Yo-Yo Ma with the Memphis Symphony

Presented by

Photo by Jason Bell Yo-Yo Ma is represented by Opus 3 Artists

The Arney, Gronauer and Scheidt Families

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M S O I S G R E AT LY A P P R EC I AT I V E FOR THE GENEROUS P R ES E N T I N G S P O N SO R S H I P O F TO N I G H T ’ S CO N C E R T BY T H E A R N E Y, G R O N AU E R A N D SC H E I DT FA M I L I ES .

E N J OY T H E S H OW !

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YO-YO MA

WITH THE MEMPHIS SYMPHONY Cannon Center for the Performing Arts Tuesday, February 25, 2025 | 7:30pm ROBERT MOODY, conductor YO-YO MA, cello CHARLES “LIL BUCK” RILEY, jooker

Presented by The Arney, Gronauer and Scheidt Families The Swan, created and performed by Charles “Lil Buck” Riley, was developed in 2007 for Arts Education and Community Engagement programs under the Artistic Direction of Katie Smythe, Founder of New Ballet Ensemble & School. Riley first performed the solo for students grades K-8 in collaboration with Delta Arts in Crittenden County, Arkansas. Since then, The Swan has been seen by audiences worldwide, awakening new audiences to the beauty of Memphis Jookin and the fusion of street dance with multiple cultural disciplines and genres.

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MEMPHIS SYMPHONY ORCHESTRA ROBERT MOODY Music Director VIOLIN I Barrie Cooper, Concertmaster The Joy Brown Wiener Chair Marisa Polesky, Assistant Concertmaster Diane Zelickman Cohen, Assistant Principal Wen-Yih Yu, Assistant Principal Jessica Munson, Assistant Principal Long Long Kang Janaina Fernandes* The Rebecca Webb Wilson Fellow Priscilla Tsai Jordan Musgrave Daniel Gilbert Carissa Perez Miguel Lesmes Martin Palacios VIOLIN II Gaylon Patterson, Principal The Dunbar and Constance Abston Chair Erin Kaste, Assistant Principal Lenore McIntyre, Assistant Principal Yennifer Correia Gabriela Fogo Rebeca Rathlef Ann Pretzer Esther Humphries Julie Johnson Sam Spurbeck Janet Cooper VIOLA Jennifer Puckett, Principal The Corinne Falls Murrah Chair Michelle Pellay-Walker, Assistant Principal

Aaron Tubergen, Assistant Principal Beth Luscombe Matthew Finley* The Joyce McAnulty Blackmon Memorial Fellow Michael Brennan Lexi Pelton Rossana Cauti Lenny Schranze Jane Schranze CELLO Ruth Valente Burgess, Principal The Vincent de Frank Chair Iren Zombor, Assistant Principal Jonathan Kirkscey, Assistant Principal Jeffrey Jurciukonis Hannah Schmidt Mark Wallace Lisandro Acosta* The Ellen Rolfes Legacy Fellow Estefan Perez Kim Patterson Otavio Kavakama BASS Scott Best, Principal Chris Butler, Assistant Principal Sean O’Hara Andrew Palmer Jeremy Upton Garrett Kirk Tiffany Freeman FLUTE Shantanique Moore, Principal The Marion Dugdale McClure Chair

Delara Hashemi Kelly Herrmann PICCOLO Kelly Herrmann OBOE Lani Kelly, Principal The Paul and Linnea Bert Chair Austin Smith Shelly Sublett, Assistant Principal ENGLISH HORN Shelly Sublett, Principal CLARINET Andre Dyachenko, Principal The Gayle S. Rose Chair Rena Feller Nobuko Igarashi BASS CLARINET Nobuko Igarashi BASSOON Susanna Whitney, Principal The Carolyn Horrell Heppel Chair Michael Scott Christopher Piecuch CONTRABASSOON Christopher Piecuch HORN Caroline Kinsey, Principal The Morrie A. Moss Chair Robert Patterson Jeremiah Frederick Dan Vidican

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TRUMPET Scott Moore, Principal The Smith & Nephew Chair Betsy Carter Mike McKenzie Alex Schuetrumpf TROMBONE Greg Luscombe, Principal Mark Soueidi Mark Vail TUBA Charles Schulz, Principal The Charles and Sharen Schulz Chair TIMPANI Ed Murray, Principal PERCUSSION David Carlisle, Principal Bill Shaltis Stewart Plumlee HARP Frances Cobb Kenney, Acting Principal The Ruth Marie Moore Cobb Chair Marian Shaffer KEYBOARD Adrienne Park, Principal The Buzzy Hussey and Hal Brunt Chair *Circle of Friends Fellow

