InConcert February 2012

at Schermerhorn Symphony Center

MOZART & COPLAND FEBRUARY 23-25

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InConcert

A pUBlicAtion oF thE nAshvillE sYmphonY

JONAThAN MARx Editor Jessi MeNish Graphic Designer AshLey MAy Graphic Design Associate CONTRibuTORs Julie Boehm Maria Browning Thomas May

UPCOMING EVENTS Musical Theatre presents Hairspray March 16-18 and 23-25 The Belmont Jazz Festival March 27-31 The President’s Concert April 21

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tABlE oF contEnts

FEBRUARY 2012 46

sUntRUst clAssicAl sERiEs

Mozart & Copland February 23, 24 & 25

21 25 34

BAnk oF AmERicA pops sERiEs

Marvin Hamlisch February 2, 3 & 4

sUntRUst clAssicAl sERiEs

Dr. Atomic & Mr. Haydn

DePARTMeNTs

PROGRAMs

nashville symphony kelly corcoran, conductor Angela hewitt, piano

February 9, 10 & 11 spEciAl EvEnt

Valentine’s with Johnny Mathis

February 14

36

spEciAl EvEnt

10 High Notes 11 Upcoming Events 12 Backstage: Principal Percussionist Sam Bacco 62 Conductors 67 Orchestra Roster 68 Board of Directors 69 Staff Roster 76 Annual Fund: Individuals 86 Annual Fund: Corporations 90 A Time for Greatness Campaign 91 Legacy Society 92 Guest & Facility Information 94 Building Map

Ballet Folklórico de Antioquia, Colombia February 15

40

thE Ann & monRoE cAREll FAmilY tRUst piEd pipER sERiEs

Music, Noise & Silence February 18

42 44

spEciAl EvEnt

Bruce Hornsby February 18

oRGAn REcitAl

James O’Donnell February 21

InConcert

5

Bella Napoli

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Maggiano’s

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Sheraton is the place where friends gather. Make Sheraton a memorable part of your next cultural experience with dinner in Speakers Bistro before the show, or dessert and cocktails in Sessions Lounge after the curtain falls. Ph: (615) 259-2000 for reservations www.sheratonnashvilledowntown.com

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2012/13 seAsON TiCkeTs ON sALe FebRuARy 7 Nashvillesymphony.org 615.687.6400

8

February 2012

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cARRiE UndERWood, oscar de la Renta to highlight noRdstRom sYmphonY FAshion shoW Nashville’s most fashionable night of the year will happen right here at Schermerhorn Symphony Center on February 28, when Nordstrom, in partnership with the Nashville Symphony, presents the Nordstrom Symphony Fashion Show. This glamorous evening will feature a performance by country star Carrie Underwood and an exclusive presentation of Oscar de la Renta’s pre-fall 2012 collection.

Radio and TV personality Storme Warren will emcee the event, which features a cocktail reception before the show and dinner to follow.

Nordstrom, Inc., is one of the nation’s leading fashion specialty retailers, operating 225 stores in 30 states, including one in The Mall at Green Hills. This year marks Nordstrom’s first time producing the Symphony Fashion Show, and this will also be Carrie Underwood’s first appearance at the event. Guests will have the opportunity to get a closer look at the featured fashions after the performance and fashion show at an exclusive boutique inside Schermerhorn Symphony Center.

Underwood, who was presented with the Symphony’s Harmony Award in 2009, is a fivetime GRAMMY® winner, a two-time reigning

10

November 2011

Academy of Country Music Entertainer of the Year, a three-time Country Music Association and ACM Female Vocalist winner, and a proud member of the Grand Ole Opry. Since her debut in 2005, she has amassed more than 14 million in album sales.

Oscar de la Renta is one of the world’s pre-eminent designers. The company was established in 1965, and currently produces a full line of women’s accessories, bridal wear, home decor and fragrances, in addition to its signature women’s ready-to-wear collection.

Proceeds from the Nordstrom Symphony Fashion Show will assist the Symphony in reaching more than 95,000 people through free community concerts; bringing world-renowned artists such as Yo-Yo Ma, Béla Fleck and Emanuel Ax to perform for local audiences; providing barrier-free music education to thousands of students across Middle Tennessee; and supporting the work of today’s leading composers.

For more information, visit NashvilleSymphony.org/fashionshow.

2011/12 sEAson cAlEndAR

U P C OM I NG MARCH Cassandra Wilson

steven Wright

March 2 Jazz Series

March 16

voices of spring

March 18

featuring Nashville symphony Chorus March 4

Russian Masters March 8, 9 & 10 SunTrust Classical Series Prokofiev - Violin Concerto No. 2 Shostakovich - Symphony No. 7 “Leningrad”

TAO: The Way of the Drum March 12

Lyle Lovett & John hiatt March 13

APRIL

spanish harlem Orchestra The Cleveland Orchestra March 19 Giancarlo Guerrero, conductor

kathy Mattea March 22, 23 & 24 bank of America Pops Series

Rachmaninoff’s Rhapsody March 29, 30 & 31 SunTrust Classical Series Kodály - Dances of Galánta Rachmaninoff - Rhapsody on a Theme of Paganini Franck - Symphony in D minor

Organ Recital with David higgs

Lily Tomlin

April 1

April 14

steve Wariner

brahms & sierra’s sinfonía

April 5, 6 & 7 bank of America Pops Series

April 9

April 19, 20 & 21 SunTrust Classical Series Roberto Sierra - Fandangos Brahms - Violin Concerto in D major Chabrier - Habanera Roberto Sierra - Sinfonía No. 4

Pied Piper Fantasy

Orpheus Chamber Orchestra

April 14 The Ann & monroe Carell Family Trust Pied Piper Series

April 24

Preservation hall Jazz band & The Del McCoury band

TiCkeTs ON sALe NOW! Call 615.687.6400 or visit NashvilleSymphony.org

InConcert

11

BAckstAGE i mEEt oUR mUsiciAns

sam Bacco

pRincipAl pERcUssion Member of the Nashville symphony since: 1983 hometown: Pittsburgh, Pennsylvania you have a unique role in the orchestra’s upcoming concert at Carnegie hall, because the program requires so many percussionists. What has preparing for that been like? It’s basically an extreme version of our normal preparation, where I have to coordinate with the personnel department on how many additional players to hire, assign the parts, create a stage set-up and make sure that we have the correct instruments onstage. Usually, the music only requires two to six players and a basic set of instruments. For this program, Charles Ives’ Universe Symphony needs 22 players, the Percy Grainger’s The Warriors uses 14, and we’ll need truckloads of instruments, many of which are not that common or available.

What percussion instruments will you be bringing to New york? It’s interesting to me that a composer can only create from the sound palette that’s available to him. Ives started his initial sketches for the Universe Symphony in 1911. What we consider common percussion instruments weren’t readily available to him at the time, or weren’t invented yet. So in an effort to expand his palette, he was forced to rely on found sounds like wooden boards, clay pipes, pieces of metal, or sounds he heard in his daily life, like church bells. By the time composer Larry Austin realized his version in 1984, he was able to draw from a much more international and diverse group of percussion instruments, which include things like rototoms, rin (Japanese temple gongs), log drums, etc. Percy Grainger’s The Warriors is the same way: He scored for instruments like the steel marimba and the staff bells (which instrument maker J.C. Deagan only made for a brief period around the time of this composition).

12

February 2012

you recently led a class with the Rhythm beaters, a drum circle from Park Center, which works with adults recovering from mental illness. Could you talk about that?

It helped me reflect on why I started playing. Each of the members of the Rhythm Beaters had developed a personal relationship with their drum or rattle. They had learned that the sound that they were able to produce was completely in their control, and they loved to experiment! They were able to feel the power of playing together, create dynamic soundscapes and find rhythms in everyday words. It was a great reminder of what music making can be. you also design and build instruments too.

Yes, as a percussionist, I’ve always had to find solutions to specific percussion needs as they arise. That progressed to repairing or building my own instruments or restoring a historic drum, and eventually that path led me to learning about manufacturing processes, design work, etc.

I’ve been fortunate to be able to work with and develop products for a number of well-known companies. I’ve also been able to work with some composers to create new percussion instruments for their compositions. Working in the orchestra and the Nashville recording studios has helped me to learn about the history and development of percussion instruments and amass a great collection of Instruments from around the world.

I always refer to the historical examples from this collection for my design work, and we regularly perform on “period correct” instruments, where possible, in the orchestra — some are over 100 years old!

Visit NashvilleSymphony.org/orchestra to read an expanded version of this interview.

Proudly taking our seat as a supporter of the arts in Nashville.

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Entertainment

If you would like more information regarding how your company will benefit from advertising in the TPAC Broadway Series, Schermerhorn InConcert, Great Performances at Vanderbilt, Nashville Ballet, Nashville Opera, Tennessee Repertory Theater, Studio Tenn, and Nashville Arts & Entertainment magazines, please call: 373-5557. www.GloverGroupEntertainment.com www.NashvilleArtsandEntertainment.com

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Entertainment

POPS SERIES

POPS SERIES Thursday, February 2, at 7 p.m.

Friday & Saturday, February 3 & 4, at 8 p.m.

An Evening with

and ALISON BROWN Nashville Symphony Marvin Hamlisch, conductor & piano Alison Brown, banjo Selections to be announced from the stage

Concert Sponsors

Media Partners

Official Partners TM

InConcert

21

POPs seRies

ABoUt thE ARtists MARviN hAMLisCh, conductor & piano

ALisON bROWN, banjo

Marvin Hamlisch’s life in music is notable for great versatility as well as substance. As a composer, he has won virtually every major award: three Oscars, four GRAMMY®s, four Emmys, a Tony and three Golden Globe® Awards. His work for Broadway includes his Pulitzer Prize-winning show A Chorus Line, as well as They’re Playing Our Song, The Goodbye Girl and Sweet Smell of Success.

Hamlisch is also a prolific composer for motion pictures, with credits including his Oscarwinning score and song for The Way We Were and his adaptation of Scott Joplin’s music for The Sting, for which he received a third Oscar. His other work for film includes original compositions and musical adaptations for Sophie’s Choice, Ordinary People, The Swimmer, Three Men and a Baby, Ice Castles, Take the Money and Run, Bananas, Save the Tiger and his most recent effort, The Informant!, starring Matt Damon and directed by Steven Soderbergh.

Hamlisch holds the position of principal pops conductor for the Pittsburgh Symphony Orchestra, Milwaukee Symphony Orchestra, Dallas Symphony Orchestra, Pasadena Symphony and Pops, Seattle Symphony and San Diego Symphony. He is a graduate of The Juilliard School of Music and Queens College. He believes in the power of music to bring people together.

“Music can make a difference,” he says. “There is a global nature to music, which has the potential to bring all people together. Music is truly an international language, and I hope to contribute by widening communication as much as I can.”

