be careful what you wish for

don pasquale orpheum theatre

To purchase tickets visit: operamemphis.org 6745 Wolf River Pkwy. Memphis, TN 38120 | 901.257.3100

Sponsored by:

,

The Memphis Boychoir, Memphis Girlchoir & Memphis Chamber Choir A Service of Tennebrae during Holy Week Wednesday, April 4 at 7:00 p.m.

Festive Recital ~ Celebrating the 25th Season of the Memphis Boychoir Friday, June 8 at 7:30 p.m.

Music for choir, organ and orchestra

Ongoing Auditions for the Memphis Boychoir and newly formed Memphis Girlchoir Please contact Dr. Geoffrey Ward to book an audition time ghward@stjohnsmemphis.org Elementary school aged boys and girls who love to sing are eligible!

Saint John’s Episcopal Church | Central at Greer | 901-323-8597 | memphisboychoir.org For Tickets 901-537-2525

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Honorariums and Memorials

The following Honorarium and Memorial contributions were made to the Symphony Fund between January 5, 2011 and February 6, 2012.

In Honor of Kathy and Ben Adams Camille & William Mueller

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

In Honor of Peter & Fran Addicott Rosemary Banta

In Honor of Rena Feller Helen Ferguson

In Honor of Michael Barar Anonymous

In Honor of Sara G. Folis Helen Ferguson

In Honor of Paul & Linnea Bert Jennifer Lyons

In Memory of Michael Gompertz Joan Gips

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

In Honor of Billie Jean Graham Samuel Graham

In Memory of Tandy Brannon Phyllis Brannon

In Honor of Buzzy Hussey Marilyn & Franklin Allen Ms. Jeanette S. Cooley Bill and Foy Coolidge Mr. & Mrs. James S. Gilliland Bobby and Eva Hussey Tom & Garnett Hutton Bill Jones Ms. Jean Lewis Coors Nancy & Rodgers Menzies Mr. & Mrs. Arthur Seessel III Bonnie & Chapman Smith Mr. & Mrs. John W. Stokes, Jr.

In Honor of Linda Brittingham Memphis Symphony Chorus In Honor of the Marriage of Kitty Cannon and Jim Waller Nancy & Rodgers Menzies In Honor of Rhonda Causie Marian & Frank Shaffer In Honor of Mei-Ann Chen Joseph Boeckmann, Jr. Joseph & Anne Fisher In Honor of Ruth Cobb Mr. & Mrs. Charles P. Cobb, Jr. Dr. & Mrs. Horace K. Houston, Jr. In Honor of Mrs. Scottie Cobb The Womans Exchange of Memphis, Inc In Memory of Billie Crenshaw Mr. & Mrs. David B. Ferraro In Honor of Virginia Cupples Kathryn A. King In Honor of Jane Dutcher Kitty Cannon & Jim Waller A.W. Rogers 90

In Honor of Florence Leffler Dr. & Mrs. William E. Long Mary Alice Quinn In Honor of William and Sissy Long Mary Alice Quinn In Honor of Sissy Long Dr. Edward S. & Linda S. Kaplan Anne and Jack Roane In Honor of Gregory Luscombe Kathryn A. King In Honor of Myron Mau Mr. & Mrs. Arthur Seessel III In Honor of Martha Ellen Maxwell Kathleen C. Gardner

www.MemphisSymphony.org

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

In Memory of Dorothy McDonald Mr. & Mrs. David B. Ferraro In Honor of Dr. and Mrs. Lee Milford Martha & James Boyd In Honor of Charlotte Neal Dr. Edward S. & Linda S. Kaplan In Honor of Gloria Nobles Bill and Foy Coolidge Anne and Jack Roane

Mrs. Sue Myers In Memory of Carroll Seabrook-Leatherman Mr. & Mrs. John S. Evans In Honor of Peggy Seessel Allen & Mary Blair In Honor of Marian & Frank Shaffer Josephine M. Wood In Memory of Donna Simmons David Simmons

