Experience, Volume 1 | 2013-2014

EXPERIENCE volume 1 | 2013 - 2014 season

Mei-Ann Chen, Music Director Graceland Music Room

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Contents

Volume 1

Concert Experience

•

2013|2014 Season

• Sponsors & Foundations............................... 74

• Lincoln Portrait September 21 & 22....................................... 21

• Membership Benefits..................................... 76

• Figaro to Carmen - A Night of Opera October 11...................................................... 30

• Honorariums & Memorials .......................... 90

• Haydn, Britten & Brahms October 26 & 27............................................ 43 • Rhapsody in Blue November 16 & 17........................................ 53 • Mei-Ann Chen, Music Director ..................... 4 • Conner Gray Covington, Assistant Conductor.... 6

• Contributors................................................... 77

• Patron/Ticket Information ........................... 92

Symphony Gallery • 2012-2013 Season Year-End Party.............. 14 • Meet the Musicians....................................... 16 • 2013 Mei-Ann Chen Music Educator Award.. 60

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

Community Experience

Patron Experience

• MSO 2013 Strategic Plan.. ..................... 17

• Advertiser Listing........................................... 35 • MSO Board of Directors, Staff, League Board & Chorus Board............................................. 68

• The MSO's Family Tunes and Tales........ 28 • Tune in to the MSO Big Band!................ 40

• Memphis Symphony League......................... 70

The Memphis Symphony Orchestra, Inc., is a qualified 501(c)(3) deductible organization funded by gifts from you, ticket sales and contracted services. We are recipients of grants from ArtsMemphis and the Tennessee Arts Commission. ©2012|2013 Memphis Symphony Orchestra • 585 S. Mendenhall Rd., Memphis, TN 38117

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

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a message from

Mei-Ann Chen music director Welcome everyone!

I am so thrilled to be back on the podium for my fourth season as Music Director of the Memphis Symphony Orchestra. This season begins with a piece commissioned to honor one of America’s greatest leaders. How appropriate that Gayle Rose, our new Board Chair, is narrating Aaron Copland’s wonderful work Lincoln Portrait. We also celebrate the contribution of Joy Brown Wiener, Memphis Symphony’s inaugural concertmaster; and as our concertmaster search continues, you will hear wonderful candidates. Along with attending our exciting First Tennessee Masterworks series, I invite you to join Paul and Linnea Bert, hosts of Classic Accents at Lindenwood, for our first collaboration with the Gary Beard Chorale. I know you will all give a big Memphis welcome to our two guest conductors this season, Grant Llewellyn and Courtney Lewis, and many fine guest artists, including our very own Joey Salvalaggio! Our season ends with a world premiere by Paul Brantley, commissioned by Mei-Ann's Circle of Friends, as a gift to our community for generations to come.

Sincerely,

biography

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

Maestra Chen’s 2013 - 2014 season takes her across the country, and to Canada, Sweden, and Austria. Guesting highlights include engagements with the Detroit Symphony, Vancouver Symphony, Austria’s Gross Orchester Graz, Sweden’s Göteborgs Symfoniker and NorrlandsOperan (Norrland's Opera), with whom she appears in both the fall and spring.

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

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a message from

Gayle S. Rose BOARD CHAIR

On behalf of the Board of Directors, welcome to the 61st season of the Memphis Symphony Orchestra! In a city rich with cultural assets, our MSO is a crown jewel – a treasure to be shared and loved by all.

As Chair of the Board, I embrace all aspects of the organization. For several years the MSO has been the national leader in orchestra innovation, delivering quality programs that meet needs unique to Memphis. Each service is designed and executed by players themselves, a creative workforce dedicated to making the community a better place. Under the artistic leadership of Mei-Ann Chen, the MSO is undergoing a transformation with programming that excites and engages, supported by a diverse patronage that better reflects the complexion and pulse of the city.

This year, please take time for all that Mei-Ann Chen has planned for you. Each musical experience will be an ascent to new artistic heights. Enjoy the season!

Orchestra Board Chair

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

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

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

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

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

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

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

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

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

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Memphis Symphony Orchestra

ArtsMemphis.org

Discover the Arts Visit the best local site

for all the ways you can connect to the arts in Memphis.

Find hundreds of arts events on our cultural calendar, videos, discounts, reviews and more.

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artsmemphis.org 901 578 2787

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

Barrie Cooper, Assistant Concertmaster The Maxine Morse Chair

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

Heather Trussell, Assistant Principal Erin Kaste, Acting Assistant Principal Christine Palmer* Ann Spurbeck 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 8

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

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

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

Bass Trombone Mark Vail

Contrabassoon Christopher Piecuch

Timpani Frank Shaffer, Principal

Horn Samuel Compton, Principal

Percussion David Carlisle, Principal Ed Murray, Assistant Principal

The Morrie A. Moss Chair

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

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

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Tuba Charles Schulz, Principal

Harp Marian Shaffer, Principal The Ruth Marie Moore Cobb Chair

Piano/Celeste Adrienne Park, Principal Â

The Buzzy Hussey and Hal Brunt Chair

*Currently on leave

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September pilobolus | September 19 blind boys of Alabama | September 20 OctOber Hungarian State Folk ensemble | October 13 the Graduate | October 20

Scheidt Family Foundation

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bluff city Jazz project plays Duke ellington | October 26 NOvember Ann Hampton callaway | November 3 Shanghai ballet | November 10 pinocchio by tout รก trac | November 22 Kathy mattea | November 23

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Hot Springs Music Festival Hot Springs, Arkansas SEASON XIX:

1-14 JUNE 2014

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

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

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

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501.623.4763

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Involved in your community.

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

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2012-2013 Season Year-End Party May 18 – Cannon Center for the Performing Arts

Music Director Mei-Ann Chen, Taylor Johnson, Susanna Whitney, Lenore McIntyre, Diane Zelickman, Naha Greenholtz

Music Director Mei-Ann Chen, Paul Bert, Linnea Bert

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Adam LaSalle, Taylor Johnson, Virginia Vann

Becky Wilson, Music Director Mei-Ann Chen, Gayle S. Rose

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Meet the Musicians Meet Jennifer Puckett, Principal Viola

What is your favorite Memphis activity?

Visiting the Shelby Farms dog park Where is your favorite place to perform inside or outside of Memphis? Cannon Center for the Performing Arts If you could only listen to one song ever again, what would it be? “Imagine" by John Lennon If you could only perform one piece of music, what would it be? Beethoven 5th Symphony Is there anything that you would like the audience to know about you? I have established an amazing violin and viola studio of about 22 students.

My favorite hobby is Bikram yoga.

Meet Susan Enger, Trumpet

When was your rst season with the Memphis Symphony? I moved to Memphis from Montreal in October of 1994, I brought only the essentials; instruments and clothing, including mittens, scarves, wool hats and insulated boots. Upon my arrival, I was astonished and elated to discover that I would not be needing any winter apparel in October or any other month.

What is your greatest achievement thus far? Performing at Carnegie Hall with the Chicago Symphony, a season with the Chicago Lyric Opera, a year as Assistant Principal Trumpet with the Montreal Symphony. I was also Principal Trumpet with L'Orchestre Symphonique de Quebec, in Quebec City, with 14 years.

Is there anything that you would like our audience to know about you? I have my own business, 3 dogs, love watching THE BIG BANG THEORY and enjoy listening to George Noory's Coast to Coast on the radio late at night.

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MSO 2013 Strategic Plan Last season, the MSO began working on a new strategic plan, the first since 2005.

Together, 76 individuals, including MSO board, staff, musicians, and community leaders, helped us review a variety of strategic issues and questions.

The plan includes new vision and mission statements along with a new strategic direction emphasizing the importance of both concerts and community engagement programs for the MSO to be a financially successful organization.

The MSO has been a leader in community engagement programs thanks to substantial national seed funding. With this successful experience and a new plan that formally acknowledges this leadership, we are now better prepared to position MSO to fulfill our mission to enrich the lives of our diverse community through exceptional music and dynamic programs.

In March 2013, the plan was approved by the MSO board and we are pleased to present the following summary.

VISION: Transform our community through the power of music.

MISSION: To enrich the lives of our diverse community through exceptional music and dynamic programs.

CORE VALUES: Collaboration, Innovation, Excellence, Creativity, Inclusion and Fiscal Integrity STRATEGIC DIRECTION: Concerts + Community Engagement = Financial Sustainability GOALS: Concerts: Provide concert experiences that always exceed patron expectations.

Education: Educate students and adults through musical experiences by delivering programs that foster lifelong learning and build future audiences.

Community Engagement: Engage the community through musician-led collaborations and partnerships.

Marketing: Drive revenue through additional innovative strategies.

Fundraising: Cultivate patrons and donors to produce sustainable revenue.

Human Resources: Support a culture that encourages teambuilding and the professional growth of staff and musicians.

Board Governance: Identify, recruit and retain qualified board members who are committed to the sustainability of the MSO. Board Fiduciary: The Board will act as trusted fiduciaries ensuring its financial sustainability while carrying out the mission and vision of the MSO. We extend our thanks to the many plan contributors and to Gayle S. Rose, Mike Edwards, Louis Jehl, Art Seessel, Al Lyons, Leo Arnoult and Mary Scheuner for their leadership and support.

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8/12/13 12:43 PM

Lincoln Portrait Saturday, September 21, 2013 at 7:30 p.m. - Cannon Center Sunday, September 22, 2013 at 2:30 p.m. - GPAC

MEI-ANN CHEN, conductor Joy Brown Wiener, violin Ellen Cockerham, violin Gayle S. Rose, narrator AARON COPLAND (1900 - 1990) Lincoln Portrait

Gayle S. Rose, narrator JOHANN SEBASTIAN BACH (1685 - 1750) Concerto in D Minor for Two Violins and Orchestra, BWV 1043

Vivace

Largo; ma non tanto

Allegro

Joy Brown Wiener, violin

Ellen Cockerham, violin INTERMISSION RICHARD STRAUSS (1864 - 1949) Ein Heldenleben, Op. 40

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Joy Brown Wiener violin

Concertmaster Emeritus of the Memphis Symphony Orchestra, Joy Brown Wiener has graced the stage with spectacular performances from the time she was a small child. At nine she won a national competition in Dayton Beach, Florida, playing before an audience of five thousand.

She made her professional debut at the age of ten, and concluded her career by soloing at the Goodwyn Institute in Memphis.

Joy began her solo career at age fifteen with the Charleston, South Carolina Symphony, The Piedmont Festival Orchestra in Winston Salem, North Carolina, and the St. Louis Symphony Orchestra. She then became a member of the St. Louis Symphony, being the youngest member in its then sixty-six year history and played two seasons before going to study at the Julliard School of Music.

In the 1950's, Wiener toured Europe and won first prize at the Festival of Artists in Sienna, Italy. The winning piece was Brahms Violin Concerto – still one of her favorites. In 1952 Wiener became the first concertmaster of the Memphis Symphony and held this post until her retirement in 1992.

Since her retirement, Joy has excelled both on stage and as an accomplished Master Teacher. Mrs. Wiener still has an active studio of talented violin students and has helped them excel in top graduate musical programs.

Ellen Cockerham

guest concertmaster Ellen Cockerham has served as Principal Second Violin of the Richmond Symphony Orchestra since 2009. She has been a featured soloist with the symphony and served as acting concertmaster from January to May 2011. Previously, she served as Principal Second Violin in the Canton (Ohio) Symphony and in CityMusic Cleveland. As a student of William Preucil, she graduated from the Cleveland Institute of Music in 2008 with a Bachelor’s degree and in 2010 with a Master’s degree. Ms. Cockerham has been the recipient of awards from CIM, the Kent/Blossom Music Festival, and Tanglewood Music Center. She is also the director of Classical Revolution RVA, the Richmond chapter of the international movement to take classical music into bars, restaurants, and other non-traditional venues.

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Gayle S. Rose narrator

Gayle S. Rose has worked tirelessly to improve the quality of life in Memphis for the past three decades through business and economic development and her visible advocacy for the poor. A social activist and serial entrepreneur, she has founded five charitable organizations and two for-profit businesses in her successful career. She is currently Founder and CEO of a leading technology and business continuity company, EVS Corporation. She is also the Founder and Chairman of the Rose Family Foundations private charity as well as her newest venture, Team Max, named after her late son, Max Rose. Team Max is a social media-based volunteer activator for youth, which mobilizes support for causes across the globe. She has coined the term “Vigilantly or Philanthropy” making it easy to serve the needs of the world.

Her past business ventures include serving as Managing Director of Heritage Capital Advisors, LLC., a private equity, corporate advisory firm with offices in Atlanta and Memphis. Ms. Rose also co-founded and served as President and CEO of the Chopra Companies where she directed the business development of Dr. Deepak Chopra, famed author and physician.

A well-known cultural leader with many awards and distinctions, Rose was named CEO of the Year by MBQ magazine in 2012, one of Tennessee’s 100 Most Powerful People by Business Tennessee magazine, and is most well-known for landing the NBA Memphis Grizzlies team. As a result, the Public Relations Society of America named her the Communicator of the Year. She is co-founder of the Women’s Foundation for a Greater Memphis and was internationally recognized in 2007 with the “Changing Face of Philanthropy Award” from the Women’s Funding Network. In 2008, she was named Humanitarian of the Year by Diversity Memphis.

Rose is a classically-trained clarinetist with a BA in music and business and holds a Master of Public Administration from Harvard University, where she became a Distinguished Littauer Fellow in 1985. She has three sons, Morgan, Max (in spirit) and Mikey.

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program notes COPLAND Lincoln Portrait Duration: 14 minutes Born to Jewish immigrants from Lithuania in Brooklyn on November 14, 1900, Aaron Copland became one of the most distinctive voices in American music. While many of his early compositions were in the style of less accessible twentieth century works, Copland gradually grew concerned with this state of affairs. As Copland writes, During the mid-1930s I began to feel an increasing dissatisfaction with the relations of the music-loving public and the living composer. The old ‘special’ public of the modern music concerts had fallen away…. It seemed to me that we composers were in danger of working in a vacuum.

Copland turned to folk and popular music for inspiration, and in doing so, launched the most productive period of his career. In 1935, he composed El Salón México, drawing on Mexican folk music to produce a new sound. He also began composing film scores, such as those for “Of Mice and Men” (1939), “Our Town ” (1940), and “The Heiress” (1949). Ballet proved to be another creative outlet for Copland, and in the early 40s he composed two that today number among his most popular works: Rodeo, written in 1942 (the same year the US formally entered into World War II, and the Pulitzer Prize-winning Appalachian Spring (1944), for Martha Graham. And in 1942, Copland composed his inimitable and extraordinarily famous Fanfare for the Common Man to fulfill a commission by Eugene Goossens, the conductor of the Cincinnati Symphony Orchestra.

Around this same time—and perhaps inspired by wartime patriotism—conductor Andre Kostelanetz asked American composers Virgil Thomson, Jerome Kern, and Copland for a “gallery of musical portraits,” celebrating “the qualities of courage, dignity, strength, simplicity and humor which are so characteristic of the American people.” Thomson selected New York mayor Fiorello H. La Guardia and writer Dorothy Parker, Kern chose Mark Twain, and Copland—after initially considering poet Walt Whitman—settled on Abraham Lincoln. From the start, he had a problem: On discussing my choice with Virgil Thomson, he amiably pointed out that no composer could possibly hope to match in musical terms the stature of so eminent a figure as that of Lincoln. Of course, he was quite right. But the sitter himself might speak. With the voice of Lincoln to help me I was ready to risk the impossible.