Alison Brown has taken an unlikely path in establishing herself as an internationally recognized banjoist. A former investment banker — she has a bachelor’s degree in History and Literature from Harvard and an MBA from UCLA — she toured with Alison Krauss and Union Station and Michelle Shocked before forming her own group, The Alison Brown Quartet.

Brown has recorded 10 critically acclaimed solo albums and has received four GRAMMY® nominations and a GRAMMY® Award for her recording of “Leaving Cottondale” (Best Country Instrumental Performance). She has been featured on CBS Sunday Morning, NPR’s All Things Considered and in the Wall Street Journal and The New York Times. She is also co-founder of the internationally recognized Compass Records Group, which oversees more than 600 releases from the Compass Records, Green Linnet and Mulligan Records catalogs, and which has been called by Billboard “one of the greatest independent labels of the last decade.”

Brown currently serves on the board of the Nashville Chamber of Commerce and the International Bluegrass Music Association, as well as on the adjunct faculty of Vanderbilt’s Blair School of Music. She lives in Nashville with her husband, Garry West, and their two children: Hannah, 9, and Brendan, 4.

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February 2012

GeNesCO Since its founding in Nashville in 1924, Genesco has enjoyed a rich tradition of giving back to the community. Today, as a $1.8 billion industry-leading specialty retailer of footwear and headwear, Genesco continues to foster a thriving philanthropic spirit. Whether through its matching gift programs, charitable giving, community leadership or employee volunteerism, Genesco continues to leave its footprint in the Middle Tennessee community.

One of Genesco’s best-known programs is its annual Cold Feet, Warm Shoes event, where employee volunteers set up a community shoe store at a school in an economically depressed neighborhood. Students are measured and fitted with their choice of new shoes. Genesco is also proud of its support of the Nashville Symphony. In 2004, as part of the company’s 80th anniversary, it proudly underwrote Schermerhorn Symphony Center’s concert piano.

hiLTON NAshviLLe DOWNTOWN The Hilton Nashville Downtown is proud to serve the Nashville community and is committed to responsible community stewardship. The Hilton Nashville Downtown has a rich heritage supporting the communities where our clients, advisors and employees live and work. We take pride in this leadership role and carry out our mission by initiating innovative programs as well as supporting existing ones. From creating employee volunteer teams that raise awareness and funding for charity and nonprofit agencies, to providing hospitality services for individuals and families in need, giving back is an integral part of our history and our future.

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Where the arts... Reflect life. Impact life. Prepare for life.

InConcert 23

POPs seRies

thAnk YoU to oUR sponsoRs

We may never pick up an instrument, but we believe strongly in supporting those who do. After all, a community that supports the arts is a community worth supporting. Get to know all the benefits of banking with SunTrust. Stop by a branch, call 800.SUNTRUST or visit suntrust.com.

SunTrust is a proud sponsor of the Nashville Symphony.

SunTrust Bank, Member FDIC. Š 2011 SunTrust Banks, Inc. SunTrust and Live Solid. Bank Solid. are federally registered service marks of SunTrust Banks, Inc. 24

February 2012

CLAssiCAL seRies

SunTrust CLASSICAL SERIES sERiEs clAssicAl Thursday, February 9, at 7 p.m.

Friday & Saturday, February 10 & 11, at 8 p.m.

DR. ATOMIC & MR. HAYDN Nashville Symphony Giancarlo Guerrero, conductor SunTrust Jonathan Biss, piano CLASSICAL SERIES

Thursday, February 9, at 7 p.m.

FRANZ JOSEPH HAYDN Friday & Saturday, February 10 & 11, at 8 p.m.

DR. ATOMIC & MR. HAYDN Nashville Symphony Giancarlo Guerrero, conductor JOHN ADAMS Jonathan Biss, piano

Symphony No. 100 in G major, “Military” Adagio - Allegro Allegretto Menuet: Moderato Presto Doctor Atomic Symphony INTERMISSION

FRANZ JOSEPH HAYDN JOHANNES BRAHMS

Symphony No. 100 in G major, “Military” Concerto for Piano No. 1 in D Minor, Op. 15 Adagio - Allegro Maestoso Allegretto Adagio Menuet: Moderato Rondo: Allegro non troppo Presto Jonathan Biss, piano

JOHN ADAMS Doctor Atomic Symphony Jonathan Biss is represented exclusively by Opus 3 Artists.

Media Partners Nashville Scene WMOT

INTERMISSION JOHANNES BRAHMS

Concerto for Piano No. 1 in D minor, Op. 15 Maestoso Adagio Rondo: Allegro non troppo Jonathan Biss, piano

Jonathan Biss is represented exclusively by Opus 3 Artists.

Media Partners Nashville SceneMedia Partners WMOT

Official Partners TM

InConcert

25

CLAssiCAL seRies

FRANZ JOsePh hAyDN born on march 31, 1732, in rohrau, Lower Austria; died on may 31, 1809, in vienna Symphony No. 100 in G major, “Military” Haydn composed the Symphony No. 100 in 1794 for his second London tour. His most popular symphony, the “military” incorporates topical references to the warfare then brewing on the Continent but also represents the pinnacle of symphonic thinking by one of the genre’s great pioneers.

First performance: march 31, 1794, in London, with the composer conducting.

First Nashville symphony performance: october 7 & 8, 1994, with Music Director Kenneth Schermerhorn. estimated length: 25 minutes Recommended listening: Colin Davis leads the royal Concertgebouw orchestra in a marvelous account, part of a two-CD set including half of the dozen “London” symphonies (Philips).

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February 2012

Throughout his long career — until his final decade, when he looked backward to reinvent Handel’s style of grand oratorio in a series of brilliant choral masterpieces — the symphony served as a kind of touchstone for Haydn. He wasn’t exactly its inventor. Its origin was in the world of musical theater, a spinoff of the overture played at the beginning of an opera. Yet Haydn pioneered the symphony into a medium that allowed him to negotiate his unique balance between artistically intuitive exploration and the need to entertain.

Masterpieces like the Symphony No. 100 demonstrate the composer’s mastery of abstract symphonic thinking, but simultaneously show him engaging with contemporary real-world matters.

The final 12 symphonies continue to stun with their creative vitality and thrilling invention.

Haydn, at the peak of his confidence, consolidated everything he had learned in his decades of isolation at the court of Prince Esterházy. By 1791, his fame had spread throughout Europe, and he made the transition to a freelance career upon the death of his patron. An invitation to produce a new set of symphonies for the lively London musical scene led to overwhelming triumph, and in 1794 and 1795, Haydn, by then in his early 60s, returned once more to the English capital to introduce a fresh batch of works. All told, he produced a dozen of these so-called “London” symphonies. Along with their artistic and critical success, these works proved to be popular and earned their composer a small fortune well beyond the yearly court salary to which he had been accustomed. The Symphony No. 100, which premiered on Haydn’s 62nd birthday, immediately made a mark as the most popular of the set and became one of the composer’s best-loved compositions. It also soon acquired its nickname (“Military”) in reference to the unusual character of its second movement.

CLAssiCAL seRies

Haydn’s final 12 symphonies continue to stun with their creative vitality and thrilling invention. Haydn, at the peak of his confidence, consolidated everything he had learned in his decades of isolation at the court of Prince esterházy.

What to listen for The Adagio introduction — a feature typical of these late symphonies — adapts aspects of French music and foreshadows the thematic shape of the Allegro, to which it is an overture. Haydn’s problematic student Beethoven would owe much to what he learned here about how to manipulate thematic ideas and develop new, unexpected lines of thought from the material. Certainly, the sophisticated London listeners who were the symphony’s first audience would have been attracted to these qualities.

The music is innovative in its driving, syncopated rhythms and imaginative orchestration. Rather unusually, flute and oboes join to state the opening theme, where strings would be the default choice. Haydn had at his disposal a virtuoso orchestra of some 60 players (considerably more than in the Esterházy court of old), and he clearly revels in the possibilities to maximize excitement. He makes a point to shape his symphonic logic with dramatic touches.

Notice the oddly prolonged silence at the start of the development, which suddenly shifts into a foreign key and obsesses over a simple rhythmic figure associated with the second theme.

Haydn’s Allegretto is full of surprises of its own. The music is recycled from a fairly tame romanza that was part of a set of hurdy-gurdy concertos written in the mid-1780s for the King of Naples. But Haydn adds an unexpected orchestral sonority. Several times the variations of the main tune burst forth into janissary music

associated with Turkish warfare. The din of cymbals, triangle and bass drum evoked cultural memories of the Austrian Empire’s battles with the Turks. (Beethoven famously uses this sonority in the finale of his Ninth Symphony when the tenor conjures the image of a “hero to the conquest.”) By this time, Britain had been drawn into the continental warfare being waged against the French Revolutionary government, which had recently executed its Austrian/Habsburg queen, Marie Antoinette. Haydn extends the militaristic musical metaphors — sometimes jubilant, sometimes ominous — by quoting a bugle call toward the end. More than a century later, Mahler would incorporate the same gesture into the beginning of his Fifth Symphony.

Haydn gives a fresh touch to the dance pattern of the Minuet with an elegantly extended upbeat motif and colorful orchestral effects, before launching a finale of unbridled invention. In fact, its main rondo-like tune became, like the “military music,” another source for the Symphony’s immense popularity, and even acquired a status akin to a folk song. Light and cheerful as this music sounds on the surface, Haydn endows it with a richly textured variety, from overlong pauses and a hilarious outburst from the timpani to a surprising intrusion of minor-key gravity and feints of contrapuntal strictness.

Haydn’s score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, triangle, cymbals, bass drum and strings.

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Using material from his 2005 opera Doctor Atomic, Adams composed Doctor Atomic Symphony in 2007 on a joint commission from the Saint Louis Symphony, Carnegie Hall and BBC Radio 3. He later revised and tightened the score, which is dedicated to David Robertson.

Far from being a mere pastiche of excerpts from Adams’s acclaimed opera, the Symphony develops ideas from Doctor Atomic according to a musical logic independent of the drama. At the same time, the harrowing character of the opera’s subject — the development of the first atomic bomb — resonates through the score.

JOhN ADAMs born on February 15, 1947, in Worcester, massachusetts; currently residing in berkeley, California Doctor Atomic Symphony The opera Doctor Atomic is an unflinching music drama that explores our capacity to harness creative genius for purposes of destruction, as epitomized by the first successful testing of the atomic bomb. John Adams characterizes the development of the bomb as “a dividing line in human history,” setting us apart from the rest of nature through our technologically acquired ability to destroy the planet. Using “found” texts — culled by director Peter Sellars and ranging from government meeting minutes to the metaphysical poetry of John Donne — the two-act opera focuses on the tense period culminating in the epochal Trinity test, which took place during the summer of 1945 in the New Mexico desert. Its pivotal character is the immensely cultivated physicist J. Robert Oppenheimer (1904-67), who supervised the Los Alamos project. Oppenheimer and his team figured out how to translate theoretical speculation into devastating, practical reality. Although rooted

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First performance: August 21, 2007, with Adams leading the bbC Symphony at the bbC Proms in London on August 21, 2007.