YO-YO MA

WITH THE MEMPHIS SYMPHONY Cannon Center for the Performing Arts Tuesday, February 25, 2025, at 7:30pm ROBERT MOODY, conductor YO-YO MA, cello CHARLES “LIL BUCK” RILEY, jooker

JOHN WILLIAMS (b. 1932) RICHARD STRAUSS (1864 - 1949)

Superman March Tod und Verklärung, Opus 24 (Death and Transfiguration) INTERMISSION

ANTONIN DVOŘÁK (1841 - 1904)

CAMILLE SAINT-SAËNS (1835 - 1921)

Concerto in B minor for Cello and Orchestra, Opus 104 I. Allegro II. Adagio ma non troppo III. Finale: Allegro moderato Yo-Yo Ma, cello “Le Cygne” from Le Carnaval des Animaux Yo-Yo Ma, cello Charles “Lil Buck” Riley, jooker

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ARTIST BIOS

YO -YO MA | CEL LO YO -YO M A’ S M U LT I - FAC E T E D C A R E E R I S T ESTA M E N T TO H I S B E L I E F I N C U LT U R E ’ S P OW E R TO G E N E RAT E T R U ST A N D U N D E R STA N D I N G .

Whether performing new or familiar works for cello, bringing communities together to explore culture’s role in society, or engaging unexpected musical forms, Yo-Yo strives to foster connections that stimulate the imagination and reinforce our humanity.

Most recently, Yo-Yo began Our Common Nature, a cultural journey to celebrate the ways that nature can reunite us in pursuit of a shared future. Our Common Nature follows the Bach Project, a 36-community, six-continent tour of J. S. Bach’s cello suites paired with local cultural programming. Both endeavors reflect Yo-Yo’s lifelong commitment to stretching the boundaries of genre and tradition to understand how music helps us to imagine and build a stronger society.

Yo-Yo is an advocate for a future guided by humanity, trust, and understanding. Among his many roles, Yo-Yo is a United Nations Messenger of Peace, the first artist ever appointed to the World Economic Forum’s board of trustees, a member of the board of Nia Tero, the US-based nonprofit working in solidarity with Indigenous peoples and movements worldwide, and the founder of the global music collective Silkroad.

His discography of more than 120 albums (including 19 Grammy Award winners) ranges from iconic renditions of the Western classical canon to recordings that defy categorization, such as “Hush” with Bobby McFerrin and the “Goat Rodeo Sessions” with Stuart Duncan, Edgar Meyer, and Chris Thile. Yo-Yo’s recent releases include “Six Evolutions,” his third recording of Bach’s cello suites, and “Beethoven for Three: Symphony No. 4 and Op. 97 ‘Archduke,’” the third in a new series of Beethoven recordings with pianist Emanuel Ax and violinist Leonidas Kavakos. Yo-Yo’s latest album, “Merci,” with pianist Kathryn Stott, features the music of Gabriel Fauré, following the arcs of Fauré’s inspiration and influence in a deeply personal expression of gratitude for the relationships that make music magic.

Yo-Yo was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and three years later moved with his family to New York City, where he continued his cello studies at the Juilliard School before pursuing a liberal arts education at Harvard. He has received numerous awards, including the Avery Fisher Prize (1978), the National Medal of the Arts (2001), the Presidential Medal of Freedom (2010), Kennedy Center Honors (2011), the Polar Music Prize (2012), and the Birgit Nilsson Prize (2022). He has performed for nine American presidents, most recently on the occasion of President Biden’s inauguration.

Yo-Yo and his wife have two children. He plays three instruments: a 2003 instrument made by Moes & Moes, a 1733 Montagnana cello from Venice, and the 1712 Davidoff Stradivarius.

Photo by Jason Bell

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ARTIST BIOS

R OBER T M O ODY – M USIC DI R E C TO R Internationally acclaimed conductor, Robert Moody, in currently enjoying his 18th season as Music Director of Arizona Musicfest, his 9th season as Music Director of The Memphis Symphony Orchestra (Tennessee), and celebrates his inaugural season as Music Director of the Baltimore Chamber Orchestra.