True to his word, Copland centered Lincoln Portrait around Lincoln’s writings, linking quotes from his letters and speeches with “narrative passages, simple enough to mirror the dignity of Lincoln’s words.” As he describes his approach, “I avoided the temptation to use only well-known passages, permitting myself the luxury of quoting only once from a world-famous speech.” Copland then weaves music around this text, using both melodies of his own creation and recognizable fragments of songs from the era, like 24

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Stephen Foster’s “Camptown Races.” As the composer describes the work, The composition is roughly divided into three main sections. In the opening section I wanted to suggest something of the mysterious sense of fatality that surrounds Lincoln’s personality. Also, near the end of that section, something of his gentleness and simplicity of spirit. The quick middle section briefly sketches in the background of the times he lived. This merges into the concluding section where my sole purpose was to draw a simple but impressive frame about the words of Lincoln himself.

As Lincoln’s own words are the work’s focus, the speaker is one of the central performers.

Many famous people have taken on the role since actor William Adams first performed it, including poet Carl Sandburg, Margaret Thatcher, and Adlai Stevenson.

BACH Concerto in D Minor for Two Violins and Orchestra Duration: 16 minutes As with the orchestral suites, we know little about the composition of the Concerto for Two Violins, or “the Bach double,” as it is often called. Leading Bach scholar Christoph Wolff has proposed that Bach wrote the work while in Leipzig, but most scholars agree that like most of Bach’s string music, the concerto probably dates from Bach’s tenure at Cöthen. Bach was offered the position of Kapellmeister at Cöthen in December 1717, when he was just 32. Although the Duke of Weimar was reluctant to lose the composer— in fact, when Bach tried to resign, he held him under arrest for an entire month—the position at Cöthen was irresistible. Bach would be the second highest-paid court employee, and his wife Maria Barbara would be a salaried singer as well. Tragedy struck about three years after the move; his wife died, leaving him a single father. (About a year later, Bach married Anna Magdalena, the daughter of the town trumpeter.)

Although we usually think of Bach as a keyboard player, his first paid music post was as a violinist, and by all reports, he was relatively accomplished. As his son Carl Philipp Emanuel wrote, From his youth up to fairly old age he played the violin purely and with a penetrating tone and thus kept the orchestra in top form, much better than he could have from the harpsichord. He completely understood the possibilities of all stringed instruments.

The double concerto is an excellent example of Bach’s facility with strings. While the violins hold the stage in all three movements, the part writing strikes the perfect balance between extroverted showmanship and idiomatic ease. The two solo parts fit together effortlessly, and their musical dialogue becomes the focal point of the entire piece.

While the orchestra emerges occasionally to challenge the soloists, it serves primarily as the accompaniment—and in the second movement, the ensemble essentially plays the

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program notes continuo part, providing understated support for the plaintive, heart wrenching melodies of the solo violins. The concerto’s pervasive imitation is particularly noteworthy. In the resolute first movement, the lyrical second, and the frantic third movement, the violinists incessantly trade phrases back and forth; indeed, the two parts only truly differ in terms of their range.

STRAUSS Ein Heldenleben Duration: 40 minutes While Ein Heldenleben (A Hero’s Life) was not the last of Richard Strauss’s symphonic poems, it was the final entry in the famous series that began a decade earlier with Don Juan. As such, it is often interpreted as a sort of summation of Strauss’s career around the time his focus shifted from orchestral works to operas. Strauss made one of his earliest references to “A Hero’s Life” in a letter dated July 25, 1898, written from the resort town of Marquartstein: Since Beethoven’s Eroica is so extremely unpopular with our conductors and hence rarely performed, I am filling a desperate need by composing a tone poem of substantial length entitled Hero’s Life, which has no funeral march to be sure, but is yet in E-flat major with lots of horn sound, since horns are, after all, the thing for heroism. Thanks to the healthy country air, my sketch has progressed so well there that, if no special delay develops, I can hope to finish the work by New Year’s.

Apparently there was no delay—Strauss completed the piece in Berlin on December 27, and led the Frankfurter Opern- und Museumsorchester in the work’s premiere on March 3, 1899. Theodore Thomas led the Chicago Symphony Orchestra in the American premiere just over a year later on March 10, 1900.

Strauss’s earlier tone poems—Don Juan, Macbeth, Death and Transfiguration, Till Eulenspiegel, Thus Spake Zarathustra, and Don Quixote—were all based on extant literary works, written-out programs, or characters from folklore. A Hero’s Life has no program, however; as Strauss proclaimed to poet Romain Rolland, “There is no need for a program; it is enough to know there is a hero fighting his enemies.” While some have suggested that the “hero” portrayed was Strauss himself—a characterization Strauss describes as only “partly true”—he wrote in the program notes for the work’s premiere that the work’s subject was “a more general and free ideal of great and manly heroism.”

His comparison of the work to Beethoven’s Eroica Symphony, another work that refers to a generalized hero, supports this assertion.

The music may have the last word, however. Written in six sections, each of which bear titles that Strauss later wanted removed, the work contains numerous musical allusions to Strauss’s own life. The bold opening melody introduces “The Hero,” with subsidiary

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themes that depict other characteristics—sensitivity, intelligence, ambition, pride. In the second section, “The Hero’s Adversaries” come to life in chattering woodwinds and brass, while the tuba caricatures a Munich critic with its “Doktor Dehring, Doktor Dehring.” In “The Hero’s Helpmate,” the solo violin depicts Strauss’s wife, soprano Pauline de Ahna. The music reflects Strauss’s own characterization: “She is very complex,” he wrote to Romain Rolland, “a trifle perverse, a trifle coquettish, never the same, changing from minute to minute.” “The Hero’s Battlefield” offers a graphic and monumental depiction of combat, in which the hero, whose theme is audible at the end, prevails.

The penultimate section, “The Hero’s Works of Peace,” gives away Strauss’s identity completely. Beginning with a quotation from Don Juan, we hear the loathed critic, “Doktor Dehring,” followed by a string of quotations from many of Strauss’s own works, including the tone poems Don Juan, Till Eulenspiegel, Death and Transfiguration, Thus Spake Zarathustra. At the end, we hear “The Hero’s Withdrawal from the World,” in which the protagonist, drawing away from adversaries, is finally subsumed in a swell of lush romanticism.

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The MSO's Family Tunes and Tales Enchant and Educate The little girl sitting in the front row is enthralled by MSO timpanist Frank Shaffer who is creating a wealth of sounds on an array of instruments. He has drums, cymbals, a tomtom, castanets, a triangle, temple blocks, shakers, a water gong, and even knitting needles, which he uses to portray a dance loving hippo that pirouettes, hums, skips, leaps, jumps, and generally creates havoc in the jungle. Librarian Susan Penn, wearing a red tutu, reads from Karma Wilson’s book Hilda Must Be Dancing. The little girl’s eyes open wide as she claps her hands in amazement. Next to her a boy sits at the edge of his chair, mesmerized. At another library, MSO String Trio is leading children in a song from Pete Seeger’s Abiyoyo in which a simple melody played by a boy brings down a dreaded monster.

According to Susan Penn, Family Tunes and Tales performances resonate with audiences of all ages from children to adults, encompassing a wide range of learning. “One Saturday,” she recounts, “we were waiting to hear the String Quartet accompany the story Coyote and the Laughing Butterflies. The Quartet was introducing what to listen for during the concert. They asked the children to raise their hands when they heard a phrase repeat and to indicate how many times it did so; it was a challenging task, even some of the adults couldn’t do it, but the children were eager Principal Timpanist Frank Shaffer leads a Family Tunes and Tales listeners and many of them performance. had the right answer. They beamed with pride and satisfaction.” This is what the librarians like best about FTT: children, while being entertained, are encouraged to be attentive listeners.

Family Tunes and Tales is a special experience because it celebrates and encourages creativity and imaginative thinking. Penn states, “The musicians and the ensembles are so creative.” An example of this is how the Woodwind Quintet uses homemade instruments in their performance of the story Five Nice Mice by Chisato Tashiro. “The audience was really fascinated with how a glass soda bottle filled with water made a tone when air was blown across the mouthpiece, and how that tone changed as water was poured out.” There is something irresistible about combining music and stories. Susan remembers another occasion, “the Brass Quintet was performing near the courtyard door and the music flowed directly to the lobby. Numerous teenagers, who typically would not be caught dead at such 28

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Family Tunes and Tales 2013-2014 Performances begin at 11 a.m. on Saturdays Book Listings Title

Owl Moon

Author

By Jane Yolen Accompaniment String Quartet Schedule

Central Library

Tops & Bottoms

By Jane Stevens Woodwind Quintet Bartlett Branch Library

Interrupting Chicken

By David Ezra Stein Brass Quintet Cordova Branch Library

Yesterday I had the Roxaboxen Blues

By Jeron Ashford Frame By Alice McLerran Kinder Trio Percussion Germantown Community Library

October 19

Owl Moon

Tops & Bottoms

Interrupting Chicken

November 23

Tops & Bottoms

Interrupting Chicken

Yesterday I had the Roxaboxen Blues

January 4

Interrupting Chicken

Yesterday I had the Roxaboxen Blues

February 8

Yesterday I had the Roxaboxen Blues

March 8

Roxaboxen

Owl Moon

Yesterday I had the Blues

Burch Library Collierville Roxaboxen Owl Moon

Owl Moon

Tops & Bottoms

Owl Moon

Tops & Bottoms

Interrupting Chicken

Tops & Bottoms

Interrupting Chicken

Yesterday I had the Blues

a concert, stood behind a stack of books, all ears.” Everybody loves a good story, and music intensifies the experience, enhancing emotional impact, creating mood and atmosphere and accenting action.

Family Tunes and Tales performances last one hour and are free and open to everyone.

They take place on Saturdays starting in October and continue into the spring. Postconcert activities that relate thematically to the performances are also featured.

The MSO and the Governor’s Books from Birth Foundation will continue their collaboration around Family Tunes and Tales. Books from Birth is a statewide initiative providing books from Dolly Parton’s Imagination Library to Tennessee children from birth to age five. The goal of the Foundation is to promote reading and comprehension, vocabulary development and school readiness.

One book in this season’s Family Tunes and Tales selections is on the Books from Birth list: Owl Moon by Jane Yolen. Books from Birth will provide copies of this book for children who attend their performances.

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Child making a craft following the performance

Children enjoying a Family Tunes & Tales performance

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Figaro to Carmen A Night of Opera Friday, October 11, 2013 at 7:30 p.m. – Lindenwood Christian Church

MEI-ANN CHEN, conductor Taylor Johnson, soprano Christine Amon, mezzo soprano Randal Rushing, tenor Michael Preacely, baritone Gary Beard Chorale Gary Beard, artistic director GIUSEPPE VERDI (1813 - 1901) La forza del destino

Overture

“Pace, pace, mio Dio”

Taylor Johnson, soprano Chorus of the Hebrew Slaves from Nabucco

Gary Beard Chorale

GEORGES BIZET (1838 - 1875) “Au fond du temple saint” from The Pearl Fishers

Randal Rushing, tenor

Michael Preacely, baritione Carmen

Prelude to Act IV

Habanera

Christine Amon, mezzo soprano

“Votre toast, je peux voux le render”

Michael Preacely, baritone

with Lura Turner, soprano

Delia Parman, soprano

Demesia Blancett, soprano

Gary Beard Chorale INTERMISSION

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WOLFGANG AMADEUS MOZART (1756 - 1791) Overture to The Marriage of Figaro, K. 492 “Dies Bildnis” from The Magic Flute

Randal Rushing, tenor “Soave sia il vento,” from Cosí fan tutte, K. 588

Taylor Johnson, soprano

Christine Amon, mezzo soprano

Michael Preacely, baritone GIUSEPPE VERDI (1813 - 1901) “Anvil Chorus” from Il Trovatore

Gary Beard Chorale ENGELBERT HUMPERDINCK (1854 - 1921) Hansel and Gretel

Witch’s Ride

Evening Prayer

Taylor Johnson, soprano

Christine Amon, mezzo soprano PIETRO MASCAGNI (1863 - 1945) “Regina Coeli” (Easter Hymn) from Cavalleria Rusticana

Taylor Johnson, soprano

Christine Amon, mezzo soprano

Gary Beard Chorale

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Taylor Johnson soprano

Taylor Johnson is a lyric soprano from Orangeburg, South Carolina. Her musical background is extensive, encompassing performances with the Memphis Symphony Orchestra and Charleston Symphony orchestra, touring abroad to six countries, winning 2nd prize in the Metropolitan Opera National Council AuditionsSoutheastern Region, and debuting in Cincinnati Opera’s first production of Porgy and Bess as Strawberry Woman in 2012. Other roles include The Countess in Le nozze di Figaro, Rosalinda in Die Fledermaus, Helena in Britten’s A Midsummer Night’s Dream and the Puccini heroines, Suor Angelica and Mimì in La bohème. The siren starred as a soloist throughout her collegiate involvement, matriculating from Converse College and The Florida State University with her Bachelor’s and Master’s degrees in vocal performance, respectively. Offstage, Taylor is immersed in community outreach endeavors. She delivers “Opera Talk” presentations to grade school, high school, and college-level students, alike.

Currently, Johnson is a professor of voice at Claflin University in South Carolina, and she continues to present concerts and recitals, nationwide.

Christine Amon mezzo soprano

Christine Amon, mezzo soprano, hails from Grand Rapids, Michigan, and is currently a Resident Artist with Opera Memphis. Last season she was featured in Opera Theater of Pittsburgh’s Summerfest, and at Opera Memphis as Giannetta in Elixir of Love and Peggy/Maybelle in Hoiby’s This is the Rill Speaking. Christine was a finalist in the Lotte Lenya Competition hosted by the Kurt Weill Foundation for Music and has been awarded first place in the The Beethoven Club of Memphis Young Artist Competition, Opera Grand Rapids Collegiate Vocal Competition, the NATS Regional Auditions, and the Dr. Marjorie Conrad Art Song Competition. As a regular with the Harbor Choral Festival of Music, Christine has appeared on the concert stage as a soloist in Will Todd’s Mass in Blue and Vivaldi’s Gloria. Ms. Amon received a Master of Music from Bowling Green State University, performing the roles of Cherubino in Le nozze di Figaro and Desiree in A Little Night Music. She received a Bachelor of Music from Grand Valley State University. Upcoming performances include Dorabella in Così fan tutte at the University of Memphis, and Pitti-Sing in The Mikado with Opera Memphis.

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Randal Rushing tenor

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

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

Michael Preacely baritone

Michael Preacely is from Chicago, Illinois and a graduate of the Oberlin Conservatory of Music. Mr. Preacely recently made his Cincinnati Opera debut singing the role of Jake in Porgy and Bess. His other most recent opera roles include Ford in Falstaff, The High Priest of Dagon in Samson and Delilah, Mercutio in Romeo and Juliet, Porgy in Porgy and Bess and Marcello in La Bohème. Mr. Preacely has previously performed with Opera Company Philadelphia, Cleveland Opera, Lyric Opera Cleveland, Bohème Opera of New Jersey, Oakland East Bay Symphony, and the Cleveland Orchestra. Michael has also soloed with the Cincinnati Pops, the Hamilton-Fairfield Symphony Orchestra, and the Kentucky Opera as Scarpia in Puccini’s Tosca this past November.