First Nashville symphony performance: These are the orchestra’s first performances. estimated length: 25 minutes Recommended listening: David Robertson conducts the Saint Louis Symphony, with whom he gave the North American premiere on February 7, 2008, in the work’s premiere recording, where it is paired with Adams’s Guide to Strange Places (Nonesuch).

in familiar history, the opera explores the mythic, universal implications of what happened during that fateful summer.

Adams is remarkable for the versatile success he has sustained on the opera stage and in the concert hall alike. Initially staged by San Francisco Opera in 2005, Doctor Atomic became his first work to appear on the stage of the Metropolitan Opera in 2008. Doctor Atomic Symphony offers a purely orchestral perspective but involves much more than a stitching together of self-contained extracts from the opera into a “suite.” During its initial performances, Adams came to realize that certain musical ideas in Doctor Atomic’s score seemed to be cut short and underdeveloped as the result of practical necessity — the pace of action onstage had to take priority over what was happening in the pit.

Doctor Atomic Symphony follows a different trajectory than the opera and is self-contained

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Certain instruments assume the roles of particular characters in Doctor Atomic.

A barking, gruffly insistent trombone, for example, impersonates General Groves. rather than dictated by dramatic concerns.

The Symphony unfolds in a single movement, subdivided into three sections. Its timeline is independent of that traced by the opera. As a precedent for the sustained, single-movement structure, Adams refers to Sibelius’s Symphony No. 7, a work he says has exerted “an immense effect on my compositional thinking.” Yet the harrowing nature of the subject matter that originally inspired this music resonates through the newer orchestral manifestation. If anything, it becomes even more concentrated.

What to listen for An apocalyptic jangle of ominous, shard-like harmonies (“The Laboratory”), drawn from the opera’s overture, conjures the alien environment of a nuclear landscape superimposed on the desert setting where the Trinity test is scheduled to take place. Coils of dissonance, underscored by timpani and eerie fanfares, seem to proclaim a secular Day of Judgment. This devastated landscape will be the result of the highly disciplined work in the laboratory on which Oppenheimer and his physicists have focused an almost religious devotion.

Immediately after this is the longest of the Symphony’s subsections (over half its length), titled “Panic.” This music comes from the opera’s second act, which is set during the night, just hours before the bomb is to be tested, as a powerful electrical storm is whipping across the desert. As the countdown approaches, General Leslie Groves, Trinity’s Army commander, refuses to brook further delay, while the dire consequences of a possible mishap trigger grim debate among the scientists. Adams’s frenzied rhythms and anxious pauses suggest varieties of nervousness.

Certain instruments assume the roles of particular characters in Doctor Atomic. A barking, gruffly insistent trombone, for example, impersonates General Groves. Music representing one of the opera’s female characters, Pasqualita (the Tewa Indian maid who works for the Oppenheimers), is also worked in. As the men worry over the outcome of the test, Pasqualita, in a split-scene, comforts the Oppenheimer children with a lullaby and is reminded of the corn dance ceremony of her fellow Tewa Indians, whose ancestral home is the same desert landscape.

Meanwhile, a trumpet conveys the voice of Oppenheimer himself in the Symphony’s final section (“Trinity”), which gravitates to a tragic, fateful D minor. This is the emotionally stirring music that has become the opera’s signature. The scene depicts the physicist, who is also a lover of poetry and the arts, in an agony of self-doubt during which he erupts into a soliloquy. The text comes from the Holy Sonnets of one of his beloved poets, John Donne. Biographically, this is the very sonnet that prompted Oppenheimer to name the test site “Trinity.” (“Batter my heart, three-person’d God,” runs the first line.) Two strains, in different tempos, alternate. The first is an obsessive, complex rhythmic network, frantically punctuated by the orchestra, while the second interposes a solemnly reflective, neoBaroque elegy to end the Symphony on a note of humanist melancholy.

The score calls for piccolo, 2 flutes, 3 oboes (3rd doubling English horn), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 4 trumpets (4th doubling piccolo trumpet), 3 trombones, tuba, timpani, percussion, harp, celesta and strings.

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CLAssiCAL seRies JOhANNes bRAhMs Born on May 7, 1833, in Hamburg, Germany; died on April 3, 1897, in vienna Concerto for Piano No. 1 in D minor, Op. 15 brahms struggled for several years with the first of his two piano concertos, completing the score in 1858 but continuing to make minor revisions. brahms reworks classical models in Concerto No. 1, while creating an epic score of symphonic ambitions that incorporates the intense emotional drama of romanticism.

First performance: January 22, 1859, was the first public performance, with Brahms as soloist and Joseph Joachim conducting.

First Nashville symphony performance: November 28 & 29, 1960, with music Director Willis Page and soloist Claudio Arrau. estimated length: 50 minutes Recommended listening: Krystian Zimerman as soloist with Simon rattle conducting the berlin Philharmonic (Deutsche Grammophon).

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Brahms famously waited until he was 43 to unveil his first symphony to the world. But he had harbored a symphonic ambition since he began to emerge at age 20, heralded by Robert Schumann.

Brahms channeled those ambitions into the massive, quasi-symphonic achievement that is his First Piano Concerto. Schumann was well aware of the young composer’s aspirations when he described Brahms’s piano sonatas as “veiled symphonies.” The First Piano Concerto itself evolved from a sonata planned for two pianos.

In the spring of 1854, Brahms traveled to Cologne to hear his first performance of Beethoven’s Ninth Symphony. This pivotal encounter would resound in his own First Symphony decades later, but also left more immediate traces on his sonata-in-progress, which was in the same key as the D minor Ninth.

Brahms appears to have considered orchestrating the sonata into a full-scale symphony but then sidestepped into a quasi-symphonic alternative.

By 1856, he began recalibrating his sketches in the form of a concerto for piano.

A repetitive cycle alternating between doubt and encouragement led to continual revisions, second guesses and obsession over the minutest detail of scoring. At last, in early 1859, Brahms was willing to introduce his First Piano Concerto to the public, but its premiere a few days later in Leipzig was a fiasco that scarred the composer and reinforced his sense of caution. It would take him more than two decades to write another concerto for piano. Brahms went on to take a stoic view of the negative reception — “It forces you to gather your thoughts and increases your courage” — and made some further revisions to the score.

Lurking in the background of this concerto, beyond the Beethoven factor, there is also a Schumann factor. Brahms had developed deep emotional bonds with both Robert and his pianist-composer wife Clara, who provided essential encouragement to the young composer.

Schumann had given Brahms’s career a famous boost in his 1853 article declaring that the 20-year-old had arrived already fully developed and was clearly “one of the elect.” But Brahms’s close connection to the couple reached a crisis point when Robert attempted suicide in 1854

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At last, in early 1859, brahms was willing to introduce his First Piano Concerto to the public, but its premiere a few days later in Leipzig was a fiasco that scarred the composer and reinforced his sense of caution. It would take him more than two decades to write another concerto for piano.

and was confined in an asylum, where he died two years later. The extraordinary turbulence of this period — including the conflicting feelings occasioned by Brahms’s emotional attachment to Clara — left an inexorable mark. This, along with the ambitious mandate Brahms had undertaken in composing the First Piano Concerto, contributes to the work’s sense of urgency.

What to listen for Each listener has a personal catalog of beautiful details or factors that invite particular admiration: the furious trills embedded in the first theme, transforming a decorative gesture into charged sparks of energy; the unexpectedly calm entrance of the soloist; the proliferation of thematic ideas that are organically connected and thus reinforce an underlying unity; or the horn solo that emerges so inevitably at the end of the exposition, among countless other touches.

The first movement encompasses both the titanic, elemental landscape of the orchestra’s opening theme and the reflective lyricism of the theme later introduced by the piano, which is then taken up by the ensemble. Somehow, Brahms holds these contradictory tendencies in a persuasive balance. The rapport between soloist and orchestra is conceived on a symphonic scale. Notice, for example, the massive sonority that the pianist must command at the moment of recapitulation.

The D major Adagio counterbalances the immense force preceding it with a meditative calm, in one of the most elevating slow movements in Brahms’s orchestral music. A series of exchanges between orchestra and soloist leads to a slow but exquisite cadenza for the latter where those all-important trills from the first movement reappear, now tamed and ecstatic.

Wonderful orchestration abounds here, from Brahms’s use of the woodwinds to the surprising appearance of the timpani in the Adagio’s final moments.

The finale has a brusque, even Baroque momentum all its own. Beethoven’s influence is heard again in the Sturm und Drang of the main theme, where we catch an echo of the finale from that composer’s Third Piano Concerto.

Toward the end comes a generous offering of two cadenzas through which Brahms steers the movement into D major and intensifies its fiery conclusion.

In addition to solo piano, the score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings.

— Thomas May is the Nashville Symphony’s program annotator. He writes extensively about music and theater.

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ABoUt thE soloist JONAThAN biss, piano Jonathan Biss made his New York Philharmonic debut in 2001, and since then he has appeared with the foremost orchestras of North America, Europe, Asia and Australia.

He appears at leading international music festivals and gives recitals in major music capitals worldwide. Biss performs a diverse repertoire ranging from Mozart and Beethoven, through the Romantics to Janácek and Schoenberg, as well as works by contemporary composers such as György Kurtág. Among the many conductors with whom he has worked are Daniel Barenboim, Sir Neville Marriner, Michael Tilson Thomas and Pinchas Zukerman.

Highlights of Biss’s 2011/12 season include a

two-week residency with the Saint Paul Chamber Orchestra and performances of Mozart’s Piano Concerto No. 20 with the Scottish Chamber Orchestra. Biss will also perform solo recitals at London’s Southbank Centre, and in Berlin under the auspices of the Berliner Philharmoniker. His U.S. recital engagements include appearances in New York City, Washington, D.C., Berkeley, Santa Barbara, Princeton, N.J., and Omaha.

Biss, who was born in 1980, represents the third generation in a family of professional musicians that includes his grandmother Raya Garbousova, one of the first well-known female cellists. He studied at Indiana University with Evelyne Brancart and at the Curtis Institute of Music in Philadelphia with Leon Fleisher. In 2010, Biss was appointed to the piano faculty of the Curtis Institute.

calliDnENGTS

A L L M U S I C ST U

IN GRADES 5-12!

ny Orchestra League is The Nashville Sympho al plications for the annu currently accepting ap nor ship Fund. Named in ho Thor Johnson scholar ny’s music director of the Nashville Sympho larship annually awards from 1967-75, this scho 12 Middle Tennessee approximately $7,500 to llence in music study. students pursuing exce e Thor

winners may use th Fifth through 11th-grade r: Johnson Scholarship fo • Music Lessons • Musical Instruments ucation • Continuing music ed

hnson s may use the Thor Jo er nn wi e rad -g th elf Tw ental college tuition.