In Honor of Liz Parsons Memphis Symphony Chorus

In Honor of David Skinner David Skinner

In Honor of the Marriage of Michelle Pellay-Walker and Paul Pellay Paul & Linnea Bert Dan & Rhonda Causie Dr. & Mrs. Ray E. Curle Mr. & Mrs. John S. Evans John & Emelyn Joyner Thomas & Maryann Mears

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

In Honor of Susanna Perry Gilmore Mr. & Mrs. John S. Evans Diane Greenhill Lynn Jones Sandra Leftwich

In Honor of Mr. and Mrs. Michael Uiberall Anonymous Paul & Linnea Bert Mr. & Mrs. George E. Cates Larry J. Hardy Scott & Carolyn Heppel

In Honor of Perry Redfearn Ann Indingaro In Honor of Rev. & Mrs. Ollie Rencher Mary Alice Quinn In Honor of Jimmilou Rye Kathryn A. King In Honor of Rudi Scheidt, Sr. Mr. & Mrs. Arthur Seessel III In Honor of Rudi Scheidt’s Special Birthday Watkins Uiberall, PLLC

Holiday Tribute to Mr. and Mrs. Michael Uiberall Suzana & Michael Lightman, Jr. Dr. Lisa & Dr. Maurice I. Mendel

In Honor of Irene Wade Diane Greenhill In Honor of Jeremy Warner Memphis Symphony Chorus In Memory of Nancy L. Welsh Mr. & Mrs. John S. Evans In Honor of Bill Weppner Memphis Symphony Chorus

In Honor of Charles Schulz

For Tickets 901-537-2525

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

Box Office Location/Hours: The Box Office is located at 585 South Mendenhall Road, between Cadence Bank and Folk’s Folly. We are open weekdays 9 a.m. to 5 p.m. and on concert Saturdays from 10 a.m. to 2 p.m. The Box Offices at the concert venues open 90 minutes prior to each performance and remain open until intermission begins. Please note that for concerts at the Cannon Center on the night of concerts 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. (Symphony in the Gardens is performed at the Dixon Gallery and Gardens at 4339 Park Ave.) Friday performances of the Paul and Linnea Bert Classic Accent Series are at the Wiener Theater at Hutchison School, 1740 Ridgeway Road in east Memphis.

First Tennessee Masterworks Sundays are performed at the Germantown Performing Arts Centre (GPAC), 1801 Exeter Road in Germantown. Free parking is available at Hutchison and GPAC. Cameras and Recording Devices: No photos or video recordings are allowed during the performance due to potential injury to performers on stage Concert Preview: Free pre-concert discussions begin 45 minutes prior to each First Tennessee Masterworks series performance. Join us in the Cannon Center west mezzanine and the GPAC Dance Studio to get the inside scoop on the upcoming performance.

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

Ticket Information Subscriptions: Buy a series and save! Subscribers get the best seats in the house. Plan for the music you love with our First Tennessee Masterworks, Pops, and Paul & Linnea Bert Classic Accents series. As a subscriber, you will not only save off the single ticket price but also enjoy priority seating and ticket flexibility! Subscribers have the opportunity to purchase the best available seats for your series before tickets go on sale to the general public. You also have the same great seats all season and every year! Subscribers also have the opportunity to purchase tickets for special events before they are available to the general public! New season ticket patrons receive up to a 50% savings off the single ticket price. Established subscribers receive up to a 33% discount for their second year and all others (3+ year) subscribers save 20% off the full 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, 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, Symphony in the Gardens 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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Join us for the fun of it!

2010-2011 production photos by Skip Hooper.

Our 92nd consecutive season

bye bye birdie Aug 19 – Sept 11, 2011

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

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

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

Purchase tickets online www.theatrememphis.org or call 682.8323

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

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

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

unrivaled performance. unending applause.

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www.MemphisSymphony.org

You can almost hear the applause.

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For Tickets 901-537-2525 95

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www.MemphisSymphony.org