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

For Tickets 901-537-2525

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The Gary Beard Chorale The Gary Beard Chorale made its debut in a gala concert on August 2, 1987. Since that time, this dynamic choral organization has made its mark in the field of sacred, classical and popular choral music. The group is a twenty-three member ensemble selected from the nationally acclaimed Lindenwood Christian Church Chancel Choir, a 95-voice ensemble which has been called "an extraordinary chorus..." (Alexandria Daily, 1986) Their performance of Poulenc's Gloria in May 1991 won The Memphis in May International Festival’s award as the "Outstanding Community Performing Arts Event" and The Commercial Appeal's Whitney Smith said "the enthusiasm these singers brought to the piece fit the composer's intentions." The Chorale has also appeared in numerous "pops" concerts with orchestra and teamed with famed William Warfield, best known for his thrilling rendition of "Ol' Man River" in MGM's classic film version of "Showboat", for a concert of American music in 1992.

The chorale's first CD recording, "Awake the Trumpets - Music for a Grand Wedding" was released in November 1995. They are also featured in several selections on “Sing We Now of Christmas,” a recording of the Lindenwood Ministries of Music, released in December 1996, and National Public Radio’s “Pipedreams” has played several of the chorale’s selections on recent broadcasts. More recent seasons have included numerous concerts throughout the area including a performance of Verdi’s “Requiem” in Jackson, Mississippi, as well as a nomination for the Premier Player Award by the Memphis Chapter of the National Academy of Recording Arts and Sciences.

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Gary Beard artistic director

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

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

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

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program notes VERDI Overture and “Pace, pace, mio Dio” from La forza del destino Chorus of the Hebrew Slaves from Nabucco Duration: 21 minutes This year marks the celebration of the 200th anniversary of Giuseppe Verdi’s birth—but when he was a young man, it wasn’t yet clear that we would be celebrating his genius today. Verdi was talented, but not a prodigy. When he was nineteen, he was denied admission to the conservatory in Milan (the very same school that is today known as the Giuseppe Verdi Conservatory!). By the 1880s, however, he had become an icon. One of the most revered and decorated men in Europe, he had served in Parliament and was considered a national hero. Verdi’s fame was almost not to be, however. Shortly after the production of his first opera, Oberto, at La Scala, Verdi lost his wife and both his children to illness. Severely depressed, he nearly gave up music altogether. In 1842, he was persuaded to write one more opera—and that work, Nabucco, marked his first real success.

La forza del destino (The Force of Destiny) was composed in 1861 near the end of what we call Verdi’s “middle period,” prior to his masterpieces Aida, Otello, and Falstaff. The overture is one of Verdi’s most popular, and was specifically composed to set the stage for the dramatic story: a triangle between Leonora, her brother Don Carlo, and her suitor Don Alvaro. In the final scene, Leonora takes refuge in a monastery to escape the treachery between her lover and her brother who are sworn enemies. She prays for peace for her soul in “Pace, pace, mio Dio” (Peace, peace, my God).

The chorus “Va, pensiero” (Fly, thought) from Nabucco—Verdi’s first big hit—showcases the significance his music has accrued among the Italian public. Sung by a chorus of Hebrew slaves longing for their homeland, it took on national significance when Italy was fighting for independence from foreign rule. When Verdi died in 1901, bystanders along his funeral cortege spontaneously broke into choruses of “Va, pensiero.” And as recently as 2009, an Italian senator introduced a bill attempting to make the chorus the Italian national anthem.

BIZET “Au fond du temple saint” from The Pearl Fishers; excerpts from Carmen Duration: 16 minutes When we think of Georges Bizet’s operas, Carmen leaps to mind, and rightly so—it’s one of the most popular operas ever composed. Born in 1838 to musicians—his mother was a pianist, and his father a voice teacher—Bizet studied at the Paris Conservatory. He had an illustrious student career and won the Prix de Rome in 1857, a five-year grant requiring him to spend two years in Rome, a third in Germany, and two more in Paris. Upon his return to Paris, the Prix de Rome helped him once more. While Parisian opera houses preferred the music of established composers to that of newcomers, the Opéra-Comique was state-funded and therefore obligated to help Prix de Rome winners. As a result, Bizet 36

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had his first publicly staged work at the theater: The Pearl Fishers, which takes place in ancient times in Ceylon (now known as Sri Lanka). In the duet “Au fond du temple saint” (Deep in the holy temple), old friends Zurga and Nadir recall the last time they saw one another, when they visited the great temple, and both men fell in love with a beautiful woman leading a ceremony. Knowing she might come between them, they renounced her and pledged their eternal friendship. Upon Bizet’s death at the young age of 38, the music of this duet was performed at his funeral.

In 1872, Bizet received a commission from the Opéra-Comique for three operas. He spent two years writing Carmen, hoping to insert a different note into the usual light-hearted fare. The Opéra-Comique got something new—and they were shocked by everything.

The title character was a cigarette-smoking, immoral “gypsy.” The tenor hero was not particularly honorable; a deserter, he ends up committing murder on the stage. The premiere of Carmen took place on March 3, 1875, with an audience that included Gounod, Thomas, Delibes, Offenbach, Massenet, d’Indy, and novelist Alexandre Dumas, younger (the author of the play that became La Traviata.) It was a terrible failure—and Bizet died three months later, never knowing that he had composed one of the world’s most popular operas. The prelude to Act IV sets the stage for the opera’s final scene, outside the bull ring, while the “Habanera” and “Votre toast” are two of the most popular excerpts from the work. We meet Carmen through her “Habanera” in Act 1. “Votre toast” is the famous “Toreador Song” sung by the bull-fighter Escamillo in Act II, as he regales customers in the inn of Lillias Pastia with his vivid account of the fame, danger, and the rewards of his profession.

MOZART, Overture from The Marriage of Figaro; “Dies Bildnis” from The Magic Flute; “Soave sia il vento” from Così fan tutte Duration: 11 minutes When Wolfgang Amadeus was born in 1756, his father Leopold already believed he had found his prodigy in his fourth child, Maria Anna (also known as Nannerl). Leopold soon devoted his attention to Wolfgang, however, proclaiming his seventh child’s talents to be a gift from God. Leopold’s focus was intense – so intense, according to some, that the boy spent all of his time sitting and practicing, and was permanently small and pale as a result. Whatever the side effects may have been on his child, Leopold’s efforts paid off.

Before long, he was squiring his gifted children all over Europe, promoting their talents in a seemingly endless series of concerts, and Mozart wrote his first symphonies and operas while still a boy.

Most of the works we consider today to be Mozart’s masterpieces were composed after he left his hometown of Salzburg, taking up residence in the cosmopolitan city of Vienna.

Considering that he composed his greatest operas less than five years before his death in 1791, including The Marriage of Figaro (1786), Don Giovanni (1787) Così fan tutte (1790), For Tickets 901-537-2525

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program notes and The Magic Flute (1791), it is hard even to imagine what else he might have composed had he lived past the age of 35.

Based on a satire by Beaumarchais, The Marriage of Figaro was a tremendous success at its premiere. While Mozart’s ability to create character depth through music is nearly unsurpassed, eighteenth- and nineteenth-century opera overtures were sometimes an afterthought—perhaps because audience members weren’t always expected to be listening—while at other times, they were an integral part of establishing the mood. One of Mozart’s shortest and quickest overtures, the Figaro overture contains no themes from the opera—rather, it sets the stage for the very busy day that follows. Some have said it describes the character of Cherubino.

The Magic Flute was completed about ten weeks before Mozart’s death. A fairy-tale opera, it was written in German, rather than Italian, for the popular theater rather than the opera house. In Act I, Prince Tamino has just been given a locket containing a picture of the beautiful Pamina with whom he immediately falls in love. Upon seeing the portrait, he sings, “ Dies Bildnis ist bezaubernd schon” (This picture is enchantingly lovely).

In Act I of Così fan tutte, two sisters, Fiordiligi and Dorabella, believe that their boyfriends, Ferrando and Guglielmo, have been called off to war. In truth, the men are setting up a plot to test their women’s fidelity. The women, joined by the philosopher Don Alfonso, bid farewell and wish them safe travels in the trio, “Soave sia il vento” (May the breezes be gentle and the elements peaceful).

VERDI, “Anvil Chorus” from Il trovatore (The Troubador) Duration: 3 minutes Il trovatore made its debut in Rome in 1853. As Act II opens, the inhabitants of a Gypsy camp sing the praises of hard work, good wine, and women. Some of the gypsies strike their anvils in time with the music, prompting the chorus’s nickname, the “Anvil Chorus” (Verdi called it the Gypsy Chorus).

HUMPERDINCK, “Witch’s Ride” and “Evening Prayer” from Hansel and Gretel Duration: 8 minutes German composer Engelbert Humperdinck (1854-1921) is best known for his musical retelling of the Grimm Brothers’ tale, Hansel and Gretel. First performed in Weimar on December 23, 1893, the opera has been associated with Christmas ever since—and its debut was conducted by none other than Richard Strauss. Based on the melody of the Father’s “broomstick” aria in the previous act, “Witch’s Ride” includes the melody of the Witch’s Act III aria. The music gradually transforms into a tranquil sylvan idyll and leads directly into Act II. 38

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In Act II, Hansel and Gretel are lost in the forest. The Sandman appears to help the children sleep. He comforts them and then puts sand in their eyes. Just before they fall asleep, Gretel reminds Hansel to say their “Evening Prayer.”

MASCAGNI, “Regina Coeli” from Cavalleria Rusticana Duration: 11 minutes In February 1890, Italian composer Pietro Mascagni entered his third opera, Cavalleria Rusticana, into a competition sponsored by the music publisher Sonzogno. Not only did he win, but the work’s Roman premiere on May 17 was extremely successful—so successful, in fact, that none of his other works ever approached Cavalleria’s popularity.

Cavalleria Rusticana deals with rural Sicilians and their code of honor—although most of its characters are not particularly honorable—and is set in Sicily on Easter Morning. The church choir sings the chorus, “Regina Coeli” (Queen of heaven).

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Tune in to the MSO Big Band!

When you hear the strains of the Andrew Sister’s “Don’t Sit under the Apple Tree” or Glenn Miller’s “In the Mood,” when you feel the rhythm of Swing and the beat of Boogie Woogie, you just want to get up and dance; there is nothing quite like the sounds of the Big Band era to get people moving. The MSO Big Band is no exception. Led by MSO principal trumpet Scott Moore, the 12-piece ensemble performs throughout Memphis, bringing the joy of 1930s and 40s dance music to area concert halls and events.

In the summer of 1999 Betsy Carter, who was the MSO music librarian at the time, received a call from the Memphis Public Library. The Library was in the process of closing the old Main Branch located in Midtown on Peabody Avenue and moving its collection to the newly constructed Central Library on Poplar Avenue. Betsy was surprised when the caller asked if the Symphony had any use for a recorded series of live broadcasts of Big Band performances. Beginning in 1929, WREC was located in the basement of the Peabody Hotel. This was their home for over 40 years. There were 90 boxes of music containing approximately 4,000 charts that had been donated to the library by the Peabody. Now that the Midtown Branch was going to be torn down, they didn’t have room to store the charts, and if they didn’t find a home for them all the music would be destroyed. Betsy and her colleague, Douglas Mayes drove over to the library and loaded up their cars. It took several trips to retrieve all the boxes! These historic charts now belong to the Memphis Symphony and are performed regularly by the MSO Big Band.

Originally, the charts were performed as part of a tradition known as “big band remote.”

These were radio broadcasts popular in the 1930s and 1940s. Typically, these broadcasts were made live from hotels, ballrooms and clubs in various cities, like Chicago, New York, Boston, LA, Philadelphia, San Francisco, and Memphis. Sam Phillips, of Sun Records fame, ran big band remotes with the Chuck Foster orchestra from the Peabody Hotel Skyway Ballroom where he hosted the show “Saturday Afternoon Tea Dance.” These broadcasts

MSO Big Band performing at Hickory Ridge Mall 40

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MSO Big Band performing at The Peabody Memphis

were eventually picked up nationally and broadcast over the CBS network. Other performers who appeared at the Peabody included headliners such as Tommy Dorsey, the Andrew Sisters, Glenn Miller and Benny Goodman. The Skyroom Ballroom opened in 1939 on the roof of the elegant landmark Peabody Hotel. A circular glass-enclosed room, the Skyway was and still is a perfect space for Big Band music and dancing. In its heyday, it was reported that the huge beechwood dance floor could accommodate over a thousand people doing the Lindy without ever bumping into each other! Throughout the 1940s listeners across the country tuned in and enjoyed the live broadcasts from the Skyway ballroom.

Since receiving the historic Peabody charts, the Symphony has been busy cataloguing the music. Several MSO orchestra players have been helping current music librarian, Jenny Compton, with this effort. These charts are a national treasure; the Memphis Symphony is privileged to have them as a unique representation of the musical heritage of Memphis and of a particular time period in America popular culture. Currently, the MSO Big Band performs regularly at the Peabody, at Orchestra concerts and events around town.

For more information or to book the MSO Big Band for events and private parties, please contact Douglas Mayes at 901-537-2536 or douglas.mayes@MemphisSymphony.org.

For Tickets 901-537-2525

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Memphis Symphony Orchestra

STUDENT TICKETS 2013- 2014

Student Tickets for First Tennessee Masterworks, Pops and Paul & Linnea Bert Classic Accents*

$5

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Haydn, Britten & Brahms Saturday, October 26, 2013 at 7:30 p.m. - Cannon Center Sunday, October 27, 2013 at 2:30 p.m. - GPAC GRANT LLEWELLYN, conductor Memphis Symphony Chorus University Singers

Dr. Lawrence Edwards, artistic director JOHANNES BRAHMS (1833 - 1897) Schicksalslied for Chorus and Orchestra, Op. 54

Memphis Symphony Chorus

University Singers FRANZ JOSEPH HAYDN (1732 - 1809) Symphony No. 44 in E Minor (Trauersinfonie)

Allegro con brio

Menuetto: Allegretto, canone in diapason

Adagio

Finale: Presto INTERMISSION MICHAEL TIPPETT (1905 - 1998) Five Spirituals from A Child of Our Time

Steal Away

Nobody Knows

Go Down, Moses

By and By

Deep River

Memphis Symphony Chorus

University Singers BENJAMIN BRITTEN (1913 - 1976) The Young Person’s Guide to the Orchestra, Op. 34

Theme: Allegro maestoso a largamente

Variation A: Presto

Variation B: Lento

Variation C: Moderato

Variation D: Allegro alla marcia

Variation E: Brillante-Alla polacca

Variation F: Meno Mosso

Variation G: L’istesso tempo

Variation H: Comminciando lento ma poco a poco accelerando al Allegro

Variation I: Maestoso

Variation J: L’istesso tempo

Variation K: Vivace

Variation L: Allegro pomposo

Variation M: Moderato

Fugue: Allegro molto For Tickets 901-537-2525

FREE Concert Preview… ~ Saturday at 6:45 p.m. in the Morgan Keegan Mezzanine Lobby ~ Sunday at 1:45 p.m. in the Ballet Room

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Grant Llewellyn conductor

Grant Llewellyn is known throughout the world as a musician of great talent, versatility and passion. Born in Tenby, South Wales, Llewellyn won a conducting fellowship to the Tanglewood Music Center in Massachusetts in 1985 where he worked with Bernstein, Ozawa, Masur and Previn.

Llewellyn began his tenure as North Carolina Symphony Music Director in 2004. His sophisticated perspective has captured the interest and imagination of everyone he encounters. Critics and audiences alike have noted the passion and concentration of the orchestra under his baton and praise his “transcendent performances” and his “graceful and expressive direction.”