Under his artistic leadership, AZ Musicfest has become the premiere Winter Music Festival Orchestra in North America, boasting a roster comprised of players from the world’s greatest orchestras. The Memphis Symphony has enjoyed exponential growth in programming, recording, new commissions, and endowment growth to well over $25 Million dollars. Baltimore Chamber Orchestra boasts top players from the largest orchestras in the Baltimore/Washington area and presents innovative and “out of the box” live orchestral programming at world class levels in the Mid-Atlantic. In 2022 he was named Principal Conductor for Lakeland Opera (FL); he leads one major opera production each January with LO, recently including Mascagni Cavalleria Rusticana and Puccini Madama Butterfly. Man of La Mancha is the production for January 2025.

Prior positions have included music director for both the Portland Symphony (Maine) and the Winston-Salem Symphony (North Carolina). Earlier in his career, he held conducting positions with the Phoenix Symphony, Evansville Philharmonic, Santa Fe Opera, Brevard Music Center, Interschool Orchestras of New York City, and apprenticed at Landestheater Opera in Linz, Austria.

He has led many of the major orchestras and opera companies of the world, including Chicago Symphony, Los Angeles Philharmonic, Toronto Symphony, Dallas and Houston Symphonies, Minnesota Orchestra, Washington National Opera, Aachen and Baden Baden Symphony Orchestras in Germany, Orquesta Filarmonica de Bogotá (Colombia), and the Vienna Chamber Orchestra (Austria). He is also a frequent guest conductor in South Africa, and he will return next June for concerts with the three major orchestras there – the Cape Town, Johannesburg, and KZN (Durban) Philharmonics.

In addition to South Africa, guest conducting debuts this season include Kansas City Symphony/Lyric Opera of Kansas, Tulsa Philharmonic, Tampere Philharmonic (Finland), and Timasoara Philharmonic (Romania). He also returns to Sewanee Summer Music Festival (TN), National Repertory Orchestra (CO), Portland Symphony (ME), and the Greensboro Symphony (NC).

A frequent collaborator with opera superstar Renée Fleming, he will conduct her on multiple occasions in the upcoming season, featuring Kevin Puts’ The Brightness of Light (also with Rodney Gilfry) and “Voice of Nature,” the song cycle created with Ms. Fleming and National Geographic.

Moody’s work is available on several commercial recordings, including the Canadian Brass albums Bach and Legends, R. Carlos Nokai’s Fourth World album, and with Memphis Symphony Orchestra and trumpet legend Ryan Anthony on his Re:Mission Rubato album.

Robert is also a close friend and collaborator with Grammy winning composer Mason Bates. Their friendship spans over 30 years, and Moody was the first conductor to commission a full orchestral work from Bates. Robert also commissioned several major works of Mason’s, including Rusty Air in Carolina, and the much lauded Desert Transport. He is excited to lead a premiere performance of Bates’ newest concerto – a triple concerto for Grammy winning ensemble Time For Three.

A South Carolina native, Moody holds degrees from Furman University and the Eastman School of Music, where he earned his conducting degree with Donald Neuen. Additional studies included an undergraduate term abroad in Vienna, Austria, and a summer of study with Otto Werner Mueller at Le Domaine Forget in Quebec. He is a Rotarian and has served on the boards of AIDs Care Services, Winston-Salem YMCA, WDAV Classical Radio, and the Charlotte Master Chorale.

Moody celebrates the life and work of organist/conductor Jimmy Jones, his spouse of 18 years who passed away unexpectedly early in 2024.

He now dedicates all his musical endeavors to Jimmy.

Moody lives in Memphis with their two dogs; he is an avid runner, swimmer, history buff, “Jeopardy!” addict, and snow-skier.

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ARTIST BIOS

L I L BU CK - J O OK ER Charles “Lil Buck” Riley is a movement artist, choreographer, and dance prodigy, known for being a prominent leader in the world of dance bringing the IMPROV based street dance style called: Memphis Jookin’ to a mainstream audience across the world. Through his innovative approach to Jookin and his experience in Ballet, Contemporary Dance, and flexibility, Lil Buck uses his movement art and passion for collaboration to bridge cultural and artistic gaps that exist. Lil Buck’s vulnerable approach in evoking emotion through music and movement has inspired countless people around the world. Lil Buck believes that dance does not only exist as a form of entertainment but is also a powerful tool that connects people from all walks of life and an innate language that the world can understand.