Scholarship for supplem 32

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nts are encouraged Dedicated music stude an audition CD and a to apply by submitting n an instructor. Applicatio recommendation from area schools and can be materials are mailed to . phony.org/thorjohnson found at NashvilleSym de students must be Applications for 12th gra . received by February 10 r students must be Applications for all othe received by March 18. contact Sara Hanahan, For more information, nager, Development Events Ma phony.org ym at shanahan@nashvilles or 615.687.6541.

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The Pruett Financial Group of Northwestern Mutual Financial Network SPECIAL EVENT Tuesday, February 14, at 7 p.m.

VALENTINE’S WITH JOHNNY MATHIS Nashville Symphony Scott Lavender, conductor Johnny Mathis, vocals arr. SCOTTwith LAVENDER Valentine’s arr. SCOTT LAVENDER

Romance Fred and Ginger

LEONARD BERNSTEIN Overture to West Side Story adapted byFinancial Maurice Group Peress of Northwestern Mutual Financial Network The Pruett SPECIAL EVENT INTERMISSION Tuesday, February 14, at 7 p.m.

Johnny Mathis VALENTINE’S WITH JOHNNY MATHIS Selections to be announced from the stage Nashville Symphony Scott Lavender, conductor Johnny Mathis, vocals arr. SCOTT LAVENDER

Romance

arr. SCOTT LAVENDER

Fred and Ginger

LEONARD BERNSTEIN adapted by Maurice Peress

Overture to West Side Story

INTERMISSION

Johnny Mathis Selections to be announced from the stage Official Partners TM

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ABoUt thE ARtist JOhNNy MAThis John Royce Mathis was born in 1935 in Gilmer, Texas, to Clem and Mildred Mathis. He was 13 years old when Clem took him to see Connie Cox, a Bay Area voice teacher, who agreed to take on the youngster in exchange for his doing odd jobs around her house. He studied with Cox for six years, learning vocal scales and exercises, voice production, and classical and operatic skills. In 1955, Mathis landed a job singing weekends at Ann Dee’s 440 Club. George Avakian, then head of Jazz A&R at Columbia, came to the club, heard Mathis sing and sent the now famous telegram to his record company: “Have found phenomenal 19-year-old boy who could go all the way. Send blank contracts.” Mathis made his first appearance on The Ed Sullivan Show in 1957, launching his career as a recording star and national celebrity.

Mathis’s accomplishments are numerous and varied, and he has set many precedents in

the music industry. In 1958, Johnny’s Greatest Hits was released and began a “Greatest Hits” tradition copied by every record company since then. Johnny’s Greatest Hits became one of the most popular albums of all time, spending an unprecedented 490 continuous weeks (almost 10 years) on the Billboard Top Albums Chart. Mathis is one of only five recording artists to have Top 40 hits spanning each of the four decades since 1955.

In 1972, Mathis was awarded his own star on the Hollywood Walk of Fame, and he has participated in the Academy Awards presentation many times to sing songs nominated in the Best Song category. He has received two GRAMMY® nominations and has been inducted into the GRAMMY® Hall of Fame two times. He was given the Lifetime Achievement Award by the Academy of Recording Arts and Sciences in 2004. 2006 marked Johnny’s 50th anniversary as a recording artist.

thAnk YoU to oUR sponsoR The PRueTT FiNANCiAL GROuP The Pruett Financial Group carries on a 143year tradition of community service through its support of the Nashville Symphony, United Way and other vital Nashville institutions. The financial representatives and staff of The Pruett Financial Group understand the importance of active community involvement, and they provide volunteer leadership and financial support to countless nonprofit organizations. Spouses and children are involved through the group’s

award-winning “Building Community” Family Volunteer Program.

Northwestern Mutual also is committed to financial literacy education for children. Through its acclaimed personal finance site, themint.org, the Northwestern Mutual Foundation provides tools to help parents and educators teach children about sound money management.

To read more about The Pruett Financial Group, please visit PruettFinancialGroup.com.

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SPECIAL EVENT Wednesday, February 15, at 7 p.m.

BALLET FOLKLÓRICO DE ANTIOQUIA, COLOMBIA MAPALÉ Cumbia Choreography: Albeiro Roldán Penagos – Ballet Folclórico de Antioquia Composer: Wilson Choperena (La Pollera Colorá) – José Barros (Navidad Negra, El Pescador) San Agustín Choreography: Ballet Folclórico de Antioquia Composer: Cesar Brand – Oscar Botero – Tierradentro San Juanero Choreography: Del Folclor Colombiano Composer: Anselmo Durán Plazas

llet co a BF olk lóri

Joropo Choreography: Juan Camilo Maldonado Composer: Del Folclor llanero

f

Tambora lombia quia, co o i SPECIAL EVENT t n a de Choreography: Juan Camilo Maldonado Composer: Juan Pablo Acosta (La Hamaquita de Rayas) Wednesday, February 15, at 7 p.m.

Cumbia Gozadera BALLET FOLKLÓRICO DE ANTIOQUIA, COLOMBIA Composer: Juan Pablo Acosta

MAPALÉ Mapalé Choreography: Albeiro Roldán Penagos – Ballet Folclórico de Antioquia Cumbia Composer: Lucho Bermúdez (Prende la Vela) – Juan Pablo Acosta (Oricamba) Choreography: Albeiro Roldán Penagos – Ballet Folklórico de Antioquia Composer: Wilson Choperena (La Pollera Colorá) – José Barros (Navidad Negra, El Pescador) Intermission San Agustín Guaneña Choreography: Ballet Folklórico de Antioquia Choreography: Albeiro Roldán Penagos – Ballet Folclórico de Antioquia Composer: Cesar Brand – Oscar Botero – Tierradentro Composer: Neftalí Benavidez – Nicanor Díaz San Juanero Pasillo Voliao Choreography: Del Folclor Colombiano Choreography: Ballet Folclórico de Antioquia Composer: Anselmo Durán Plazas Composer: del folclor colombiano – Luis Miguel de Zulategui (Cachipay – El Cafetero) Joropo Choreography: Juan Camilo Maldonado Composer: Del Folclor llanero

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Tambora Choreography: Juan Camilo Maldonado Composer: Juan Pablo Acosta (La Hamaquita de Rayas) Cumbia Gozadera Composer: Juan Pablo Acosta Mapalé Choreography: Albeiro Roldán Penagos – Ballet Folklórico de Antioquia Composer: Lucho Bermúdez (Prende la Vela) – Juan Pablo Acosta (Oricamba) Intermission Guaneña Choreography: Albeiro Roldán Penagos – Ballet Folklórico de Antioquia Composer: Neftalí Benavidez – Nicanor Díaz Pasillo Voliao Choreography: Ballet Folklórico de Antioquia Composer: del folclor colombiano – Luis Miguel de Zulategui (Cachipay – El Cafetero) Macheteros Choreography: Mauricio Aristizábal, Hernán Darío Suaza Composer: Juan Pablo Acosta (Pilas con el Machete) – Liber Mateus (Pasillo Capilla) No me Presionen Composer: Juan Pablo Acosta Comparsa del Carnaval Choreography: Hernán Darío Suaza Composer: Mi Comparsa (Juan Pablo Acosta) – La Mujer Amarilla (Folclor Atlántico) Cuando Llegue la Noche Composer: Juan Pablo Acosta Baile del Porro Choreography: Edwin Valencia Composer: Lucho Bermúdez (Gaita de las Flores – Diana María) Descarga Choreography: Juan Camilo Maldonado Composer: Orquesta Típica 73 (Descarga 73) Salsa Choreography: Luis Eduardo Hernández “el Mulato Latino” Composer: Diego Galé (Hasta que se Rompa el Cuero) – Jairo Varela (Buenaventura y Caney) – Joe Arroyo (Rebelión) – Juan Pablo Acosta (Te Llama el Timbal)

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ABoUt thE pRoGRAm Colombia is a land of mountains, valleys and plains that are home to great biodiversity. It’s a land of wonderful places that have been transformed through their archaeological sites, populations and carnivals — sites of ancient indigenous traditions, populations that witnessed the Spanish conquest/colonization, and carnivals that highlight the joy of the Colombian people.

Colombia’s rhythms and traditional dances honor a multicultural heritage of indigenous, African and European origins. These come together into a fusion inspired by the customs of the places where these traditions were born. The weather and natural resources of these populations influence the way to dress, the food and the way of life. All these, in turn, have become the source of inspiration for this magical Colombia.

Mapalé was created from this uniquely Colombian culture. Along the Magdalena River, the fishermen in earlier times discovered a small fish which they called mapalé, whose movements gave rise to a frenetic dance characterized by the body movements of the fish when caught. Over time, this dance rhythm, which is characterized

by a strong African influence and executed with great speed, has been transformed. It has adopted a sensual nature showcasing great physical skills. Being a typical dance of the Colombian Caribbean coast, it’s indicative of festivities and carnivals there.

Mapalé is a show that will let you connect with the indigenous origins of Colombia. Mapalé tells the stories of the men and women who work the land, who celebrate slyly while showing a mastery of their instruments of tillage. It’s a story of a country that vibrates to the stomping of the Colombian cowboys in the plains. It’s an account of the singing evoked from the dancing traditions of the river folk. Moreover, it’s the story of the cumbia, which sounds like Colombia wherever it is heard and, as a result, inspires an irresistible urge to dance. Lastly, Mapalé is a tale of how the Carnival became heritage and salsa dancing became the dressing of our Latin flavor, with sensual and frenzied rhythms that make everyone want to move their shoulders without stopping, resulting in a performance full of diversity, precision and feeling.

ABoUt thE ARtists Ballet Folklórico de Antioquia, Colombia, is a cultural organization with a 20-year history of promoting appreciation for Colombia’s rich cultural heritage through music and dance. In our performances for both national and international audiences, we seek to strengthen Colombian cultural identity and to be outstanding cultural ambassadors for our country. Diversity, precision and emotion are the characteristics that shine through in each of the 60 choreographies that we present, all of which are compiled in the following shows.

The Ballet has been critically acclaimed for its professionalism and superb technical skill, as well as its artistry. It has received a multitude of awards and accolades, including the Cabe Citar Gold Medal at the Stylized Folk Olympics in Dijon, France, in 1998; the Ugo Re Capriata special recognition award at the International Folk Dance Festival in Agrigento, Italy, in 2003; special recognition for excellent participation at the International Festival of the Performing Arts in Tamaulipas, México, in 2005 and 2009; 38

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the special recognition Perfección as a special guest at the 25th Annual International Festival in Drummondville in Quebec, Canada, in 2006; recognition with excellence at the Folkmoot International Festival in North Carolina, in 2006; special recognition for the best Latin American company to participate at the cultural program of the Olympic Games in Beijing, China, in 2008; and recognition for its participation in the inaugural and closing events of the South American Games in Medellín in 2010.