To date, Grant Llewellyn has held positions with three European orchestras: principal conductor of the Royal Flanders Philharmonic, principal guest conductor of the Stavanger Symphony Orchestra and associate guest conductor with the BBC National Orchestra of Wales. Notable recent European guest engagements have included the Royal Philharmonic Orchestra, Frankfurt Radio Symphony Orchestra, BBC Philharmonic, Helsinki Philharmonic and BBC Symphony. He has also conducted the Johannesburg (South Africa) Symphony Orchestra.

Grant Llewellyn has conducted many orchestras in North America, most notably the symphonies of Atlanta, Boston, Calgary, Nashville, Houston, Montreal, Milwaukee, Philadelphia, Saint Louis, Kansas City and Toronto, as well as the Florida Orchestra. From 2001 to 2006, as music director of the Handel and Haydn Society, America’s leading period orchestra, Llewellyn gained a reputation as a formidable interpreter of music of the Baroque and Classical periods.

An accomplished opera conductor, Grant Llewellyn has appeared at the opera companies of English National Opera (The Magic Flute) and the Opera Theatre of Saint Louis, where his repertoire has ranged from Handel’s Radamisto to Alexander Goehr’s Arianna. In 2001 he embarked on a collaboration with acclaimed Chinese director Chen Shi-Zheng in a production of Purcell’s Dido and Aeneas at Spoleto Festival, USA. Llewellyn has also conducted the North Carolina Symphony in two critically acclaimed recordings for the Swedish label BIS: American Spectrum with saxophonist Branford Marsalis and a 2010 release of concertos by Rachmaninoff and Medtner with pianist Yevgeny Sudbin.

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Lawrence Edwards choral director

Dr. Lawrence Edwards has been the Artistic Director of the Memphis Symphony Chorus since 1988 and he often conducts both the orchestra and the chorus. Dr. Edwards is also Coordinator of Choirs for the University of Memphis Department of Music, a position he has held since 1987. He directs the University Singers and the group Sound Fuzion, and teaches undergraduate choral conducting. He also serves as advisor/teacher for graduate choral conducting students. During the summers he teaches graduate conducting at Villanova University in Philadelphia, and is active as a choral clinician throughout the country, working with junior and senior high honor choirs.

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

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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 and a fan favorite. The Memphis Symphony Chorus is lead by Artistic Director, Dr. Lawrence Edwards and performs between two and five concerts per season with the Memphis Symphony Orchestra. Since its formation in 1965, the Memphis Symphony Chorus has attracted excellent, volunteer vocalists from around the Mid-South.

Performances are usually held at the Cannon Center in Downtown Memphis or at the Germantown Performing Arts Center.

The Chorus began in 1965 when Maestro Vincent de Frank needed a chorus to present the Symphony’s first Pops Concert. He asked musician Sara Beth Causey to send out notice and 30 singers responded that first year. Today the Chorus is 120 members strong, performing under the direction of Maestra Mei-Ann Chen and Dr. Lawrence Edwards. This group of dedicated volunteer vocalists will celebrate their 50th anniversary during the 2015-2016 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. Our recent First Tennessee Masterwork’s Concert performances have included: Bach’s Mass in B Minor Beethoven’s Ninth Symphony Handel’s Messiah Orff’s Carmina Burana Requiems by Mozart, Verdi, Brahms, and Berlioz 46

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The Chorus also performs each year with the Symphony in the very popular Home for the Holidays Pops concert. We also perform occasionally in the Pops Concert Series or participate in performances around the Mid-South with the Symphony.

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, ability to read music, a love for great choral music, as well as the time and energy to devote to a weekly Monday rehearsal schedule during the season. Each new season for the Chorus begins in the late summer and lasts through their final performance, usually in May. Be sure to check out the rest of the website for information about the chorus audition schedule or to purchase tickets for performances, or you may contact the Memphis Symphony Orchestra office at (901) 537-2510 or info@memphissymphonychorus.org

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program notes BRAHMS Schicksalslied Duration: 15 minutes As is evident in Brahms’s German Requiem, which made its debut just two years prior to the Schicksalslied, Johannes Brahms had complex views on religion. While he composed a Requiem Mass, he avoided all references to Christian dogma, and viewed the work as belonging to everyone, regardless of beliefs. As he once wrote, “As for the title, I must admit I should like to leave out the word ‘German’ and refer instead to ‘Humanity.’”

Shortly after the premiere of the first version of the Requiem in 1868, Brahms visited his friend Albert Dietrich, and discovered in his library a copy of Friedrich Hölderlin’s poems.

Schicksalslied (“Song of Destiny”) made a particular impression on the young composer.

Inspired by Classical antiquity, the poem draws a sharp contrast between the “blessed ones” in Elysium with the struggles of humankind on earth. The poem must have had particular resonance for a young man dealing with the recent loss of his mother, and Brahms immediately began work on a setting of the verse for chorus and orchestra.

Interestingly, the very contrast Brahms found so appealing—between the charmed existence of the gods and the fate of humankind—posed a compositional challenge.

Brahms begins the piece with these sharply outlined states: while the opening suggests the placid existence of the deities, the mood shifts dramatically at the text that discusses human destiny. Hölderlin oscillates between the immortal and mortal worlds throughout the poem—and if Brahms followed this scheme, the entire piece would end on a note of desolation. During the process of composition, Brahms experimented with several different solutions to this problem, including repeating the choral opening as a conclusion. (The conductor of the work’s debut, Hermann Levi, advised him against that course.) Finally, Brahms decided to reprise the prologue—subsequently contradicting the poem’s desolate view of humanity’s lot in life. Just as the German Requiem was intended as a comfort for the living, so does Brahms’s “Song of Destiny” hold out hope for humankind.

HAYDN Symphony No. 44 (Trauersinfonie) Duration: 22 minutes Franz Joseph Haydn’s Symphony No. 44 in E Minor is one of his most famous “Sturm und Drang” symphonies, a group of approximately seventeen works composed in the late 1760s and early 1770s. Translated as “storm and stress,” “Sturm und Drang” was a German literary movement that was associated with tenets that included the notion of “committed art,” or the avoidance of empty rhetoric, and a focus on serious and intense emotional expression. Although scholars contest the degree to which the relatively circumscribed literary movement actually impacted music from the period, the palpable emotion evident in Haydn’s “Sturm und Drang” symphonies highlights the motivation for the connection. Along with their use of minor keys, the works are saturated with 48

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musical elements that came to be associated with romantic music, such as harmonic inventiveness, liberal use of dynamic and other expressive markings, and an underlying musical and rhythmic urgency.

Composed around 1770-71, the Symphony No. 44 exhibits many of the traits mentioned above. Even the myth surrounding its nickname – Trauersinfonie, or ‘Mourning Symphony’ – is laden with emotion. Although it was thought that Haydn himself gave the work its subtitle, even requesting that the Adagio be played at his funeral, there is no evidence that this is true. Rather, it is likely that the subtitle arose from a performance of the Adagio at a memorial service in Berlin after the composer’s death. In the opening Allegro con brio, strong dynamic contrasts, driving rhythmic figures, and brief flourishes of chromaticism eloquently summarize the “Sturm und Drang” style. The strict canon between upper and lower strings on which the Minuet is based continues the serious tone, although the Trio offers a momentary respite. Rapturous melody is the focus of the Adagio, which maintains its mood of blissful contemplation throughout. And the Adagio’s languid beauty is the perfect setup for the intense energy of the final Presto alla breve, whose urgent rhythms and virtuosic counterpoint propel the symphony to an exhilarating close.

TIPPETT Five Spirituals from A Child of Our Time Duration: 12 minutes Born in London in 1905, Sir Michael Tippett was not involved in music until he was a teenager—but he made up for lost time, studying at the Royal College of Music and then with R. O. Morris, the brother-in-law of Vaughan Williams and a formidable composition teacher. At the same time that he was passionate about music, Tippett was equally fervent about world events such as World War I, the Depression, and mass unemployment. It was the combination of his musical maturity and deep political consciousness that ultimately gave rise to his widely performed oratorio A Child of Our Time, composed between 193941.

A secular oratorio, A Child of Our Time was inspired by Kristallnacht, an event that affected Tippett profoundly. In 1938, the assassination of a German diplomat by a young Jewish refugee sparked a coordinated series of attacks against Jews throughout Nazi Germany and Austria, resulting in the destruction of nearly 1,000 temples and the incarceration (primarily in concentration camps) of over 30,000 Jews. In the oratorio, Tippett deals with these events in the context of more generalized oppression, sending a message of understanding and reconciliation. Constructed in three parts similar to Bach’s passions, the oratorio uses American spirituals in the place of chorales, which Tippett suggested were more universal than patently religious melodies. Tippett’s arrangement of these tunes is a poignant illustration of his belief in their communicative powers.

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program notes BRITTEN The Young Person’s Guide to the Orchestra Duration: 17 minutes The year 2013 marks the centenary of Benjamin Britten, who was born in Suffolk on November 22, 1913. A musical prodigy who composed before he could read, Britten studied formally with Frank Bridge before entering the Royal Conservatory of Music in 1930. In 1935 he began working on documentaries for the GPO Film Unit, a subsidiary of the UK General Post Office, where he collaborated with W. H. Auden. A pacifist, Britten ended up in America at the start of World War II and stayed there for several years before homesickness overcame him and he returned in 1942. Three years later on June 7, 1945, his opera Peter Grimes premiered to great critical acclaim, becoming the first in a series of major works (among others, The Rape of Lucretia, Albert Herring, Billy Budd, The Turn of the Screw, and Noye’s Fludde) and establishing him beyond a doubt as the preeminent British composer of his generation.

Commissioned by the BBC just a year before Peter Grimes’s premiere and completed on December 31, 1945, The Young Person’s Guide to the Orchestra was intended to serve as music for an educational film for children. Britten subtitled the piece “Variations and Fugue on a Theme of Henry Purcell,” basing it on a melody written by another significant British composer—Henry Purcell, for Aphra Behn’s play Abdelazer, or The Moor’s Revenge. The theme and variations form, in which a melody is presented, and subsequently varied and changed in the ensuing movements, allowed Britten to illustrate all of the instruments in the orchestra. In a humorous turn, Britten sometimes accords them roles that one would not expect—the double basses, for example, appear higher than the woodwinds in one variatino. The work culminates in a grand fugue that shows off the force of the full orchestra, with Purcell’s theme finally reappearing in the brass.

Cover Artwork Elvis enjoyed playing and singing alone in private moments, but especially enjoyed gathering family and friends in the music room at Graceland, running through a broad repertoire of favorite songs from several genres of music, particularly gospel and R&B. The focal point of the room decorated with a classic 60s flair is the piano, a black Story & Clark baby grand seen in the room today was purchased by the King of Rock ‘n’ Roll in 1974.

Elvis Presley’s Graceland along with the Memphis Convention & Visitors Bureau and Sun Studio are celebrating 60 Years of Rock ‘n’ Roll in 2014.

Elvis Presley Enterprises

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Fall

2013 Schedule

Jazz eucharist with the Tony Thomas Trio September 29, 2013 at 10:30 a.m.

Saint John’s Episcopal Church

Performing the National anthem for the Mississippi Riverkings Saturday October 26, 2013 at 7:05 p.m.

Desoto Civic Center, Southaven, MS

Performing Britten’s War Requiem with Rhodes Mastersingers and the Memphis Symphony Orchestra Sunday November 3, 2013 at 3:30 p.m.

Cannon Center for the Performing Arts

Auditions for the Memphis Boychoir. Memphis Girlchoir and Memphis Chamber Choir are ongoing. Contact (901) 351-8540 to schedule an audition.

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

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Rhapsody in Blue Saturday, November 16, 2013 at 7:30 p.m. - Cannon Center Sunday, November 17, 2013 at 2:30 p.m. - GPAC MEI-ANN CHEN, conductor Marcus Roberts Trio Marcus Roberts, piano Jason Marsalis, drum set Rodney Jordan, bass ALEXANDER BORODIN (1833 - 1887) “Polovtsian Dances” from Prince Igor

I. Dance of the Polovtsian Maidens

II. Polovtsian Dance GEORGE GERSHWIN (FERDE GROFE) (1898 - 1937) Rhapsody in Blue

Marcus Roberts Trio

INTERMISSION SERGEI PROKOFIEV (1891 - 1953) Symphony No. 5 in B-flat Major, Op. 100

I. Andante

II. Allegro marcato

III. Adagio

IV. Allegro giocoso

Concert Sponsor:

Guest artist appearance made possible through gift from Paul & Linnea Bert

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Marcus Roberts piano

Marcus Roberts grew up in Jacksonville, Florida where his mother’s gospel singing and the music of the local church left a lasting impact on his own musical style. After losing his sight at age five, he began teaching himself to play piano. He had his first formal lessons at age twelve and ultimately went on to study classical piano at Florida State University with Leonidus Lipovetsky. While at FSU, Roberts won the first of many competitions and awards, the "Young Artist’s Award" at the 1982 National Association of Jazz Educators annual conference. His many other awards include first prize at the Thelonious Monk International Jazz Competition in 1987, a National Academy of Achievement award in 1995 and the Helen Keller Award for Personal Achievement in 1998.

At age 21, Roberts began touring with Wynton Marsalis and stayed with the group for over six years. He signed his first recording contract with BMG/Novus in 1988 and completed six recordings for them before signing with Columbia Records early in 1994.

All of his recordings have been critically acclaimed, and several have reached the No. 1 spot on Billboard’s traditional jazz chart. Roberts’ recording legacy reflects his tremendous versatility as an artist and includes solo piano, duets, and trio arrangements of jazz standards, original suites of music, large ensemble works, and symphony orchestra recordings.

Roberts first performed as a soloist with symphony orchestra in 1992 with Maestra Marin Alsop. Since that time, he has performed with orchestras all over the world, but most frequently with his long-time music mentor, Maestro Seiji Ozawa. In 2003, Roberts premiered his ground-breaking arrangement of Gershwin’s “Concerto in F for Piano and Orchestra” with Ozawa in Japan with the New Japan Philharmonic and then in Europe, with the Berlin Philharmonic at their annual Wäldbuhne concert.

Since beginning his own record label, J-Master Records, in 2009, Roberts’ has released three CDs on the label: New Orleans Meets Harlem, Volume 1; Celebrating Christmas; and most recently, Deep in the Shed: A Blues Suite. In 2012, the Marcus Roberts Trio collaborated with Béla Fleck to record and tour Across the Imaginary Divide (distributed

by Rounder Records). Two new CDs are scheduled to be released shortly on J-Master Records including a two-CD set (Together Again: Live in Concert and Together Again: In the Studio) with the Marcus Roberts Trio and special guest, Wynton Marsalis.

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Rodney Jordan bass

Rodney Jordan is a native of Memphis, Tennessee where he grew up playing the bass in church. He later studied music performance at Jackson State University. His classical training led him to Assistant Principal Bassist and Principal Bassist positions with leading state and regional orchestras in Mississippi and Georgia. Teaching has always been an important part of his life and career. Jordan has taught in both the public school sector and the college level. He joined the faculty at Florida State University in 2001, where he now serves as Associate Professor of Jazz Studies. It was there that Jordan and Marcus Roberts first played together. In 2009, Jordan took over the bass chair in the Marcus Roberts Trio.

He is known for his deep knowledge of harmony, his virtuosic playing, quick reflexes and relentless swing—a perfect fit for the powerfully melodic, blues-based, syncopated sound of the Marcus Roberts Trio.