H I S LOV E F O R H I S H O M E TOW N A N D E X P E R I E N C E I N DA N C E A N D M U S I C E D U C AT I O N I N S P I R E D H I M TO C R E AT E H I S OW N N O N - P R O F I T/ 5 01 (C ) ( 3 ) : “ T H E L I L B U C K F O U N DAT I O N , I N C ” W H I C H G I V ES YO U N G A R T I ST S I N M A R G I N A L I Z E D CO M M U N I T I ES A P L AT F O R M TO SU CC E E D A N D M A K E A L I V I N G I N T H E I R R ES P EC T I V E D I S C I P L I N ES W I T H E D U C AT I O N I N M U S I C A N D DA N C E .

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YO-YO MA WITH THE MEMPHIS SYMPHONY

SPONSORS

The Memphis Symphony Orchestra is grateful to our sponsors for making this evening ’s performance.

PRESENTING SPONSOR T H E A R N E Y, SC H E I DT A N D G RO N AU E R FA M I L I ES

GOLD H Y D E FA M I LY F O U N DAT I O N

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MSO 2024 | 2025 SEASON

CONCERTS

ORCHESTRA UNPLUGGED

PAUL & LINNEA BERT CLASSIC ACCENTS

Thursday, March 6, 2025 7:30pm · Halloran Centre Robert Moody, conductor and host

Sunday, May 4, 2025 2:30pm · Scheidt Center Robert Moody, conductor

BEETHOVEN’S FIFTH SYMPHONY

THE DROP THAT CONTAINED THE SEA

Memphis Symphony Chorus White Station High School Choir St. George’s Independent School Choir TIN The Drop That Contained the Sea

The Orchestra Unplugged Series is a collaboration between the Memphis Symphony Orchestra and the Orpheum Theatre Group.

FIRST HORIZON FOUNDATION MASTERWORKS

SCHEHERAZADE AND BUTTERFLY LOVERS CONCERTO

SPECIAL CONCERT

SYMPHONY IN THE GARDENS

Saturday, March 15, 2025 7:30pm · Cannon Center Sunday, March 16, 2025 2:30pm · Scheidt Center Robert Moody, conductor Timothy Chooi, violin

Sunday, May 11, 2025 5:00pm · Dixon Garden Gallery & Gardens MSO Big Band Scott Moore, band leader The annual Mother’s Day outdoor celebration in the beautiful outdoor setting Dixon South Lawn featuring the MSO Big Band.

ADAMS The Chairman Dances HE/CHEN Butterfly Lovers Concerto RIMSKY-KORSAKOV Scheherazade

FIRST HORIZON FOUNDATION MASTERWORKS

ROMANTIC MASTERWORKS RACHMANINOFF AND SAINT-SAËNS

PAUL & LINNEA BERT CLASSIC ACCENTS

THE BRITISH ISLES – MENDELSSOHN “SCOTTISH” AND DANNY BOY

Saturday, May 17, 2025 7:30pm · Cannon Center Sunday, May 18, 2025 2:30pm · Scheidt Center Robert Moody, conductor Sheng Cai, piano

Friday, March 28, 2025 6:30pm · Crosstown Theater Sunday, March 30, 2025 2:30pm · Scheidt Center Eckart Preu, conductor Hannah White, violin

INGRAM New Work for Orchestra SAINT-SAËNS Piano Concerto No. 5 “Egyptian” RACHMANINOFF Symphony No. 2

GRAINGER Danny Boy COLERIDGE-TAYLOR Violin Concerto MENDELSSOHN Symphony No. 3 “Scottish”

SPECIAL CONCERT

SUNSET SYMPHONY

ORCHESTRA UNPLUGGED

PETER AND THE WOLF

Sunday, May 25, 2025 7:30pm · Overton Park Shell Rain date: Monday, May 26, 2025 5:30pm · Overton Park Shell Robert Moody and Kyle Dickson, conductors

Thursday, May 1, 2025 7:30pm · Halloran Centre Robert Moody, conductor and host

The Orchestra Unplugged Series is a collaboration between the Memphis Symphony Orchestra and the Orpheum Theatre Group.

The Spring Season ends with a return of one of Memphis’s most treasured traditions - a concert dedicated to our incredible community.

A free community celebration highlighting the incredible musicians from the MSO.