Ballet Folklórico de Antioquia, Colombia, transmits its expressiveness, energy and love for dance from every stage they visit.

Twenty years have passed since the dream of one man, Albeiro Roldán Penagos, began to be realized in the city of Medellín. His vision of the future, combined with day-to-day work and commitment, have given shape to this artistic project that was born to be part of the world’s heritage.

We welcome you into our dream.

DANCeRs Erika Meneses Laura Cano Ana María Granados Marinella Buriticá Isabel Cristina Pérez Susana Osorio Cynthia Torres Natalia Pineda María Teresa Restrepo Isabel Perdomo Ramiro Velásquez Johan Exneyder Palacios Diego Londoño Edison Andrés Melchor Santiago Mesa Mauricio López Andrés Felipe Guerra Jhon Edison Arango Ismael Zamudio Luis Armando Viveros MusiCAL GROuP - TieRRADeNTRO Juan Pablo Acosta (Music Director, Guitar) Oscar Botero (Assistant Music Director, Bass) Diego Lopera (Piano) Cristina Escamilla (Main Vocalist) Joe Rodríguez (Percussion) David Moná (Battery, Percussion) Arbey Valencia (Clarinet, Sax, Gaita-Clarinet) Edwar Montoya (Bombardino-horn and trombone) **PROGRAM SUBJECT TO CHANGE** TOuR DiReCTiON COLUMBIA ARTISTS MANAGEMENT LLC Tim Fox/Alison Ahart Williams 1790 Broadway New York, NY 10019 www.cami.com

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cAst sTAFF General Manager Zuleima Asprilla Rojas General Artistic Director Juan Camilo Maldonado Vélez Artistic Co-Director Mauricio Aristizábal Ramírez Music Director Juan Pablo Acosta Marketing Director Lina Botero Villa Music and sound Assistant Oscar Botero sound engineer Víctor Herrera Lighting Juan David Guerrero Music Arrangements Juan Pablo Acosta / Diego Lopera / Tierradentro Rehearsal instructors Natividad Premier / Albeiro Quiroz Wardrobe Design Roberto Sampayo Gina Arango Jairo González Sandra Lora Claudia Andrea Ospina Carlos Arturo Reyes Faculty Natividad Premier Tania Gutiérrez Oscar Córdoba Norman Mejía Ramiro Velásquez Sebastián Avendaño Ismael Zamudio Mauricio Segura sports Medicine Emilio Cadavid / CEMDE / WAKEUP Nutritionist Olga Quiroz General Producer Corporación Ballet Folklórico de Antioquia

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PieD PiPeR seRies

The Ann & Monroe Carell Family Trust PIED PIPER SERIES Saturday, February 18, at 11 a.m.

MUSIC, NOISE & SILENCE Nashville Symphony Kelly Corcoran, conductor Magic Circle Mime Company FRANZ VON SUPPÉ

Overture to Poet and Peasant

FELIX MENDELSSOHN Dance of the Clowns The Ann & Monroe Carell Family Trust PIED PIPERSEBASTIAN SERIES JOHANN BACH Fugue in G minor, The Shorter arr. Leopold Stokowski Saturday, February 18, at 11 a.m.

JOHANN STRAUSS JR. & JOSEF STRAUSS MUSIC, NOISE & SILENCE

Pizzicato Polka

JOHANN STRAUSS JR. On the Beautiful Blue Danube, Waltzes, Op. 314 Nashville Symphony Kelly Corcoran, CHARLES IVES conductorCountry Band March Magic Circle Mime Company FELIX MENDELSSOHN FERDE GROFÉ

Wedding March from A Midsummer Night’s Dream, Op. 61 FRANZ VON SUPPÉ Overture to Poet and Peasant Cloudburst from Grand Canyon Suite FELIX MENDELSSOHN Dance of the Clowns

JOHANN SEBASTIAN BACH Media Partners arr. Leopold Stokowski NPT Nashville Parent Mix 92.1JOHANN STRAUSS JR. & JOSEF STRAUSS JOHANN STRAUSS JR. CHARLES IVES FELIX MENDELSSOHN

FERDE GROFÉ Media Partners

Media Partners NPT Nashville Parent Mix 92.1 40

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“Little” Fugue in G minor

Pizzicato Polka On the Beautiful Blue Danube, Waltzes, Op. 314 Country Band March Wedding March from A Midsummer Night’s Dream, Op. 61 Cloudburst from Grand Canyon Suite

Official Partners TM

MAGiC CiRCLe MiMe COMPANy Magic Circle Mime Company is regarded as one of today’s premier family attractions. Their highly acclaimed performances, which unite the concert orchestra with visual theater, are consistently praised for imaginative and innovative content. They appear with virtually every major orchestra in North America, and have performed on numerous occasions with the symphony orchestras of Atlanta, Detroit, Chicago, Montreal, Saint Louis, Seattle and Toronto, as well as The Cleveland Orchestra, Minnesota Orchestra and Philadelphia Orchestra. On more than half a dozen occasions, they have appeared at The Kennedy Center for the Performing Arts with the National Symphony Orchestra.

Magic Circle Mime Company also has a growing reputation outside North America.

In the Pacific Rim and Far East, they have performed at festivals and with major orchestras

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SPECIAL EVENT Saturday, February 18, at 8 p.m.

BRUCE HORNSBY Schermerhorn Symphony Center presents

Bruce Hornsby

SPECIAL EVENT

Selections to be announced from the stage

Saturday, February 18, at 8 p.m.

Schermerhorn Symphony Center presents

Bruce Hornsby

Selections to be announced from the stage

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bRuCe hORNsby Bruce Hornsby’s commercial stock first soared in 1987, when “The Way It Is” became the mostplayed song on American radio. Subsequent hits such as “Mandolin Rain” and “Every Little Kiss” established Hornsby as a popular act, while work with the likes of Don Henley and Huey Lewis made him an in-demand collaborator.

His longstanding touring band, the Noisemakers (an eclectic outfit that includes bassist J.V. Collier, guitarist Doug Derryberry, drummer Sonny Emory, reeds player Bobby Read and keyboardist John “J.T.” Thomas), has been together since 2002. “The players come from disparate backgrounds,” says Hornsby, “and all bring something different to the table, but we’re all on the same page in our pursuit of a joyful noise.”

Despite his early successes, Hornsby has

pursued an idiosyncratic musical path, focusing on projects that spark his creative interest and musical progress. That direction was manifested in his lengthy association with the Grateful Dead, with whom he’s performed more than 100 concerts as guest keyboardist. Hornsby has successfully ventured into jazz, classical, bluegrass and even electronica, with projects including a jazz trio album with Jack DeJohnette and Christian McBride, and a collaboration with bluegrass star Ricky Skaggs.

“I guess I’m a bit of a musical proselytizer,” says Hornsby. “I’m always hoping to turn the audience on to more adventurous music and music that’s below the mainstream radar. I know that may seem too pretentious to the rock and pop world. But for me it’s all just beautiful music.”

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SPECIAL EVENT Tuesday, February 21, at 7 p.m.

ORGAN RECITAL WITH JAMES O’DONNELL

FRANCIS POTT JOHANN SEBASTIAN BACH

CÉSAR FRANCK

SPECIAL EVENT

OLIVIER MESSIAEN

Tuesday, February 21, at 7 p.m.

JOHN IRELAND

Toccata (2000) Three Chorale Preludes from The Eighteen Allein Gott in der Höh sei Ehr, BWV 664 Nun komm, der Heiden Heiland, BWV 659 Komm, Heiliger Geist, BWV 651 Choral II in B minor Joie et clarté des corps glorieux Capriccio

LOUIS VIERNE Carillon de Westminster ORGAN RECITAL WITH JAMES O’DONNELL Media Partner WMOT

FRANCIS POTT JOHANN SEBASTIAN BACH

CÉSAR FRANCK OLIVIER MESSIAEN JOHN IRELAND LOUIS VIERNE

Toccata (2000) Three Chorale Preludes from The Eighteen Allein Gott in der Höh sei Ehr, BWV 664 Nun komm, der Heiden Heiland, BWV 659 Komm, Heiliger Geist, BWV 651 Choral II in B minor Joie et clarté des corps glorieux Capriccio Carillon de Westminster

Media Partner WMOT

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JAMes O’DONNeLL, organ James O’Donnell is Organist and Master of the Choristers of Westminster Abbey in London and has been President of the Royal College of Organists since January 2011. He has appeared in concert in the United States, Japan, Australia, New Zealand, Canada and throughout Europe, and he has participated in numerous international festivals.

O’Donnell spent five years as Assistant Master of Music at Westminster Cathedral before being appointed Master of Music at age 26.

His work with the Cathedral Choir was highly acclaimed, and under his direction the choir won accolades for its recordings, including the

Gramophone Record of the Year award in 1998.

The Cathedral Choir was also awarded a Royal Philharmonic Society Award, the first choir to be so honored.

In January 2000, O’Donnell took up his present appointment at Westminster Abbey, where he is responsible for the direction of the music at the daily choral services, as well as the many national occasions that take place there, including the wedding of HRH Prince William with Miss Catherine Middleton in April 2011. He also conducts The Choir of Westminster Abbey in its program of concerts, broadcasts, recordings and international tours.

O’Donnell is Artistic Director of St. James’s Baroque, and he was Professor of Organ at the Royal Academy of Music from 1997 until 2004.

In 1999, he received the papal honor of Knight Commander of the Order of St. Gregory, and he was awarded a Fellowship of the Royal College of Music in 2009.

preparing for the performance of life

Home of the Music Academy at

David Lipscomb Campus School dlcs.lipscomb.edu

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SunTrust CLASSICAL SERIES clAssicAl sERiEs Thursday, February 23, at 7 p.m.

SunTrust Friday & Saturday, February 24 & 25, at 8 p.m.

CLASSICAL SERIES MOZART & COPLAND Thursday, February 23, at 7 p.m.

Friday & Saturday, February 24 & 25, at 8 p.m.

Nashville Symphony Kelly Corcoran, conductor MOZART & COPLAND Angela Hewitt, piano Nashville Symphony DANIEL BERNARD ROUMAIN Kelly Corcoran, conductor Angela Hewitt, piano DANIEL BERNARD ROUMAIN

WOLFGANG AMADEUS MOZART

WOLFGANG AMADEUS MOZART

AARON COPLAND

Dancers, Dreamers and Presidents Dancers Dreamers Presidents Dancers, Dreamers Presidents Commissioned by theand Sphinx Commissioning Dancers Consortium, comprised of the Cincinnati, Detroit, Dreamers Nashville, New Jersey, New World, Richmond andPresidents Virginia Symphonies, Philadelphia Orchestra, Commissioned by the Sphinx Commissioning Rochester Philharmonic, and the Sphinx Consortium, comprised of the Cincinnati, Detroit, Organization.