Jason Marsalis drums

Jason Marsalis is the youngest son of pianist and music educator Ellis Marsalis. He started out playing violin but by age six, he was studying drums with the legendary, James Black. By age seven, he was sitting in on gigs with his father. After graduating from New Orleans Center for the Creative Arts High School he studied music at Loyola University. Marsalis began playing with Marcus Roberts in 1994 at age 17 and has held the drum chair in the group ever since. He has been featured on all of Roberts’ recordings with trio, large ensembles, and symphony orchestras since that time. Marsalis draws from the whole history of the drums to express his own very elaborate and organic drum style. According to Marcus Roberts, Marsalis is the strongest voice on the drum kit in his generation. At the same time, he is making a significant contribution to the education and training of other young musicians.

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program notes Sponsored by Mednikow Jewelers

BORODIN Polovtsian Dances from Prince Igor Duration: 11 minutes Although Alexander Borodin was part of the influential group of Russian composers from the mid-nineteenth century known as “The Five,” along with Balakirev, Rimsky-Korsakov, Mussorgsky, and Cui, composing was not his day job—he was also a scientist who had gained renown as a research chemist. While his occupation may have made him a less prolific composer, it had no effect on his accomplishments. Borodin was often mentioned as the most creative of the Russian nationalist group, and was especially praised for his ability to imbue his compositions with a distinctly nationalist character—something that the Polovtsian Dances from his opera Prince Igor illustrates well.

Based on a story by Vasily Stasov (father of the famous critic and advisor to The Five, Vladimir Stasov), Borodin’s opera tells the story of Prince Igor, whose city was overrun in 1185 by the Polovtsi, a nomadic tribe. Prince Igor is captured, and in Act II, the male and female slaves dance to entertain him. When Sergei Diaghilev choreographed them for his Paris troupe in 1909, the Polovtsian Dances earned fame independent of the opera.

The melody of the first dance (along with a number of tunes from other Borodin works) became even more well-known when it was transformed into the song “Strangers in Paradise” in the Broadway musical Kismet.

GERSHWIN Rhapsody in Blue Duration: 20 minutes Given the esteem in which jazz is held today, it is hard to imagine that in the 1920s debate raged over its status as music. One of its major defenders was jazz king Paul Whiteman, who played a major role in making it respectable to all audiences. As Whiteman responded to one of jazz’s detractors in the New York Times, I don’t know whether jazz is the foundation of a new school of music or whether it represents the growth of new manners and new forms of instrumentation; new rhythms and colors. But whatever it is, considering the nature of its origin and the character of its development, its immense and continuous popular appeal, the amount of interest and debate it has aroused, I certainly believe it to be a genuine musical force, a trend, an influence; perhaps a form that is bound ultimately to affect, in one respect or another, the music of the future.

As part of legitimizing jazz music, Whiteman planned a concert in Aeolian Hall on February 12, 1924, entitled “An Experiment in Modern Music,” with a panel of judges, including composer Sergei Rachmaninoff, violinists Jascha Heifetz and Efrem Zimbalist, and singer Alma Gluck, present to investigate the question, “What is American music?”

Whiteman asked George Gershwin to provide a piece for the event. Gershwin agreed—and

forgot all about it, until his brother Ira saw an advertisement for the concert in the January 3 edition of the Herald Tribune. Gershwin got to work on January 7, conceptualizing the piece while traveling back and forth to Boston for a show called Sweet Little Devil. As he wrote of the Rhapsody’s genesis, It was on the train, with its steely rhythms, its rattle-ty bang that is often so stimulating to a composer.... And there I suddenly heard—and even saw on paper—the complete construction of the rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America—of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness. By the time I reached Boston, I had a definite plot of the piece, as distinguished from its actual substance.

Gershwin completed the piece on January 25, leaving much of the orchestration to Whiteman’s arranger, Ferde Grofé.

In several respects, Rhapsody in Blue was created in the manner of a jazz composition—it was very much collaborative, and to a certain extent, improvised.

Whiteman’s clarinetist Ross Gorman, who had developed the ability to play a twooctave upward glissando, inspired the work’s unforgettable opening. Gershwin made up the main romantic melody at a party in New York, later writing, “I heard myself playing a theme that must have been haunting me inside, seeking outlet.

[It] oozed out of my fingers.” Gershwin improvised many of the piano solos in performance, writing the instruction, “Wait for nod,” in the score. American composer Victor Herbert, who also had a composition featured in Whiteman’s concert (his last publicly-performed work before his sudden death three months later) helped Gershwin with the timing of the lush melody at the heart of the work.

While Gershwin originally planned to introduce it via a repeated theme, Herbert proposed that he add a grand pause right before the new theme. Gershwin took his suggestion. And it was Ira Gershwin who proposed the title, “Rhapsody in Blue,” after the number of “blue notes,” or accidentals, in the work.

Whiteman’s February 12 concert was a remarkable event, with music critics, composers like Sousa and Stravinsky, and other celebrities in attendance—and the Rhapsody in Blue, performed second-to-last on the program, was perhaps the highlight. As New York Times critic Olin Downes wrote, It was late in the evening when the hero of the occasion appeared. Then stepped upon the stage, sheepishly, a lank and dark young man—George Gershwin. He was to play the piano part in the first public performance of his Rhapsody in Blue for piano and orchestra. The composition shows extraordinary talent, just as it also shows a young composer with aims that go far beyond his ilk…His first theme alone, with its caprice, humor, and exotic outline, would show a talent to be reckoned with.

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program notes Sponsored by Mednikow Jewelers

The Rhapsody in Blue has been an audience favorite ever since its first performance. When asked a decade later whether he could improve the work, given its rushed gestation, Gershwin responded in an understated fashion, “I don’t know; people seemed to like it the way it was, so I left it that way.”

PROKOFIEV Symphony No. 5 Duration: 46 minutes Born in 1891, Sergei Prokofiev began writing music at the age of five, and soon went on to study with Glière. He eventually attended the St. Petersburg Conservatory, studying with some of the most famous Russian composers of the time including Lyadov and Rimsky-Korsakov. It was at the Conservatory where Prokofiev seems to have found his impetus for his first and most popular symphony, the “Classical.” Though students at St. Petersburg were not necessarily encouraged to study music of the classical period, Prokofiev’s conducting professor, Nikolai Tcherepnin, urged his students to get to know the music of the Viennese classicists. As Prokofiev later explained, Haydn provided the impetus for the Classical Symphony – not just his music, but also the innovative spirit with which Haydn approached his compositions. As Prokofiev later wrote in his autobiography, It seemed to me that if Haydn had lived into this era, he would have kept his own style while absorbing things from what was new in music. That’s the kind of symphony I wanted to write: a symphony in the Classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony: in the first place because it was simpler, and secondly, for the fun of it, to “tease the geese,” and in the secret hope that I would prove to be right if the symphony really did turn out to be a piece of classical music.

Much has been written about how Russian composers fared during this era, especially Shostakovich and Prokofiev. While Shostakovich had the good fortune to outlive the dictator by over twenty years, Prokofiev was overshadowed by Stalin his entire career and even died on the exact same day: March 5, 1953.

Just as the “Classical” Symphony emulated the era of Haydn, Prokofiev’s Fifth Symphony explores the Romantic period. The work was written during World War II in tumultuous times, but there was light at the end of the tunnel: the tide had begun to turn in the war, and victory over fascism seemed possible. And triumphal themes were foremost in his mind, as he composed his opera War and Peace around the same time. In his Fifth, Prokofiev seems to be trying to capture this spirit of heroism within a Romantic symphony on a grand scale. As he wrote, “I regard the Fifth Symphony as the culmination of a long period of my creative life. I conceived it as a symphony of the grandeur of the human spirit.”

Fortuitously, its first performance took place just after the announcement of a great Soviet victory on January 13, 1945. As Prokofiev’s biographer Nestyev wrote of the occasion,

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The opening bars of the symphony were heard against the thunderous backdrop of an artillery salute. Prokofiev’s compelling music perfectly suited the mood of the audience. The critics commented on this in their glowing reviews of the new composition. Kabalevsky, extolling the symphony as the embodiment of man’s courage, energy and spiritual grandeur, also made a special note of its profoundly national character.

The work opens with an Andante, the coda of which made an impression on its first audience. As Nestyev writes, “This is perhaps the most impressive episode of the entire symphony for it embodies with the greatest clarity the work’s higher purpose— glorification of the strength and beauty of the human spirit.” After an Allegro marcato that recalls his Romeo and Juliet ballet, written about a decade prior, comes a dreamy, nostalgic slow movement. The symphony’s finale, marked Allegro giocoso, begins with soft recollections of the first movement’s opening theme, but quickly gives way to brilliant, slightly sardonic music that concludes the work on a boisterous note.

Special thank you to Balmoral Chamber Orchestra for the generosity they

a

have shown to the

A SYMPHONY OF EXCEPTIONAL METALWORK AND EXTRAORDINARY RIVER VIEWS

Memphis Symphony

Orchestra during our 2012-2013 season.

For Tickets 901-537-2525

metalmuseum.org

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2013 Mei-Ann Chen Music Educator Award Susan Van Dyck, Terry Starr and Paula Turner were honored on May 18, 2013 in recognition of their commitment to education and music, for being an excellent partner of the MSO and for being a relentless advocate for music education.

Paula Turner, Terry Starr, Susan Van Dyck, Music Director Mei-Ann Chen, Interim CEO Al Lyons

Terry Starr, Susan Van Dyck and Music Director Mei-Ann Chen

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Left to right: Linnea Bert, Music Director Mei-Ann Chen, Paul Bert, Paula Turner, Ron Turner

Susan Van Dyck and Music Director Mei-Ann Chen

Susan Van Dyck, Music Director Mei-Ann Chen, and Paula Turner

For Tickets 901-537-2525

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Truly International 2013 - 2014 Season CO NCE RT S INTERNATIONAL

Photograph © Luis Montesdeoca Dominguez

Cuarteto Casals String Quartet Spain Tuesday, October 22, 2013

Rastrelli Cello Quartet Germany Wednesday, November 6, 2013

Photograph © Gisel Florez

Sima Trio Armenia Tuesday, February 4, 2014

Photograph © Christian Steiner

Photograph © Peter Schaaf

American Brass Quintet Tuesday, March 25, 2014

Stephanie Tatum

Executive Director Julie Schap

Artistic Director

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New York Wind Quintet Thursday, April 3, 2014

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

For tickets call 901-527-3067

concertsinternationalmemphis.org

www.MemphisSymphony.org

For Tickets 901-537-2525

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

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

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

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

October 11, 2013 – Figaro to Carmen – A Night of Opera, with The Gary Beard Chorale

March 28, 2014 – Joy…ful Mendelssohn Lifelong Lindenwood member and former MSO concertmaster Joy Brown Wiener performs Mendelssohn’s Violin Concerto.

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

Adult – Chancel Choir The Gary Beard Chorale Lindenwood Christian Church 2400 Union Avenue at E. Parkway Memphis, TN 38112 901-458-8506 www.Lindenwoodcc.com chris.nemec@Lindenwood.net

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For Tickets 901-537-2525

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Memphis Symphony Orchestra governance & staff Board of Directors

Mark Crosby Crosby & Higgins LLP

John Speer Bass, Berry & Sims, PLC

Officers Gayle S. Rose Chair EVS Corporation

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

Lura Turner Memphis Symphony League

Al Lyons Interim CEO Memphis Symphony Orchestra Louise Barden Secretary Trustmark Bank Lowry Howell Treasurer Southeastern Asset Management Mike Edwards Immediate Past Chair Paragon Bank

Board Michael Barar Memphis Symphony Orchestra Paul Bert Retired Corporate Executive Paul Berz Ritche Manley Bowden Arts Advocate Dr. Karen Bowyer Dyersburg State Community College

Pam Guinn St. Maryâ&#x20AC;&#x2122;s Episcopal School Larry J. Hardy Retired Corporate Executive Scott Heppel Retired Corporate Executive Buzzy Hussey Babcock Gifts Louis Jehl Diversified Trust Bryan Jordan First Horizon National Corp.

Natalie C. Kerr, MD Hamilton Eye Institute Joanna Lipman Arts Advocate Hon. Mark Luttrell Shelby County Government Alec McLean New South Capital Management Lisa Mendel Memphis Symphony Chorus

Austin Byrd Bailey & Greer, PLLC

Demetri Patikas Duncan-Williams, Inc.

Darrell Cobbins Universal Commercial Real Estate

Carol W. Prentiss River Oaks Investments

Nancy Hughes Coe Dominion Partners Private Wealth Management 68

Robert Quinn FedEx Charles Shipp Architect

Michael Uiberall Watkins Uiberall, PLLC Jim Vining Vining Sparks Russ Wigginton Rhodes College Board Emeritus Gloria Nobles Past Chairs Dunbar Abston, Jr. Newton P. Allen, Esq.* Walter P. Armstrong, Jr.* Leo Bearman, Jr., Esq. Troy Beatty* Paul A. Bert Jack R. Blair Robert L. Booth, Jr. Judge Bailey Brown* Robert E. Cannon* George E. Cates Eric A. Catmur Charles P. Cobb, Esq.* Nancy R. Crosby* Mike Edwards George E. Falls, Jr. David B. Ferraro Lewis E. Holland William F. Kirsh* Martha Ellen Maxwell Dr. Joseph Parker* G. Dan Poag Thomas M. Roberts* Jeff Sanford P.K. Seidman* Michael Uiberall Joseph Weller Dr. Russel L. Wiener (*deceased) www.MemphisSymphony.org

Administration Al Lyons Interim CEO Accountability Anita McLean Chief Financial Officer

Jessica Moore Finance Manager Rodney Gilchrist Technical Support Artistic Jenny Compton Director of Artistic Administration

Clark McGee Artist Coordinator Evans Mirageas Artistic Advisor

Irene Wade Assistant Librarian Mark Wallace Assistant Librarian Operations Douglas Whitaker Director of Artistic Operations

Brittany Cooper Personnel Manager Douglas Mayes Contract Services Community Engagement Rhonda Causie Vice President of Community Engagement

Susan Miville Director of Education Joseph Nelson Director of Community Partnerships

Patron Engagement Nicki Inman Vice President of Patron Engagement

Denise Borton Director of Patron Engagement and Marketing Lakethia Glenn Director of Development Jane Mims Director of Corporate Relations Jessica Batey Patron Engagement Manager Erica Eason Patron Engagement Assistant Mandy Porch Box Office Manager Ellen Rolfes Advancement Specialist

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

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

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

Memphis Symphony Chorus Board of Directors Lisa Mendel, President Steve Alsobrook Cindy Armistead Janet Carnall Pamela Gold For Tickets 901-537-2525

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

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

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

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

The League has no service requirement, the membership dues are tax-deductible, and you will receive invitations to all Memphis Symphony League-sponsored events.

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

Join us now and we'll see you at our first event on October 23!

Lura Turner President Memphis Symphony League

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

PAYMENT _____ I have enclosed a total of $______

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

Check# ________

_____Credit Card

AMEX/Visa/Mastercard CC#_________________________ Exp. _________

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

70

www.MemphisSymphony.org

Memphis

Messiah featuring

Memphis Symphony Orchestra and the Rhodes MasterSingers Chorale Jennifer Cooper, soprano Shannon Unger, mezzo-soprano Randal Rushing, tenor Sean Cooper, baritone William Skoog, conductor

Friday, December 6, 7:30 p.m.