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YO-YO MA WITH THE MEMPHIS SYMPHONY Tuesday, February 25, 2025 · 7:30pm · Cannon Center for the Performing Arts Presented by The Arney, Gronauer and Scheidt Families --------------------Robert Moody, conductor Yo-Yo Ma, cello Charles “Lil Buck” Riley, jooker

PROGRAM NOTES

by Michelle Pellay-Walker John Williams (1932– ): Superman March Recorded by: London Symphony Orchestra, John Williams, conductor: Denham, Anvil Studios, 1978 Conductor and composer John Williams has been active in the music industry for well over 70 years, and his list of compositional awards and nominations is impressive, to say the least. Many of his most famous film scores date from the 70s, and include such household names as Jaws, Star Wars, Close Encounters of the Third Kind, and the Indiana Jones trilogy. Superman (starring the late Christopher Reeve in the title role) is also included in the above list, dating from 1978. Several concert suites were extracted from this score, including tonight’s opening selection. The orchestration is large, featuring full woodwinds (with piccolo and bass clarinet), full brass, timpani plus percussion, harp, keyboard, and strings. The specific score extractions begin with a brief introductory Fanfare, followed by the March, a brief reference to the Love Theme, and a return to the March to close. The Love Theme reference is brief but significant, taking place near the halfway point of this overture. This occurrence will be referenced in the Notes for the next selection—so listen carefully!!

Richard Strauss (1864-1949): Tod und Verklärung, Opus 24 (Death and Transfiguration) First Performance: Eisenach Festival, Richard Strauss, conductor: Germany, June 1890 German composer Richard Georg Strauss took a little over a year to compose Tod und Verklärung (Death and Transfiguration), and completed the tone poem a week after the premiere performance of Don Juan. The orchestration is very similar to the previous work (no piccolo; add English horn and contrabassoon to the woodwind mix), but with two harps instead of one, and no keyboard. Strauss intended for the work to describe the death of an artist, and took the unusual step of requesting that a poem be written describing the musical sequence, rather than the other way around. Alexander Sascha Ritter, whom Strauss had met in 1885, provided the following thoughts in regards to the music, which is

loosely organized into four parts: A dying man, reflecting on his life (heartbeats here are represented by the inner strings along with the timpani), thoughts on the innocence of childhood, adult struggles and goals that are set and eventually attained, the eventual surrender to death,…and the final transfiguration that brings the much-desired peaceful conclusion. The transfiguration theme is briefly referenced several times throughout the work,…and if you were paying very close attention in the previous selection, you’ll recognise these first five notes from Superman’s Love Theme!! Added bonus: If you’re familiar with Strauss’ Four Last Songs, the beautiful transfiguration theme (played by the violas) appears near the conclusion of the final song.

Antonin Dvorak (1841-1904): Concerto in B Minor for Cello and Orchestra, Opus 104 First Performance: London Philharmonic Society (Antonin Dvorak, conductor), Leo Stern, soloist: Queens Hall, March 1896 Arguably the most popular of the well-established concerti featuring this instrument, Antonín Leopold Dvořák composed the Cello Concerto in B Minor between 1894 and 1895 for his friend, the Czech cellist Hanuš Wihan. While Wihan was intended to give the premiere performance, scheduling conflicts eventually necessitated engaging English cellist Leo Stern instead. The response to this concerto has always been enthusiastic: the greatest, the king, supreme,…and all cynicism aside, it really is a fantastic piece of music!! It is a substantial work, scored for a full 19th century orchestra that includes woodwinds in pairs (plus piccolo), full brass, timpani, triangle (last movement only), and strings. Structurally, it follows the three-movement form that is normally associated with this period in music history. The first movement allegro is in sonata form, with a fairly substantial coda; the second movement adagio is gentle and lyrical, at times almost like a lullaby; the last movement rondo goes back and forth between moods as the theme groups are explored.

Camille Saint-Saëns (1835-1921): “Le Cygne” from Le Carnaval des Animaux First Public Performance: Concerts Colonne, Gabriel Pierne, conductor: Paris, February 1922 Le Carnaval des Animaux (The Carnival of the Animals) is one of French composer Camille Saint-Saëns’ most popular works, and was originally written for his students at École Niedermeyer de Paris (a school for church music). It is scored for a small chamber ensemble that includes two pianos when performed in its entirety. Saint-Saëns forbade publication of this work until after his passing, feeling that his reputation as a serious composer would suffer; the one exception he made during his lifetime was for the penultimate movement of the piece: “Le Cygne” (The Swan). It is probably the best known of the 14 movements, and is originally scored for solo cello accompanied by two pianos. Tonight’s version features solo cello, two harps, and lower strings.