Nashville, New Jersey, New World, Richmond and Virginia Symphonies, Concerto for Piano No. 20 Philadelphia in D minor, K.Orchestra, 466 Rochester Philharmonic, and the Sphinx Allegro Organization.

Romanza Rondo: Allegro assai Concerto for Piano Angela Hewitt, piano No. 20 in D minor, K. 466 Allegro Romanza INTERMISSION Rondo: Allegro assai Angela Hewitt, Symphony No. 3piano

Molto Moderato, with simple expression INTERMISSION Allegro molto Andantino quasi allegretto AARON COPLAND Symphony No. 3 - Allegro risoluto Molto deliberato Molto Moderato, with simple expression Allegro molto Angela Hewitt is represented exclusively by Opus 3 Artists.

Andantino quasi allegretto Molto deliberato - Allegro risoluto Concert Sponsor Vanderbilt University Medical Center Angela Hewitt is represented exclusively by Opus 3 Artists.

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February 2012

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DANieL beRNARD ROuMAiN (DbR) Born on December 11, 1971, in Margate, Florida; currently resides in New York City Dancers, Dreamers and Presidents Daniel Bernard Roumain (DBR) completed Dancers, Dreamers and Presidents in 2010 on a commission from the Sphinx Organization Consortium. A HaitianAmerican composer and performance artist, DBR combines classical training with contemporary cultural engagement.

This recent composition, which draws its inspiration from a symbolically charged moment of dance that was televised the year before President obama’s election, explores the notion of orchestral instruments “dancing with one another.”

First performance: September 25, 2010, in miami, with Alasdair Neale conducting the New World Symphony.

First Nashville symphony performance: These concerts mark the Nashville Symphony’s first performances of Dancers, Dreamers and Presidents. estimated length: 21 minutes

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Daniel Bernard Roumain’s work shows his ongoing commitment to the goal of revitalizing classical music within the contemporary cultural scene.

Known by his initials, DBR, he found his own way into classical music early on, taking up the violin at 5 and already composing by the age of 10. After studies at Vanderbilt University’s Blair School of Music — where DBR served as visiting professor in 2010/11 — he earned his doctorate in composition under William Bolcom and Michael Daugherty at the University of Michigan.

DBR has gone on to forge a multifaceted career as a performance artist and bandleader playing electric and acoustic violin, as a charismatic educator, and as a composer passionate about making innovative connections with other musical idioms and artistic disciplines.

Collaboration with the likes of Philip Glass, Bill T. Jones and Lady Gaga suggests the versatility of his musical scope. DBR has been commissioned by a wide range of ensembles, including the American Composers Orchestra, the Albany Symphony, the Boston Pops, the Stuttgart Chamber Orchestra and the Atlanta Ballet. His interests as a composer extend from chamber music and orchestral works to theater, ballet, film and such one-of-a-kind multimedia efforts as his recent full-length work Symphony for the Dance Floor (the third in a trilogy commissioned by the Brooklyn Academy of Music’s Next Wave Festival). DBR’s response to the catastrophic 2010 earthquake in Haiti, Symphony incorporates rap, film, songs and choreography.

The Nashville Symphony is one of nine American orchestras belonging to the Sphinx Commissioning Consortium, which seeks to promote the creation of new music by African-American and Latino composers. (The consortium awarded its inaugural commission to Roberto Sierra for his Sinfonía No. 4, which was premiered in 2009 by the Nashville Symphony and will be performed again by the orchestra this April.) Dancers, Dreamers and Presidents is the second work to be commissioned by the Sphinx Consortium. DBR took his inspiration for this three-movement orchestral piece from a moment meshing politics with popular culture: specifically, the moment when Ellen DeGeneres invited then-

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Senator Barack Obama, who was a guest on her television show on October 29, 2007, to dance with her. On his blog at dbrmusic.wordpress. com, DBR provides the following description of the work: “It was a moment full of obvious joy and humor, and the studio audience (and I imagine millions more around the world) enthusiastically cheered and shouted for them. I did, too. But months later, while the debates on race, religion, identity and sexual orientation raged on, I

thought back and realized just how special, and meaningful, their dance was.

“Here was a young, mixed-race, heterosexual man dancing with a young, white, lesbian woman, all on national television. Could this scene have happened in the 1960s, 1970s or even 1980s? It all made for great television, and even greater theater, but as a composer, I was inspired by the total relevance of it all, that our future president had found yet another way to communicate the sharp wit of his intellectual prowess: through the comfortable ease of his hips and body. Obama, to some, has always been good-looking, but now his dancing body carried political capital. He wasn’t just young; he was cool — and hot! And if he could dance with anyone, what else could he do? Isn’t dancing with someone just another way of talking with someone? Doesn’t a great dance partner make for a great conversationalist?

“Dancers, Dreamers and Presidents takes its title and inspiration from the 21-second dance shared by Obama and DeGeneres. Each word of the title represents a movement in the piece, and each movement revolves around the instruments of the orchestra combining, layering and ‘dancing’ with one another. Dancers begins with a loud, banging solo for timpani and drum kit, and the music of this movement is derived almost entirely 48

February 2012

from the rhythms of the drum kit’s low, pounding kick-drum. Dreamers begins with the ominous growls of the contrabass section, followed by the interlocking of small, constantly repeating musical vignettes assigned to each section of the orchestra. Presidents begins with the sound of the synthesizer and its repeated chordal patterns, but it quickly evolves into a hip-hop beat, clear melodic fragments and techno-inspired block chords.

“As a composer, it’s always been challenging for me to find inspiration in purely musical ideas. I’m much more comfortable creatively responding to the hotbed issues of our daily news, the struggles within our communities, and the heated debates that can happen in our homes.

The original plan of this piece was to have the musicians clap their hands, stomp their feet, sing, shout and preach (testify!) to the audience exactly what I was thinking. I even thought that Obama’s and DeGeneres’s words would make for a fascinating libretto that I could set for a chorus comprised of the members of the orchestra.

However, after months of careful consideration, I realized one of the most appealing aspects of instrumental music, devoid of text, was its ability to allow the audience member to assign his/her own ideas, words and meanings to the music.

The intrinsic and elusive nature of instrumental music allows us, both as listeners and as followers, the ability to hear the voice of the composer and complete those sentences of sound. In this way, listening to good music is like dancing with a great friend; it’s all about the partnership.

“Watching Obama and DeGeneres dance might not save or change our world, but it certainly says many things about where we were, who we are and how we will all get there as ‘One Nation Under God’ (or ‘One Nation Under a Groove,’ depending on who you are). Maybe the journey begins not by screaming at each other, but by dancing with one another. So tonight, like David Bowie: ‘Let’s Dance!’ ” The work is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussionists, piano or synthesizer and strings.

WOLFGANG AMADeus MOZART born on January 27, 1756, in Salzburg, Austria; died on December 5, 1791, in Vienna Concerto for Piano No. 20 in D minor, K. 466 mozart composed the Piano Concerto in D Minor in February 1785. Written as one of a series of works mozart used to make his name as a freelance artist in vienna — where he was an admired keyboard virtuoso — this is the first of just two piano concertos he set in a minor home key. Its blend of drama and pathos had particular resonance for the new romantic sensibility that would supersede the Classical style.

First performance: February 11, 1785, in vienna, with mozart as piano soloist.

First Nashville symphony performance: February 11 & 12, 1974, with Music Director Thor Johnson and soloist Lili Kraus. estimated length: 30 minutes Recommended listening: Polish pianist Piotr Anderszewski is both soloist and conductor in a splendid recent interpretation with the Scottish Chamber orchestra (emI).

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Mozart’s abrupt break in 1781 with the imprisoning security of his Salzburg employer opened the door to a bold new phase of his career.

Henceforward, he would try to make it as a freelance artist in Vienna. Those first few years in one of the epicenters of musical life in Europe were flush with a sense of hope and possibility for Mozart. He carved out a niche for himself within Vienna’s complex social and musical circles, combining private lessons with public concert appearances as a keyboard soloist. His virtuosity caught the attention of the fickle Viennese audience, but these concerts also served as vehicles to introduce his latest work as a composer.

Earlier, in Salzburg, Mozart had composed a handful of piano concertos. But his situation in Vienna during the early 1780s inspired him to create a perfect synthesis of elements in his concertos to showcase his identities as both composer and performer. For several highly productive years, he managed to intrigue and entertain audiences while simultaneously elevating the genre and establishing it as one of the finest exemplars of the classical style.

Mozart delighted in the innovations he knew would be appreciated by connoisseurs, but he was also proud of the commercial appeal of these works. In fact, according to biographer Robert Gutman, the piano concerto “became the symbol of his ascending popularity, the very core of his extraordinary success in Vienna.”

In the process, Mozart laid the groundwork for the piano concerto as a substantial musical statement in parallel to the symphony. This ideal would be passed on to the Romantics above all through the only two concertos he centered in a minor home key: the D minor Concerto, K.466, and the C minor Concerto, K. 491, from the following year. It’s hard to find a description of these two works which fails to mention the admiration they elicited from Beethoven. When he, like Mozart before him, began to make his way as a freelancer in Vienna, Beethoven provided his own cadenzas for the first and last movements of the D minor Concerto, thus adding to its legacy.

(Mozart’s score, hastily prepared just in time for the concert in which it was featured, does not include the cadenzas he would have improvised.)

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mozart was writing at a time when certain keys carried particularly strong emotional connotations. many listeners regard this Concerto as belonging to a series of significant works from mozart’s viennese period that are anchored in the key of D minor — a key that mozart seemed to associate with the demonic.

Mozart was writing at a time when certain keys carried particularly strong emotional connotations. Many listeners regard this Concerto as belonging to a series of significant works from Mozart’s Viennese period that are anchored in the key of D minor — a key that Mozart seemed to associate with the demonic, as in Don Giovanni, where it signals the hellish fate which awaits the libertine. In the unforgettable opening of the Requiem, the key heralds death itself. Certainly the operatic analogy is fitting, for Mozart’s peak period of concerto writing occurred right before the breakthrough of his greatest operatic masterpieces, and in some ways the concertos represent an instrumental substitute for opera.

Usually written for the Lenten season when the law forbade theaters to operate, the piano concertos, practically speaking, provided an outlet for the dramatic sensibility and gift for musical characterization that Mozart so keenly possessed.

What to listen for Dramatic sensibilities dominate in the broadly spacious first movement, set in motion by dark, shadowy, unstable syncopations in the strings.

The abundance of thematic ideas doesn’t detract from the movement’s tight construction and supreme use of tension. Notice, for example, how the soloist enters with a tune we have not yet heard, which then segues to a dialogue of symphonic richness between soloist and orchestra when the opening material is reconsidered.