EVERGREEN PRESBYTERIAN CHURCH, 613 UNIVERSITY ST. Tickets: (901) 537-2525 or www.MemphisSymphony.org Sponsored by the Memphis Symphony Orchestra, Orphanos and Rhodes College

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www.MemphisSymphony.org

2013/14 S E A S O N En PointE/En VoguE, SEPt. 7 RiVER PRojEct 2, oct. 19–27 nutcRackER, DEc. 13–15 WoRlD WonDERS, FEb. 21–23, 2014 PEtER Pan, aPR. 12–13, 2014

For Tickets 901-537-2525

Season Tickets starting at only $27 bAllEtmEmphiS.Org

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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 join us. $100,000+

$50,000-$99,999

Locally owned.

Internationally respected.

Expe r ience. Integ r it y. Independence.

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

$25,000-$49,999

$15,000-$24,999

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

$10,000-$14,999

Robert Coe, CFP庐 Senior Vice President, Portfolio Manager

Brian Kinney, CFP庐 President, Financial Advisor

Nancy Hughes Coe Senior Vice President, Financial Advisor

$5,000-$9,999

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www.MemphisSymphony.org

$2,500-$4,999

$1,500-$2,499

Up to $1,500

Blue Cross Blue Shield of Tennessee

Commercial Bank & Trust Company

Diamond International of Memphis

Kelman-Lazarov, Inc.

Legacy Wealth Management

Wunderlich Securities

Lipscomb & Pitts Insurance

In Kind

Interim RESTAURANT & 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 will join us for the 2013-2014 season.

The Andrew W. Mellon Foundation

The Jeniam Foundation

Hyde Family Foundation

For Tickets 901-537-2525

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Thomas W. Briggs Foundation Kemmons Wilson Family Foundation

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Symphony Fund 2013-2014 As a community-supported organization committed to Memphis, the MSO depends more than ever before on the generosity of donors who make it possible for us to make meaningful experiences through music. We are pleased to offer the following benefits in response to your support: Maestroâ&#x20AC;&#x2122;s Partners $10,000 and above (Fair Market Value is $350) Maestroâ&#x20AC;&#x2122;s Partners welcomes annual donors of $10,000 and above. In recognition of their support, donors receive unprecedented opportunity to engage with the MSO through personalized events. For more information, please call Nicki Inman, Vice President of Patron Engagement at (901) 537-2519.

Benefactor $5,000 - $9,999 (Fair Market Value is $295) Invitation to join Maestro Mei-Ann Chen and the orchestra on-stage for a First Tennessee Masterworks or Paul & Linnea Bert Classic Accents rehearsal Personalized concierge ticket services (with waiver of service fees) Plus all below Patron $2,500 - $4,999 (Fair Market Value is $220) Invitation to MSO Annual Review meeting Invitation to the annual Season Preview Party Plus all below Golden Circle $1,000 - $2,499 (Fair Market Value is $200) Admission to the donors-only Golden Circle Room, during intermission, at First Tennessee Masterworks and Pops concerts Seven passes for free parking at the Cook Convention Center, good for First Tennessee Masterworks or Pops concerts Plus all below MSO Associates Associate $600 - $999 (Fair Market Value is $80) Opportunity to purchase tickets in advance Plus all below Member $300 - $599 (Fair Market Value is $60) Invitation to MSO open rehearsals Plus all below Friend $100 - $299 (Fair Market Value is $40) Backstage tour of the Cannon Center for the Performing Arts Two tickets to Contributor Recognition Night Acknowledgment in Experience, the MSO concert magazine, in all volumes published during the season Supporter Up to $99 (Full Market Value) Acknowledgment in Experience, the MSO concert magazine, in one volume published during the season Consider a gift to the Symphony Fund today! To donate, visit the MSO office, go online to www.MemphisSymphony.org, call (901) 537-2525 or mail to 585 S. Mendenhall Road, Memphis, TN 38117 76

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 June 26, 2012 and July 26, 2013. We are most appreciative.

Virtuoso - ($100,000 + ) Anonymous (2) ArtPlace ArtsMemphis

Dr. Chapman Smith The Sparks Foundation Lynne and Henry Turley Mr. & Mrs. Joseph C. Weller Becky Webb Wilson

Impresario - ($50,000 - $99,999) Anonymous (2) Assisi Foundation Paul & Linnea Bert Jeniam Foundation Visionary - ($25,000 - $49,999) Anonymous Mr. & Mrs. Richard H. Bodine, Jr. Mr. & Mrs. George E. Cates Charles & Nancy Coe Scott & Carolyn Heppel Wil & Sally Hergenrader Dorothy O. Kirsch Susan & Robert J. Quinn Gayle S. Rose Mr. Milton T. Schaeffer Mr. & Mrs. Arthur N. Seessel III Mr. & Mrs. Frederick W. Smith Ann & Jim Vining Joy & Russel Wiener Pacesetter - ($15,000 - $24,999) Phyllis and Paul Berz The Day Foundation Scheidt & Hohenberg Charity Trust Families Buzzy Hussey and Hal Brunt Marion & James McClure Sustainer - ($10,000 - $14,999) Mr. & Mrs. Jack A. Belz Ron & Anise Belz Alice & Phil Burnett Kitty Cannon & Jim Waller Mr. & Mrs. Jeffrey Engelberg Michael & Joan Lightman Malco Theatres, Inc. Sylvia Goldsmith Marks Mary McDaniel Donna and Dave Nelson Family Foundation Robin & Billy Orgel Francis J. & Laverne Scott Craig Simrell & Mark Greganti

For Tickets 901-537-2525

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

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Contributions Mr. & Mrs. Alexander D. McLean Ron & Jessica Morris John & Barbara Ogles Gloria & John Parker Mr. & Mrs. Joseph H. Powell Capt & Mrs. Robert R. Proctor, USN (Ret.) Patricia & John Seubert The Wharton Charitable Foundation Randy & Beverly Wade Mrs. Charles E. Walker Gary Wunderlich Golden Circle - ($1,000 - $2,499) Anonymous (2) Rev. Dr. Jane Abraham Connie & Dunbar Abston Ben & Kathy Adams Peter & Fran Addicott Kay & Keith Anderson Roger Arango Mr. & Mrs. Damon S. Arney Charles S. & Stephanie Baer Mr. Ion Balu Richard W. Barnes & Peter R. Pauciello Carol & Bert Barnett Sharon Barnett-Myers Joyce Blackmon Carmen C. Bond Dr. Karen A. Bowyer Mr. & Mrs. James R. Boyd Ruby Bright Shannon & Beryl Brown Mr. & Mrs. Michael J. Bruns Canale Foundation Mr. & Mrs. Henry Cannon Gale Jones Carson Robert & Jenny Carter Dr. Fenwick W. Chappell Gloria & Irvine Cherry Karen Clawson Dorothy Cleaves Ms. Jeanette S. Cooley Bill and Foy Coolidge Mr. & Mrs. Robert E. Craddock Mr. & Mrs. David Crippen Elaine & Loren Crown Dr. & Mrs. Ray E. Curle Saryn Doucette M.D. & Eric Doucette Megan Dunbar Turner Drs. Lawrence Edwards & D. Shane Rasner Barbara Enright Mr. & Mrs. David B. Ferraro Fred & Mary Lawrence Flinn Barbara & Hiram Fry

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Kathleen C. Gardner Allison Garrott Dr. Phillip George Mr. & Mrs. James S. Gilliland Susan and Richard Glassman Dr. Raquel Gomez Kate and Robert Gooch Katherine Smythe Gould Martha & Jerrold Graber Mimi Grossman Judith & John Hansen Deborah Hester Harrison Mrs. James E. Harwood, III Ann & O. Mason Hawkins Emil Henry Paul & Marisa Hess David O. Hill & Elisabeth Hills Lunida & Lewis Holland Mr. & Mrs. Walter B. Howell, Jr. Terri & Don Hutson Barbara Hyde Nicki & Brian Inman Janas L. Jackson Laurita Jackson Mr. Frank & Dr. Jeanne Jemison Dr. & Mrs. Eric E. Johnson Rose M. Johnston Edith Kelly-Green Dale & Marty Kelman Dr. Natalie Kerr Susan Kingston Delores Kinsolving Knapp Foundation Mrs. Sheldon Korones Bruce & Susanne Landau Leslie and Nathaniel Landau Mr. & Mrs. George Lapides Mr. & Mrs. David Lee LeMay+Lang, LLC Mr. & Mrs. Lester F. Lit Aron Livnah & Rose Merry Brown Dr. & Mrs. William E. Long Babbie Lovett Martha Ellen Maxwell Ashley Mayfield Sandra H. Mays Mr. & Mrs. Michael McDonnell Anita & Don McLean Kojo & Gretchen McLennon Phillip & Mabel McNeill Dr. & Mrs. Michael McSwain Dr. Lisa & Dr. Maurice I. Mendel Nancy & Rodgers Menzies Bob & Jane Terrell Mims

www.MemphisSymphony.org

Henry & Snowden Morgan Brooke Morrow Zoe & Alan Nadel Jenny & John Nevels Gloria P. Nobles Dr. Frank and Mrs. Sarah Ognibene Mrs. Lyda Parker Marianne Parrs Robert G. Patterson, Jr. & Patricia Gray Mrs. Barbara J. Perkins Arnold & Mary Lynn Perl Sadie & C.J. Pickering Jim and Cynthia Pitcock Carol W. Prentiss Mary Alice Quinn Mr. & Mrs. Bryson Randolph Judy & Nick Ringel Beverly Robertson Ellen Rolfes Carol Lee & Joe Royer Dr. Ken & Mrs. Bev Sakauye Dr. Craig & Mrs. Andrea Sander Jeff Sanford & Cynthia Ham Mary & Joe Scheuner Dr. John J. & Mrs. Lynda Shea Karen B. Shea Estelle & John Sheahan William W. Siler Ron & Linda Sklar Bruce R. & Jane Scharding Smedley Jenny & Graham Smith Mrs. Rita Sparks Nancye Starnes Bruce & Gillian Steinhauer Thomas & Susan Stephenson Owen & Margaret Tabor Dr. Paul G. Thomas & Dr. Deanna Longfitt Dr. & Mrs. Todd A. Tobias Leticia W. Towns Keith and Anne Townsend Mr. & Mrs. Corey B. Trotz Laurie Tucker Steve & Lura Turner Dr. Eugene A. Vaccaro Family Ms. Susan K. van Dyck & Dr. James Newcomb Mr. & Mrs. Henry D. Varnell, Jr. Mr. & Mrs. William M. Vaughan, Jr. Anita & James Vaughn Kimmie Vaulx Mr. & Mrs. David S. Waddell Patricia & Charles Walker Dr. Jane Walters Graham & Megan Warr Dr. & Mrs. Otis S. Warr III

For Tickets 901-537-2525

K. C. and Jeff Warren Frank & Houston Watson Mrs. Cassandra H. Webster Martha & Lee Wesson Monica & Andre Wharton Sharon Wheeler Barry White & Dr. Janice Garrison Vann and Julia Williams Manning Ms. Tracey Williams Barbara Williamson Mr. & Mrs. Charles L. Wurtzburger Jan Young Associate - ($600 - $999) Balmoral Chamber Orchestra David J. Baseler Carol Beachey & Don Voth Stanley & Dorothy Bilsky Dr. & Mrs. Allen Street Boyd Monte & Grace Brown Gary Carlson Betty & Leiland Duke Sara G. Folis Dot and Luther Gause Judith & Howard Hicks Father Albert Kirk Mrs. Emily Ruch John Pickens & Suzanne Satterfield Robert Vidulich & Diane Sachs Dr. Russell Wigginton Julia Wilkins Member - ($300 - $599) Anonymous (3) Rosemary Banta Richard & Nancy Barnhart John & Wanda Barzizza Joy & Leo Bearman Flona & Lance Binder Gregory Buckley & Susan Berry-Buckley Dr. & Mrs. Paul Burgar Mrs. Louise Cannon Ms. Laura J. Crane Robert K. Crane Angela Daily Lewis Donelson Dr. Michael R. Drompp John Gilmer & Catherine Willner Phyllis Guenter Bela & Nan Hackman Joanne B. Hackman Dr. G. Leon Howell Joanna Hwang Susan & Frank Inman

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Contributions John Paul & Sandra Jones William B. Keiser, Jr. Mr. & Mrs. Lloyd C. Kirkland, Jr. Ms. Yoriko Kitai Janie & Martin Kocman Lucy C. & Tom C. Lee Frank & Mary Markus John & Jo Maxwell Mary Allie & Denton McLellan Shirley W. McRae Richard and Betsy McStay Max B. Ostner, Jr. Nancy M. Penisten Chloee & Dan Poag Mr. & Mrs. Curtis E. Ringold Barbara & Bill Runyan Marcia Schlesinger Bonnie and Bill Siler Charles & Mary Stagg Ryals & Gwendolyn Thomas Jules & Betty Weiss Tom & Kay Whitman Friend - ($100 - $299) Anonymous (6) Doug & Meg Adams Gwendolyn & John Ahlemann Rammy Akil Ray and Nancy Albonetti Raul Amaro Kevin Andring Frank Anthony Mrs. Eleanor Appling Dot Arata Dr. & Mrs. Philip Aronoff Clayton Baker Mr. & Mrs. William E. Baker Jr. Dr. & Mrs. George I. Balas Sue & A.E. Balkin Mary Nell & Pervis Ballew Andrew Balogh Kenneth Balogh Allan Bardos Marsha Barrom Robert & Ellen Hutchinson-Bartolotta Mrs. Frank Barton, Jr. Patricia Barton Donald Bashford Dr. & Mrs. Allen O. Battle Mr. Herbert Battle Dr. & Mrs. Tom Beasley Dr. Bryan & Mrs. Heidi Bell Ernest & Georgia Bell Linda-Anne Bennett

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Dr. & Mrs. Michael P. Berry Dr. Harry Berryman Kathryn B. Black Mr. & Mrs. James C. Blackburn Sharis & Gerald Blackburn Nancy E. Bogatin Modine & Lee Bolen Steven Boor Jan & John Boudreaux Phillip Bowden & Ritche Manley Bowden Susan P. Brubaker Buchacek Reggi and Sharon Burch Judy & Charles Burkett Alicia Butler Mr. & Mrs. Irvin Califf Larry Campbell Jeanne N. Carr James Charles Dr. Nancy A. Chase, M.D. Ruby Chittenden Brian Clement Mr. & Mrs. Charles P. Cobb, Jr. Viola Cole Anne Connell Tim & Mary Cook Darien Cotton Mr. & Mrs. William S. Craddock Dale & Gina Cunningham A. J. Daneman Leslie Daniel Fred Davis Jean M. de Frank Phili & Terry Deboo Jeanne Decker Kathryn Deshpande & Jon Katze Ann Dixon Curtis and Jean Dohan Jed Dreifus Regina Duberstein John and Alice Dudas Betty Jo & William P. Dulaney Mrs. Ruth Edmonds Bailey Evans George & Jackie Falls Fredrika & Joel Felt James & Sue Ferguson Donna Fisher Tanya Fitts & David Burton Molitor Ford Turner Foster Mrs. Caroline Fruchtman Juan Fuentes Ana & Mark Gardner

www.MemphisSymphony.org

Joseph Garrone Bill and Jeannine Gaudet Emily & Jerry Gay Frank & Anne Gianotti Mr. & Mrs. James D. Gibson Sharon Gilbert Mary Gill Jim & Harriett Gillis Joan Gips Marylon R. Glass Kenneth Goldman & Winnie Wang Capt. & Mrs. James P. Googe, Jr. Sheri & Don Grear Great Wines and Spirits Rita Mercille Green Diane Greenhill Phil Guichelaar Hemant Gupta Clarence & Harriett Halmon Louis Hamric Malvis Hardaway Dr. & Mrs. O. Brewster Harrington Jeffery & Cathy Harris Dallas Harrison Janet Harrison Diane Harvey Geraldine Haspel Mr. Paul Henry Hawkins Diane Hawks Mr. & Mrs. Allan Hayden Dr. Jean S. Hayden Nikki Haynes Kathleen Helton Vivian Hilton Walter Hoehm Sara Holmes Dr. & Mrs. Horace K. Houston, Jr. Julia Howell Sarah L. Hurley Bobby and Eva Hussey Mr. & Mrs. Antonino Incardona J. T. & Helen Jabbour Bertha Means & Michael Jacewicz Larry & Diane Jackson Anita James David & Ann James David & Lisa Jennings Dr. Pu-Qi Jiang Darrell & Betty Z. Johnson Mr. Mickey Johnson Mr. Jeff Johnston Mr. & Mrs. Robert K. Jones L. Donald Jordan Kathy Junkin