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Mozart allows a respite from the first movement’s tragic, churning pathos in the slow movement (unusually titled “Romanze”). Yet even the serene B-flat of this eye-of-the-storm movement is not all safe harbor, as the stormy agitations of the opening intrude in a tripletriddled G minor middle section. Even if their manifestation is less volatile here, the contrast with the deceptively simple symmetries of the Romanze’s main melody adds depth.

The soloist sets the finale in motion with a thrilling gesture that Beethoven (in his Third Concerto) and Brahms (in his First Concerto) would later remember. The kinetic, upwardthrusting main theme pauses on its upper note — an uneasy perch — before the momentum continues hurtling forward. The finale’s rhythmic variety includes unexpected pauses, nervous punctuations and imitative gestures, and brings back the atmosphere of edgy pathos from the first movement. But at the end of the piano’s cadenza, woodwinds sweep the shadows away. What had seemed a subsidiary theme now takes center stage to end the Concerto in a newly confident mood proclaimed by the turn to D major, unequivocally underlined by the trumpet’s bright sound.

In addition to solo piano, the Piano Concerto is scored for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

AARON COPLAND born on November 14, 1900, in brooklyn, New York; died on December 2, 1990, in North Tarrytown, New York Symphony No. 3 Copland began writing the Symphony No. 3 in 1944 and completed it in 1946.

The longest of his orchestral works, the Third was inspired in part by the struggle of World War II and synthesizes Copland’s populist and more experimental styles into a unique American sound.

First performance: october 18, 1946, with Serge Koussevitsky leading the boston Symphony.

First Nashville symphony performance: April 26 & 27, 2002, with guest conductor David Lockington. estimated length: 40 minutes Recommended listening: Despite a controversial cut in the final measures which Leonard bernstein persuaded Copland to make, the conductor’s understanding of his lifelong friend’s music is apparent in the powerful first recording he made with the New York Philharmonic (Sony).

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Despite his assuredly iconic stature, Aaron Copland sometimes conjures the image of a divided personality, split between an “accessible” composer and a “serious” one. In his authoritative biography, Howard Pollack recounts an anecdote the composer enjoyed retelling from the years just after he’d begun composing Hollywood film scores in the early 1940s. Groucho Marx had shown up to listen to a program that included one of his more challenging modernist works. When the comedian mentioned he wasn’t familiar with this side of his music, Copland explained, “Well, I have a split personality.” Groucho in turn quipped, “It’s OK, as long as you split it with Sam Goldwyn.”

The Third Symphony, which Copland wrote at the apex of his “populist” style, represents his attempt to synthesize these divergent aspects of his art. By its nature, the symphonic genre tends toward the rhetoric of large public statements.

Although the first two works he labeled symphonies were remarkably unconventional in their approach, this rhetorical mode is what Copland set out to emulate when he undertook his Third Symphony in the summer of 1944, on a commission from the foundation set up by his staunch champion Serge Koussevitsky. “I knew exactly the kind of music [Koussevitzsky] enjoyed conducting,” Copland later recalled, “and the sentiments he brought to it, and I knew the sound of his orchestra [the Boston Symphony], so I had every reason to do my darnedest to write a symphony in the grand manner.”

But the larger historical context in which Copland conceived this “grand manner” also played a significant role in how he designed the work. He had initially developed what we now think of as his quintessential American sound because of an urgent need to communicate with a broader audience — a need that became all the more intense on account of the Great Depression. Copland first cultivated this populist style in connection with particular dramatic scenarios that were connected to ballet, theater and film: Rodeo, Billy the Kid, Appalachian Spring, The City, Of Mice and Men, and so on. The prospect of writing a large-scale

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work of abstract music that could speak with immediacy presented a different challenge. Writing a symphony in the New Deal era had become akin to writing the Great American Novel. An earlier project helped to provide the needed sense of drama. By embedding the music from his Fanfare for the Common Man into the finale, Copland found a rousing solution.

What to listen for Each of the four movements reflects an arch-like structure overall (ABA). Biographer Pollack also points out that even the local level of thematic ideas mirrors this pattern, with a contrasting middle section linking similar motifs. The wide, open intervals that are a thumbprint of Copland’s populist style are heard at the opening, while the lengthy first theme conveys a hymnic sense of assurance. A second theme expands the epic breadth of Copland’s orchestral canvas before the trombones introduce a new theme in the contrasting middle section, which arrives with heightened urgency and an acceleration of tempo. The movement concludes with a restatement of the opening section, but now magnificently reimagined and informed by what occurred in the contrasting section and then gradually diminishing to the calm poise of the beginning.

Next comes a vigorous movement launched with a scale-based fanfare theme, taken from one of Copland’s original sketches for the fanfare project. Where many Old World composers revert to “folk-like” music for the contrasting middle trio section of a Scherzo, Copland supplies a counterpart of Americana in the vein of Rodeo. The slow movement, like the first, eventually accelerates to a faster-paced central passage and then recedes again back to its opening material. Its haunting main section gives a moving instance of Copland’s unique sense of spare yet lyrical open spaces, while touches of the jauntier moments from Appalachian Spring animate the middle section.

The finale, the longest movement, follows without a pause.

It opens with a surprisingly gentle scoring of the famous fanfare, spotlighting the flutes before the brass blaze forth in full glory. This curious mixture of the tender and the muscular is a characteristic of the Symphony as a whole. A lively counter-theme is spun, while another theme reminds us of the composer’s Latin-influenced music.

The tremendous sense of excitement Copland establishes comes to a sudden halt with a shocking chord, but courage is regained as he gathers the previously heard material in preparation for a powerhouse coda. This conclusion, completing the large-scale arch with a restatement of the theme that began the work, seals the Third as Copland’s heroic symphony.

Copland’s Third and World War ii In 1942 Copland wrote a brief piece that would later become his most famous: Fanfare for the Common Man. This was one of a total of 18 fanfares eugene Goossens commissioned for the Cincinnati Symphony to encourage morale for the Allied war effort. (The London-born Goossens had similarly commissioned a series of fanfares from british composers during the World War I.) Copland decided to use his fanfare as the core of the finale for his new Symphony. The final period of World War II is thus also deeply embedded in his conception of the Third. Copland later said that he “intended to reflect the euphoric spirit of the country at that time.” biographer Howard Pollock points out that the fanfare at the time not yet achieved its popularity but was “an obscure commission that he expected would soon be forgotten.”

The Symphony No. 3 is scored for piccolo, 3 flutes, 3 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, — Thomas May is the Nashville Symphony’s program annotator. celesta, piano and strings.

He writes extensively about music and theater.

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ANGeLA heWiTT, piano Born into a musical family, Angela Hewitt began her piano studies at age 3, performing in public at 4 and a year later winning her first scholarship.

She went on to study with French pianist JeanPaul Sévilla and won the Toronto International Bach Piano Competition in 1985. Today, she appears regularly as a soloist with major orchestras, and her recent engagements include The Cleveland Orchestra, Toronto Symphony, Orpheus Chamber Orchestra at Carnegie Hall and a debut with the Verbier Festival Chamber Orchestra. Forthcoming orchestral engagements will include the London Philharmonic, Brussels Philharmonic, Sydney Symphony and BBC Scottish Symphony Orchestra at the BBC Proms.

As a recitalist, Hewitt’s engagements have

included the Berlin Philharmonie, Munich Herkulessaal and Tokyo Opera City. Her recitals in 2011/12 will feature a French series at Wigmore Hall and engagements at Schubertiade Schwarzenberg, Teatro della Pergola (Florence) and Gstaad Festival. In 2012/13, Hewitt launches a major project to perform Bach’s The Art of Fugue in two programs in major halls worldwide, based around concerts at London’s Royal Festival Hall.

Hewitt has established herself as one of the world’s most respected pianists through her award-winning recordings for Hyperion. Her 10-year project to record all the major keyboard works of Bach has been described as “one of the record glories of our age,” and she was named Artist of the Year in the 2006 Gramophone Awards. She has homes in London, Canada and Umbria, Italy, where she invites international musicians each summer to take part in her own Trasimeno Music Festival.

thAnk YoU to oUR sponsoR vANeRbiLT uNiveRsiTy MeDiCAL CeNTeR Vanderbilt University Medical Center is home to Vanderbilt University Hospital, the Monroe Carell Jr. Children’s Hospital at Vanderbilt, the Vanderbilt Psychiatric Hospital and the Vanderbilt Stallworth Rehabilitation Hospital. These hospitals see more than 54,000 inpatient admissions a year, and Vanderbilt’s adult and pediatric outpatient clinics treat more than 1.6 million patients a year.

Patients at Vanderbilt can also sign up for “My Health at Vanderbilt,” a way to use the Internet to securely send and receive messages from their doctor, request and check appointments, view test results and more.

Vanderbilt is also committed to making its world-class care more accessible, with clinics in Green Hills, Williamson County and other locations, as well as through recent affiliations with Maury Regional, NorthCrest Medical Center and Williamson Medical Center.

VUMC provides a number of clinical services unique to our region, including a Level 1 Trauma Center, a Regional Burn Center, a Level 4 Neonatal Intensive Care Unit, the Vanderbilt-Eskind Diabetes Center and the Vanderbilt-Ingram Cancer Center. VUMC is also a world leader in the emerging field of personalized medicine — health care tailored to an individual’s genetic makeup.

Vanderbilt University School of Medicine’s biomedical research program has earned its place among the nation’s top 10 academic medical centers in research funding, receiving approximately $450 million a year. In 2011, Vanderbilt University School of Nursing welcomed its largest incoming class ever, with 486 students pursuing Master’s, Doctor of Nursing Practice or Ph.D. degrees.

Vanderbilt University Hospital was recently named by U.S. News & World Report to the publication’s Best Hospitals “Honor Roll,” recognition of VUMC’s quality and status among the nation’s elite medical centers.

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CoNduCtiNg BuSiNeSS Never SouNded So good

let uS orCheStrate your Next BuSiNeSS eveNt!

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BruCe PittmaN SaleS maNager Events/Catering/Ticketing 615.687.6613 bpittman@nashvillesymphony.org One Symphony Place Nashville, Tennessee

Building a Foundation for the Arts

*United Way of Metropolitan Nashville at Work Here.

A Leader Among Leaders The Alexis de Tocqueville Society was founded in Nashville in 1981 by Dr. Thomas F. Frist, Jr. The Society now circles the globe with 26,000 members contributing $500 million annually to United Way’s most critical work. Following are the members of Nashville’s 2010 Alexis de Tocqueville Society, Alpha Chapter with years of membership denoted.