For Tickets 901-537-2525

Mr. & Mrs. William Kaelin III Beulah Kasselberg Helen and J.D. Kelly John Kelyman Chris King Mr. & Mrs. Jerry D. Kirkscey Preston & Sally Klinke Jon Knight Zeynep Kocer Nancy and Brian Kuhn Michael & Diane Kuhn Sara Lam Mr. & Mrs. Pierre T. Landaiche III Marti & Mike Laslavic Chris Lazarini John Le Dr. Gumersindo & Mrs. Marianne Leal Sandra Leftwich Kristin Lensch & Tim Huebner Tom & Celesta Letchworth Dr. & Mrs. Michael J. Levinson Jean & Melvyn Levitch Ben Light Leticia Lindsey Gensheng Liu Mrs. Esther K. Lubin William Payson & Melissa Luck Christopher Lutat Charlton Lyons Leonard & Jennifer Lyons Jose & Nancy Magallanes Nelda & Freeman Marr Richard & Nancy Mattox Mrs. Ethel T. Maxwell Michael McCanless Peggy & Don McClure, Jr. Marcia L. McCullough Marion McDonald Mr. & Mrs. James W. McDonnell, Jr. Phillip and Mary Ellen McDow Robert McEniry Pat & James McFarland Lucius and Holley McGehee Anthony McGregor Dan McGuire Sylvia & Ron McSwain Tina McWhorter T. Medlin Simone and Logan Meeks Diane Meess Memphis Symphony Chorus Dr. & Mrs. Lee Milford, Jr. Phoebe and Dan Miller Dr. & Mrs. David M. Mirvis

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Contributions Dr. Shamim Moinuddin Mrs. Houston Niller Moore Ms. Patricia T. Moran Joan Morgan George Morris Ed & Anne Motley Dr. Robert Neimeyer & Ms. Kathryn E. Story Drs. Thomas J. & Monika Nenon Mr. & Mrs. Greg Nomland Cecile & Frederick Nowak Dr. Antony Oldknow Mr. & Mrs. Mark O'Malley Norma Davis Owen & Penn Owen Jr. Bob Owens Joy Ozbirn Eugene Pearlman Ms. Peggy Perkins Hajnal & Lawrence A. Pivnick O.C. Pleasant, Jr. Charles & Carole Plesofsky Paula Posey-Destefanis Catherine Powers Kara & Thomas Preston Mr. & Mrs. Julian Prewitt Leslie Printup Libby and Howard Pritchard Lana & Gary Prosterman Brenda & Robert Rachor Karen and James Ralston Nancy Reed Jimmy and Mary Jane Richens Dr. & Mrs. Brown Robertson Mr. Luther L. Robinson III Dr. & Mrs. E. William Rosenberg Melanie Runyon Amy & William Ryan Sandy & Beth Schaeffer Christopher Scholik Doug Schrank Mike Schwartz Michael & Kelly Scott William Scott Douglas Seymour Jill & Scott Shanker Phil & Fran Shannon Mrs. G. Donald Siemer Liz and Rouben Simonian Kenneth & Mary Sipley Ernestine Small Ms. Leslie Smith Marshall and Maida Smith Dan & Melissa Smith John Snowden Mrs. Robert Snyder

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Ms. Karen Spacek & Mr. William S Solmson Trish & Richard R. Spore III Jill & Kenneth Steinberg Betty & Vaughn Stimbert Leslie Stratton George S. Sullivan Mrs. Janet Templeton Cynthia Tipton Alison Turner Barbara B. Turner Elaine Turner John Ueleke Mariet & Sam Rogers Harriette Vanderford Mr. & Mrs. Simon Wadsworth Robert Waldo Drs. Anni B. Walker and William S. Walker Hilman Walker Mr. Edward Wallace Lee & Linda Waltz Harry Wellford Diane & Walker Wellford Kathleen Weston Dr. & Mrs. Benton Wheeler Stuart Wilkinson Elsa & David Williams Frances Williams Mrs. Barbara H. Wilson Carol Wilson Eleanor & Charles Wilson Mrs. Frances Wilson Virgina Wilson Stewart Wingate Evelyn B. Wofford Jerry Wolfe Gary Woodard Patricia A. Woods Nick and Charlotte Woodward Lewis Wright Mary & Lucius Wright Paul & Laura Yacoubian Dr. Herbert D. Zeman Qihong Zhou Supporter - (Up to $99) Anonymous (15) Melissa Abbis John Paul Abbott Maria Acchiardo Dennis Adams Marta Adams Bettie Albers Charlene Allen Julia Allen

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Maralo Allen Ruth Allen Sonia Alvaerz Mrs. Gloria Andereck Jill Anderson Lisa Anderson Ruble Anderson Susan Anderson Barbara Anson Karla Areas Genni Arledge Tonya Ashworth Julie Atkins Dorothy S. Atkinson Tod Bagatelas M.W. Bagwell Diana Bailey Lucetta Baioni Claudie Baker Tom Ballard Donna Barnhart Gayle & Barnwell Patricia Baroff Jim Barrasso Mrs. Caroline Bartusch William Bastnagel Rose A. Bauer Dr. & Mrs. John Baur Becky Bayless Samuel & Ann Beach Lajuana Beasley James Beck Dea & Richard Beckwith Dr. and Mrs. Raymond Bell J. William & Ann Bendall Kathryn & William Bendall Jack Bendure Edina Bene Sheila Bentley Maria Benton Eugene & Michelle Bernstein William & Annette Bickers Linda Billings Scott & Susan Bingham Molly and Karl Birkholz Dr. & Mrs. H. Delano Black Patricia Bladon Michael & Margaret Blome Dr. Robert Bloom Jeff Bloomfield William Bodley Amy Bogard Linda Bond Mr. & Mrs. Ronald Bonner

For Tickets 901-537-2525

Mr. & Mrs. Jack Borg Richard Bou Aretha Bourne Mana Boushehri Matthew Bowlin Virginia Boyland Melanie Bradshaw Jennifer Brady Michael Brady Peggy Brawner Dr. & Mrs. Lamar Bridges Ernest Britton Cortni Brooks Timothy & Nancy Brophy David Brown Wallace & Olivia Bruce Gerald Brumbaugh Deana Brunjes William Bryan Ivory Bryant Roger & Jill Buckmaster Claudia Bunch Buring's Eastgate Cleaners Phyllis Burkett Ann Caldwell Dr. Patty & Dennis Calvert Ms. Janet Campbell Kerry Campbell Cham & Hazel Canon Molly Carr Mr. Phillip Carr Barbie Carter Gary Carter Gene Carter Patricia Casey John Cassidy Dianne & Brad Champlin Sheila & Michael Champlin David Chancellor Derek Chapman Marc Charney Steven Cheng Russell W. & Joan Chesney Mary Clark Dr. Ted Clarke Marien Clas Rich Clayton Bowers & Brooke Clement Diane & John Clement Sarah Clemmons Charles Clerget David & Amy Cluck Marian Cocke Betty Colter

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Contributions Billy & Sara Colvard Parker Conley Mike & Jane Coop David Cooper Stanley Cooper Dr. & Mrs. George Cowan Gwendolyn Cranshaw Thelma Crivins Michele Robin Crump Nicole Davis Blanche & Mike Deaderick William Deaton Carol Deforest Margaret & Robert Deininger Charles Dempsey Dave & Joan Dermon Bridget Dicello Patricia Dobberstein Thea Dotson Ms. Qiuyue Du Thomas Duckert Mr. & Mrs. Duckworth Gerry and Charles Duff Laurie Duff Mr. & Mrs. John P. Dulin Robert Dumais Mr. & Mrs. Douglas Duncan Earline Duncan Robert Dye Dan Elias Hallie Elliot Kay & Stephen Ellis Graves Enck Veronica Engle Mary Epps Lisa Erhardt Marguerite Estes Dr. Nancy Eubanks Cole Evans Julia Ewing Adeola Faleye Dorothy Farmer Carroll Fay Babs & Jef Feibelman Joyce Ferguson Zachary Ferguson Robert & Brenda Ferralasco Nita Faye & Brooke Ferris Caylain Festherson Mr. & Mrs. David Field Jr. John Fineran Lara A. & Thomas A. Firrone Ashley Flashner Cheryl Floyd

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Barbara & John Fockler Dr. S. Ford Becky Fowler Steve Fracchia Joan D. Freund Aileen Friedman Ms. Ann Frogge Jeanette Fuchs Van & Carol Funderburk Jana Fuqua George Gann Lida Garcete Lori & Scott Garner Angela Garretson Kim & John Gaskill Kelvin Gates Ginny Geater Dr. James Gholson Robert I. Gilbert Jr. David Gioia Mr. Marvin Glatstein Dr. Leslie Gordon Bob Grantham Lauryce Graves Scott Gustafson Tina & Len Al Hass Howard and Barbara Halliburton Dalia Hammoudeh William Hanley Lisa & Dave Harris Peggy Harris Richard & Brenda Harwood Ms. Michele Hathaway Amber-Rose Hawkins Stoy & Kathryn Hedges Ms. Janet D. Held & Mr. William H. Sims Ms. Jane Hester Janice & Scott Hill Sandy Hilliard Laurie Hobson Vivian Holbrook Shirley Hollahan Sherwin Holloway Linda Holmes Elizabeth Hopper Dr. & Mrs. Howard R. Horn Frank Horner Robert & Eula Horrell June House Josh Howard Mr. & Mrs. Wally Huggins Charles Hughes Rodney Hulbert Jane Humbert

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Lisa Hume Matt Blake & Nobuko Igarashi Mr. & Mrs. Deke Iglehart Akira Inoue Stevan Iungerich Kenny Jabbour Mr. & Mrs. James B. Jalenak Grace Jamison Barbara Jennings Vishnue Jennings Mr. & Mrs. Ben R. Johnson Inez Johnson James & Theresa Johnson Lori Johnson Wanda Johnson Warren & Claire Johnson Carl Jones Charlotte Jones Christine Jones John & Anne Jones Meg Jones Rex Jones Willie & Rutha Jones Stephanie Jones John & Lynn Joyner Dr. Ellis Julien Truman Kahn Dr. Edward S. & Linda S. Kaplan Philip & Carol Keith Louie Keller Lindsay Kelley William Kelly Iwona Kessling Dr. & Mrs. Noah Kimball Jiji Kim-Goosby Brenda Kindelan Ruth & James King Nadine King Rita Kiser Rev. & Mrs. William A. Kolb Jeffrey Konrad Gregory Koziel William Kratzke Bobbie Kyle Nell Lamberson Kitty and Howard Lammons Richard & Patsy Lane Mary Laughlin Heather Lawson Debbie & Ronald Lazarov Louise Leffler Jeff Lehr Jean Lewis Dr. Myron & Gail Lewis

For Tickets 901-537-2525

Vernell Lewis Yaqin Li Peter Limper Ree Liverance David & Dorothy Love Joseph Loveland David Lowes Carol Lowry Holly Lynch Betty Lyon Mrs. Floyd Lyons Margaret Jean Maher Mr. Myron M. & Mrs. Dianne Shockley Mall B. Lee & Susan Mallory Frances Manley David Mann Lydia Martin Mr. & Mrs. Eugene Mathes Carlise Mathews Linda Mathis Kris & Lori Matula Ailine Maxwell Ariane May Connie May Mary Jo Mayton Peggy and Mac McAneney Mary Lou McCaa Anne McClellan Joe and Cheryl McCormack Sandra & Lynn McCorry Deanne McCown Walker McCutcheon Mr. & Mrs. Eugene McDermott III Mr. Eugene A. McDermott, Jr. Norma McHugh Sharron McKinney Barbara & George McMahon Maurice Medley Suria Melanie Nancy Meyer Maxine Middlecross Barbara H. Migliara Pamela and Fred Miller Lee Miller Paige Miller Will Miner Mr. & Mrs. Hubert Minton Mr. & Mrs. John E. Minton Christine Mitchell William Moore Gregory Morrell Leroy Mosby Mr. & Mrs. Oscar Moser, Jr. Paul & Glenda Mosteller

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Contributions Harry & Vivian Murchison Krista Pennie Myers Lisa M. Myers Stephen & Mary Nelson Paula Newberry Mrs. Toni Nguyen Mr. & Mrs. Herbert L. Notowich Jane Nuckolls Dr. & Mrs. Stewart L. Nunn Mr. & Mrs. Thomas Oates Allison Ogilvie Jason & Rita Ortiz Lynne Owens Rose Mary Pace Robbin Page Mr. & Mrs. Larry Papasan Roylyn and Bill Parks Carlos Parra Richard Patterson Stephanie & Michael Patton Chelsea Pearce William Peer Mary Pennington Dana Sue Percer Larry Perlberg Alice & Harold Petty Gordon & Dianne Pfund Elin Pierce Judy Pinson Fred & Jill Piper Ashley Piper Susan & Dean Plessala Ainslie Plunk Rafael Portillo Jim Prate Julien Prevost Ellie Prude Kathy Pruett LTC Judith C. Pruitt (Ret.) Carol Purvis Antonio Quezada Ms. Emilie G. Ratner Lynn Rawlings Nathan Read Rance & Deborah Reagan Diane Reed Betsy Reeder Charles Reifers Holly Rickman Ms. Jessie Riley Mi K. Rim Paul Roberts Mr. & Mrs. Larry Robertson Norma Rogers

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Marian & Stan Roller Mrs. Sylvia Rose James B. Rothman Leonid & Fridrerica Saharovici Margie P. Sander Paul & Alida L. Scarbrough Hilton Susan Schaeffer Joe Schellenberg Jean & Phil Schmidt Jane Schneider Jonathon Schug Phil Schumacher Mary Lynn Scoggins Ms. Peggy Seessel Erin Shackelford Frank & Marian Shaffer Doreen Shelton Vicki Shelton Roy and Cyndy Shepherd Mark Sherman John and Donna Shipman Amy Silberberg Sara Siler Bill & Cheryl Simco Jeanne Simmons Jim & Alta Simpson Marye Sims Debra Sisson Alethea & James Skefos Louise & Jerald Sklar John Slater Ben & Robyn Slen John H. Sligh David Slocum Rochelle & Avron Slutsky Richard & Michelle Smeyne Ms. Barbara Smith Betty Smith Bruce Smith Cecil Smith Polly and Charles Smith Ritchie and Patti Smith Jeffrey Smith Regina Smith Virginia Smith Dorris Snow Judith Soleman Shannon Stanley William Stephens Louise Stern Mr. & Mrs. John Stinchfield David & Alicia Stires Joy & Robert Straw Lynn Strickland

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Douglas Strohmer Joseph Suddith Sarah Sullivant Herman I. and Shirley Summerfield Truman Suttle Mwaniki Tabor Larry Talley Phyllis Tamm Michael Taube Denise Taylor Herbert & Diane Taylor Richard Taylor Betsy Tedder Colonel John Thorpe Charles Tilly John Tilmon Dr. David A. Tipton Bruce Tonkel Terry and Beverly Trojan Kelly & Sharon Truitt Ann & Walker Uhlhorn Barbara Van Ness Mrs. Peggy Vannucci Mike & Gay Veazey Williams Igor Veksler Carmen Vincent Kristen & Richard Vining Fred Voigt William Votsmier Richard Waits Robert Wakefield Dolores Waldrup Gerald & Julie Walton Julie Wang

Barbara Ward Berdena Ward Tony Ward Geraline Wardlow Phyllis M. Warmington Anneliese & William Watts David & Georgie Weaver Mark Wehr Judge & Mrs. Bernie Weinman Ira & Deborah Weinstein Bill Weppner Alice & Maurice Wexler Dr. Jeremy D. Whitt & Mrs Lake Charlotte & Steven Wicks Joseph Wieronski Jennifer & Brian Wilder Mary Wilder Erma & Bennie Williams Constance Williams Jane Williams Robert Williams Barbara & Tom Willmot Benjamin Willmott Mary Jo Wilson Marianne Wolff George and Catherine Wood Mark Woodring Jerry Woods Laura Burgoyne and Becky Wright Peggy Wroten Rebecca Yancey Margaret Yang John & Donna Young

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

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

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

For Tickets 901-537-2525

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

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

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

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

Susan Springfield Bickie McDonnell Barbara Enright Nancye Starnes Linda McNeil Marsha Evans Helga Stengel Mabel McNeill Kathy Fish Susan Stephenson Lisa Chow Mallory Mary Lawrence Flinn Anne Stokes Suzy Mallory Mary Lee Formanek Margaret Wellford Tabor Julia Manning Kathleen Gardner Mary Tate-Smith Ashley Mayfield Allison Garrott Ashley Tobias Sandra Mays Kathy Buckman Gibson Tish Towns Suzanne Medford Kate Gooch Anne Townsend Nancy Menzies Mimi Grossman Laurie Tucker Jane Mims Pam Guinn Lynne Turley Snow Morgan Sarah Haizlip Lura Turner Brooke Morrow Cynthia Ham Meg Dunbar Turner Christine Munson Carolyn Hardy Andie Uiberall Jenny Nevels Deborah Hester Harrison Jeanne Varnell Gloria Nobles Ann Hawkins Anita Vaughn Sarah Carpenter Ognibene Carolyn Heppel Kimmie Vaulx Sally Pace Dr. Jeannine E. Hogg Ann Vining Deanie Parker Frances Hooks Stacie Waddell Barbara Perkins Trina Huelsman Ann Marie Wallace Cynthia Pitcock Buzzy Hussey Jane Walters Carol Prentiss Barbara Hyde Cassandra Webster Mary Alice Quinn Nicki Inman Becky West Susan Quinn Janas Jackson Monica Wharton Dr. Sandra Reed Laurita Jackson Sharon Wheeler Beverly Robertson Lisa Jehl Joy Wiener Ellen Rolfes Jeanne Jemison Dr. Ethelyn Williams-Neal Gayle S. Rose, Rose Johnston Tracey Williams former co-chair Dale Kelman Barbara Williamson Carol Lee Royer Edith Kelly-Green Neida Wittichen Diane Rudner Delores Kinsolving Jocelyn Wurzburg Beverly Sakauye Dorothy Kirsch Jan Young Janet Seessel Ellen Klyce Rachel Shankman Susanne Landau In Memoriam Lucy Shaw Joanna Lipman Bonnie Smith Karen Shea Babbie Lovett Maxine Smith Lynda Mead Shea Janet Lyons Katie Smythe Anita McLean Rita Sparks Gretchen McLennon

Sponsorships Baptist Memorial Health Care Foundation Blue Cross Blue Shield TN Gerber/Taylor Buzzy Hussey Hyde Foundation

Independent Bank New South Capital Paragon Bank Regional Medical Center Ritche Bowden

Deborah Craddock Rose Johnston Brooke Morrow Sarah Carpenter Ognibene Gayle S. Rose

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

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Mei-Ann’s Circle of Friends presents

REBIRTH

of the

Dream

Initially Mei-Ann’s Circle of Friends started as a women’s philanthropic circle, formed to honor the Memphis Symphony Orchestra’s Music Director, Mei-Ann Chen.

The vision rapidly grew into the Dream Project, the group’s first symphonic commission inspired by the speeches of Dr. Martin Luther King, Jr. The women intend to tell an iconic part of Memphis history through an original score which captures their collective memory of the MLK assassination that cast a “pall” over their community. The powerful movements will move into their collective imagination of what they envision their city could become.

Rebirth of the Dream concert is scheduled to be performed by the MSO on May 16, 2014 at the Cannon Center. Meet Maestra Chen and some of the women as they begin to reveal their story - just open this video link: http://vimeo.com/memphissymphony/rebirthofthedream

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 June 26, 2012 and July 26, 2013.

In Honor of Michael Barar Anonymous

In Memory of Dan Duncan Buzzy Hussey and Hal Brunt

In Honor of Paul & Linnea Bert David J. Baseler Mr. & Mrs. George E. Cates Leonard & Jennifer Lyons Anneliese & William Watts

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

In Honor of Peggy Jemison Bodine Mr. Frank & Dr. Jeanne Jemison In Memory of Florence Bohon Dorothy S. Atkinson Mr. & Mrs. James C. Blackburn Nancy M. Penisten Barbara Van Ness

In Honor of Jane Dutcher Norma Rogers In Honor of Mr. & Mrs. Thomas Farnsworth Mr. & Mrs. Arthur N. Seessel III In Honor of Sara G. Folis Anonymous

In Memory of Charles Edward Bost Mr. & Mrs. David B. Ferraro

In Memory of Elaine and Louis Gompertz Louise Stern

In Honor of Ritche Bowden Ms. Mei-Ann Chen

In Memory of Michael Gompertz Joan Gips

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

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

In Memory of Mr. Ross Clark Buzzy Hussey and Hal Brunt In Honor of Mr. & Mrs. Andrew Clarkson Mr. & Mrs. Arthur N. Seessel III

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

In Honor of the Anniversary of Dr. Ron & Mrs. Mimi Grossman In Honor of Mrs. Ruth Moore Cobb Dr. Edward S. & Linda S. Kaplan Mr. & Mrs. Charles P. Cobb, Jr. Dr. & Mrs. Horace K. Houston, Jr. In Memory of Mrs. Barbara Ramsey Harris Lisa & Louis Jehl In Honor of Mr. & Mrs. Robert Craddock Mr. & Mrs. Arthur N. Seessel III In Memory of Mrs. Evelyn Foote Horrell Jean Lewis In Memory of Dr. V. Glenn Crosby George & Jackie Falls Robert McEniry Buzzy Hussey and Hal Brunt Lisa & Louis Jehl In Honor of Buzzy Hussey Dr. Edward S. & Linda S. Kaplan Mr. & Mrs. Bryson Randolph In Memory of Mrs. Eleanor Dean Ron & Linda Sklar In Honor of Mr. & Mrs. John Dulin Mr. & Mrs. Arthur N. Seessel III

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In Honor of Dr. Hal Brunt & Ms. Buzzy Hussey Bill and Foy Coolidge In Honor of the Birthday of Pitt Hyde Mr. & Mrs. Arthur N. Seessel III

In Memory of Max E. Johns Mike and Carolyn Edwards Gerber-Taylor Buzzy Hussey and Hal Brunt Lisa & Louis Jehl Memphis Symphony Chorus Andie & Michael Uiberall Mike & Gay Veazey Williams Becky Webb Wilson In Honor of Nancy Lou and Mott Jones Mr. & Mrs. Charles P. Cobb, Jr. Mr. & Mrs. Lester F. Lit In Honor of Dr. & Mrs. AW Karchmer Mr. & Mrs. Arthur N. Seessel III In Honor of Mr. & Mrs. Leonard Kaye Mr. & Mrs. Arthur N. Seessel III In Honor of the Birthday of Florence Leffler Dr. & Mrs. William E. Long In Memory of Richard Lightman Jocelyn & William Rudner In Memory of George and Ann Livers George & Jackie Falls In Memory of Mrs. Cele Carolyn Lubin Lisa & Louis Jehl In Memory of Louise Lucks Drs. Lawrence Edwards & D. Shane Rasner Mr. & Mrs. Lester F. Lit Memphis Symphony Chorus In Honor of Al Lyons Donna and Dave Nelson Family Foundation In Honor of Martha Ellen Maxwell Kathleen C. Gardner In Honor of Mary McDaniel Ms. Mei-Ann Chen

www.MemphisSymphony.org

Honor/Memorial Contributors List Honor/Memorial Overture 11-12 In Honor of the Memphis Symphony Chorus Patricia & John Seubert In Honor of the Memphis Symphony League Fred & Mary Lawrence Flinn In Honor of Dr. and Mrs. Lee Milford Martha & James Boyd In Memory of Skip Monfort Bill Weppner In Honor of Greg & Ellen Morris John & Lynn Joyner In Memory of Ms. Angela Mullikin Mr. & Mrs. Hubert Minton In Honor of Gloria Nobles Bill and Foy Coolidge

In Honor of Art & Janet Seessel Bowers & Brooke Clement In Honor of Art Seessel Carol & Bert Barnett Phili & Terry Deboo Ms. Karen Spacek & Mr. William S Solmson Andie & Michael Uiberall Tom & Kay Whitman Gary Wunderlich

In Honor of Mr. Bill Solmson & Ms. Karen Spacek Mr. & Mrs. Arthur N. Seessel III

In Honor of Mr. & Mrs. Phil Shannon In Memory of Peter Spurbeck Jean M. de Frank Rosemary Banta Mr. & Mrs. John S. Evans Dr. Raquel Gomez In Memory of Mrs. Dena Shapiro Dr. & Mrs. Horace K. Houston, Jr. Dr. & Mrs. Sheldon Korones In Honor of the Marriage of Sam Shoup & Heather Trussell Ellen Rolfes

In Memory of Mrs. Lucille “Bonnie” Smith In Memory of Clinton R. Pearson Dr. Bryan & Mrs. Heidi Bell Susan P. Brubaker Paul & Linnea Bert Jack & Kathleen Blair In Memory of Ms. Marguerite Piazza Blount International Family Steven Boor Buzzy Hussey and Hal Brunt Kitty Cannon & Jim Waller Jean M. de Frank David Chancellor Mr. & Mrs. David B. Ferraro James Charles Michele Robin Crump In Memory of Delta Asset Management Family Ric and Eleanor Ricards Jed Dreifus George & Jackie Falls David Gioia Kenneth Goldman & Winnie Wang In Honor of Perry Redfearn Dr. Suzanne Gronemeyer The Christ United Methodist Church & Mr. Ellis Delin Chancel Choir Tina & Len Al Hass Howard and Barbara Halliburton In Memory of Thomas M. Roberts Wil & Sally Hergenrader Mr. & Mrs. John S. Evans Lunida & Lewis Holland Mr. Eugene A. McDermott, Jr. Buzzy Hussey and Hal Brunt Susan & FrankInman In Honor of Ellen Rolfes Lisa & Louis Jehl Kathryn B. Black Stephanie Jones Mr. & Mrs. William Kaelin III In Honor of Gayle S. Rose Dr. Edward S. & Linda S. Kaplan Ms. Mei-Ann Chen Marti & Mike Laslavic LeMoyne-Owen College Family In Honor of Mr. & Mrs. Mike Rose Mr. & Mrs. Lester F. Lit Mr. & Mrs. Arthur N. Seessel III Dr. & Mrs. William E. Long Mr. Myron M. In Memory of Rita Satterfield & Mrs. Dianne Shockley Mall Marti & Mike Laslavic B. Lee & Susan Mallory In Honor of Mr. & Mrs. Rudi Scheidt Martha Ellen Maxwell Mr. & Mrs. Eugene McDermott III Mr. & Mrs. Arthur N. Seessel III Mr. Eugene A. McDermott, Jr. Ms. Peggy Seessel In Honor of Charles Schulz Jenny & Graham Smith Sandra Leftwich Dan & Melissa Smith

For Tickets 901-537-2525

Ms. Karen Spacek & Mr. William S Solmson George S. Sullivan UT Medical Group Family Barbara & Tom Willmot Benjamin Willmott Gary Wunderlich

In Memory of Mrs. Harriett Stern Dr. Suzanne Gronemeyer & Mr. Ellis Delin Marti & Mike Laslavic In Memory of Mrs. Alyene Tubbs White Drs. Lawrence Edwards & D. Shane Rasner In Memory of Mrs. Shirley Broadhead Turner Hamilton Phillip & Mabel McNeill In Honor of the Anniversary of Bill & Carmine Vaughan Mr. & Mrs. Simon Wadsworth In Honor of Mr. & Mrs. Mike Williams Mr. & Mrs. Arthur N. Seessel III In Honor of Mr. & Mrs. Tom Whitman Mr. & Mrs. Arthur N. Seessel III In Honor of the Marriage of Julia Williams & Van Manning Wallace & Olivia Bruce Diversified Trust Phillip & Mabel McNeill In Honor of Becky Webb Wilson Ms. Mei-Ann Chen In Honor of Mr. & Mrs. Spence Wilson Mr. & Mrs. Arthur N. Seessel III In Memory of Greg Wallace Opera Memphis In Memory of Josephine “Jo” Wood Gerry and Charles Duff Peggy and Mac McAneney Frank & Marian Shaffer

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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 Folkâ&#x20AC;&#x2122;s Folly. We are open weekdays 9 a.m. to 5 p.m. and on concert Saturdays from 9 a.m. to 12 p.m. The Box Office at the concert venue opens 90 minutes prior to each performance and remains open until intermission begins. Please note that for concerts at the Cannon Center on the night of, concert tickets must be purchased through the Ticketmaster Box Office located in the East hallway. Services and Will Call for MSO patrons are located near the Box Office at each venue.

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

Concert Preview: Free pre-concert discussions begin 45 minutes prior to each First Tennessee Masterworks series performance. Join us in the Cannon Center Morgan Keegan Mezzanine Lobby and the GPAC Ballet Room to get the inside scoop on the upcoming performance.

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

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

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Single Tickets: Tickets for all events are available through the MSO Box Office by phone, (901) 537-2525, in person, or online at www.MemphisSymphony.org. Please note that vouchers and coupons may only be redeemed at the MSO office and must be done in person.

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

Refunds/Exchanges: There are no refunds or exchanges on single ticket purchases or returned tickets. Subscribers have the benefit of exchanging their subsription tickets. All subscription ticket exchanges are subject to availability. Ticket exchanges must be made at least 24 hours before the date of the original performances.

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

Student/Child Tickets: Student Tickets are available for $5.00 (plus applicable processing fees, excluding Memphis Messiah, Nutcracker and Opus One series) to regular series concerts based on availability. Please come to the box office prior to the performance. Students must show a valid student ID. A maximum of one ticket per ID is available. All discount tickets are subject to availability.

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

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

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

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

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

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

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

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

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

For Tickets 901-537-2525

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ALWAYS ENTERTAINING� Musicals/Dramas/Comedies�

Photography by Skip Hooper�

Nationally recognized for creative quality and community vision.�

2013-14 SEASON�

*�

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

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

901.682.8323�.�

Individual tickets also available at www.theatrememphis.org�

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