2010 Alexis Tocqueville Society, Alpha Chapter Members Mr. and Mrs. Kent Adams, 6 Mr. and Mrs. David G. Anderson, 12 Mr. and Mrs. W. Michael Arthur, 5 Jim and Janet Ayers, 16 Dr. Jeffrey R. Balser, 3 Mr. and Mrs. H. Lee Barfield II, 17 Carol and Barney Barnett, 8 Mr. Russell W. Bates, 8 Mr. and Mrs. James S. Beard, 15 Dr. and Mrs. Robert Daniel Beauchamp, 5 Mr. and Mrs. Francis J. Bedard, 8 Mr. and Mrs. Jeffrey Belser, 8 Mr. and Mrs. Phil and Amberly Billington, 6 Mr. and Mrs. W. Perry Blandford, 4 Mr. and Mrs. Frederick L. Blank, 6 Mr. and Mrs. Brad Blevins, 9 Mr. and Mrs. J. William Blevins, 16 Michael and Resha Blivens, 1 Linda and David Bohan, 4 Mr. and Mrs. Jack O. Bovender, Jr., 21 Mr. and Mrs. Richard M. Bracken, 14 Mrs. James C. Bradford, Jr., 23 Mr. and Mrs. Edward H. Braman, 3 Mr. and Mrs. Michael T. Bray, 6 Mr. and Mrs. Laurance H. Brewster, 3 David and Jenny Briggs, 3 Mr. and Mrs. Henry Clay Bright III, 3 Mr. and Mrs. Martin S. Brown, 24 Mr. and Mrs. Frank M. Bumstead, 10 Mr. and Mrs. John R. Burch, 24 Julie and Matt Burnstein, 5 Diane and Kyle Callahan, 10 Mr. and Mrs. John P. Campbell III, 10 Mr. and Mrs. Victor Campbell, 19 David and Elizabeth Cannady, 4 Mrs. Monroe J. Carell, Jr., 14 Bill and Trudy Carpenter, 10 Mr. and Mrs. Michael Carter, 5 Mr. and Mrs. William J. Carver, Jr., 6 Mr. Fred J. Cassetty, 7 Yonnie and Curt Chesley, 5 Mr. and Mrs. Thomas G. Cigarran, 11 Mr. and Mrs. John W. Clay, Jr., 16 Mr. and Mrs. William S. Cochran, 25 Mr. J. Chase Cole, 10 Mr. and Mrs. Wiley B. Coley III, 5 Mr. and Mrs. Charles W. Cook, Jr., 17 Mr. and Mrs. John H. Crosslin, 5 Kevin and Katie Crumbo, 5 Harvey and Helen Cummings, 19 Mr. and Mrs. Brownlee O. Currey, Jr., 30 Professor Richard Daft and Dorothy Marcic, 3 Mr. and Mrs. Frank Daniels III, 4 Mr. and Mrs. Ralph Davis, 5 Mr. and Mrs. Hilton Dean, 12 Mayor Karl F. Dean and Ms. Anne Davis, 4 Mr. and Mrs. Dennis T. Delaney, 11 Elizabeth and Robert Dennis, 6 Mr. and Mrs. Sam B. DeVane, 4 Mr. and Mrs. Eric Dewey, 3 Mr. and Mrs. Jeffrey T. Dobyns, 3 Margaret and Steve Dolan, 10 Mr. and Mrs. Cullen E. Douglass, 6 Mr. and Mrs. Emanuel Eads, 3 Mr. and Mrs. Mark J. Eddy, 12 Cassie and Tom Edenton, 12

Mr. and Mrs. Charles A. Elcan, 16 Mr. and Mrs. Jason Epstein, 4 Mrs. Irwin B. Eskind, 27 Dr. and Mrs. Jeffrey B. Eskind, 16 Mr. and Mrs. DeWitt Ezell, Jr., 18 Mr. and Mrs. Mark V. Ezell, 4 Bob and Amanda Farnsworth, 9 Mr. and Mrs. Ernest T. Felts, Jr., 3 Mr. and Mrs. John D. Ferguson, 8 Mr. and Mrs. Edmund B. Fitzgerald, 21 Mr. and Mrs. Gene Fleming, 17 Tom and Judy Foster, 6 Mr. Sam O. Franklin III, 16 Mr. and Mrs. David Freeman, 4 Dr. and Mrs. Robert A. Frist, 19 Dr. and Mrs. Thomas F. Frist, Jr., 30 The Honorable and Mrs. William H. Frist, 19 Mr. and Mrs. William R. Frist, 10 Mr. and Mrs. Herbert A. Fritch, 6 Mr. Mario J. Gabelli, 8 Mr. and Mrs. John Gawaluck, 11 Mr. and Mrs. Gerard V. Geraghty, 7 Mr. and Mrs. Kenneth W. Gerdesmeier, 6 Mr. and Mrs. Frank Gordon, 4 Mr. and Mrs. Joel C. Gordon, 30 Robert and Julie Gordon, 4 Mr. and Mrs. Dennis Green, 4 Kristen and Chad Greer, 6 Steve Groom, 2 Landis B. Gullett Lead Annuity Trust, 16 Mr. and Mrs. James S. Gulmi, 10 Scott and Kathy Hadfield, 3 JB and Shawn Haile, 1 Mr. and Mrs. James C. Hailey, 17 Mr. Charles J. Hall, 4 Russ and Elvia Harms, 8 Robert L. and Caitlin S. Harris, 4 Mr. and Mrs. Spencer Hays, 19 Mr. and Mrs. Samuel N. Hazen, 11 Mrs. Phyllis G. Heard, 2 Mr. and Mrs. E. Anthony Heard III, 9 Drs. Robert and Alexandra Hendricks, 2 Ms. Sherri M. Henry, 6 Mr. J. Reginald Hill, 10 Damon and Carrie Hininger, 6 Mr. and Mrs. James D. Hinton, 12 Mr. and Mrs. Dan W. Hogan, 6 Ms. Angela Rene Hoke, 1 Mr. and Mrs. William Holleman, 3 Mr. and Mrs. C. O. Holliday, Jr., 1 Mr. and Mrs. Henry W. Hooker, 30 The Houghland Foundation, 29 Carol and Ad Hudler, 1 Ms. Angela H. Humphreys, 4 Mr. Franklin Y. Hundley, Jr., 3 Mr. and Mrs. James V. Hunt, Sr., 9 Mr. and Mrs. David B. Ingram, 14 Martha R. Ingram, 30 Mr. and Mrs. John R. Ingram, 15 Mr. and Mrs. Orrin H. Ingram, 16 Mr. and Mrs. Gordon E. Inman, 5 Mr. and Mrs. Donald J. Israel, 19 Mr. and Mrs. Clay T. Jackson, 14 Mr. and Mrs. Granbery Jackson III, 11 Mr. and Mrs. Clint Jennings, 2 Mr. and Mrs. James L. Johnson, 17 Mr. and Mrs. R. Milton Johnson, 12 Roy and Marty Jordan, 7 Mr. and Mrs. Leonard L. Kindig, 3

Robin and Bill King, 24 Mr. and Mrs. Larry Kloess, 8 Mr. and Mrs. Ronald F. Knox, Jr., 14 Mr. Kumar Kolin, 1 Mr. Kevin P. Lavender, 1 Mr. and Mrs. Fred W. Lazenby, 23 Irving E. Lingo, Jr. and Karin Demler, 3 Mr. Robert S. Lipman, 14 Sam and Mary Ann Lipshie, 3 Estate of Clare H. Loventhal, 10 Mr. and Mrs. C. Stephen Lynn, 16 Barbara and Kenny Lyons, 8 Mr. and Mrs. Myles A. MacDonald, 5 Mr. and Mrs. David J. Malone, Jr., 19 Mr. and Mrs. Chip Manning, 3 Mr. and Mrs. Stephen P. Masie, 3 Ms. Cheryl White Mason, 5 Mrs. Jack C. Massey, 30 Ms. Margaret C. Mazzone, 3 Ms. Maeve E. McConville, 5 Mr. and Mrs. Frank W. McGregor, 3 Betsy Vinson McInnes, 12 Mr. and Mrs. Robert McNeilly, Jr., 9 Mr. and Mrs. R. Clayton McWhorter, 24 Mr. and Mrs. Scott McWilliams, 8 Mr. and Mrs. James R. Meadows, Jr., 11 Lynn and Ken Melkus, 17 Mr. and Mrs. Kevin S. Millen, 2 Andrew Woodfin Miller Foundation, 20 Mr. and Mrs. Richard L. Miller, 1 Mr. and Mrs. Robert Miller, 3 Ms. Mary Mirabelli and Mr. Steven Cristanus, 6 Mr. Kevin N. Monroe, 2 Mr. Donald R. Moody, 5 Mr. and Mrs. A. Bruce Moore, Jr., 14 Mr. and Mrs. Joseph D. Moore, 19 Mr. and Mrs. William P. Morelli, 10 Gregg F. and Cathy T. Morton, 4 Mr. and Mrs. Charles E. Nash, 8 Troy and Kimberly Nunn, 4 Philip and Carolyn Orr, 4 Mr. and Mrs. Eric Paisley, 6 Mr. and Mrs. James N. Parrott, 6 Ms. Mary Parsons, 6 Mr. and Mrs. William V. Parsons, Jr., 9 Mr. and Mrs. Paul Martin Paslick, 5 Mr. Steven A. Pate, 5 Mr. and Mrs. Hal N. Pennington, 10 Mr. and Mrs. James W. Perkins, Jr., 29 Mr. and Mrs. Clay Petrey, 3 Craig E. Philip and Marian T. Ott, 11 Leigh and David Pickett, 1 Mr. and Mrs. Sid Pilson, 13 Mr. and Mrs. Marshall T. Polk III, 9 Mr. and Mrs. Charles R. Pruett, 10 Mr. and Mrs. Mel Purcell, 4 Mr. Larry Quinlan, 6 Mr. and Mrs. Art Rebrovick, 13 Mr. and Mrs. Ben L. Rechter, 7 Mr. and Mrs. Ben R. Rechter, 29 Mr. and Mrs. Mark R. Rechter, 7 Mr. and Mrs. Colin Reed, 5 Bonnie and Gary Reid, 2 Mr. and Mrs. Paul A. Rein, 4 Ken and Michelle Rideout, 3 Dr. and Mrs. Wayne J. Riley, 4 Mr. and Mrs. Stephen S. Riven, 20 Mr. and Mrs. Kenneth L. Roberts, 27 Mr. and Mrs. Bailey P. Robinson III, 16

If you would like to inquire about membership in this elite group of leaders, you may do so by contacting Celeste Wilson at: celeste.wilson@unitedwaynashville.org or 615.780.2403 615.780.2403 | www.unitedwaynashville.org 250 Venture Circle, Nashville, TN 37228

Mr. and Mrs. John T. Rochford III, 16 Mr. and Mrs. Douglas J. Rohleder, 6 Mr. Anthony A. Rose, 22 W. Andrew and Sabrina Ruderer, 2 Anne and Joe Russell, 22 Mr. and Mrs. Floyd Rutan, 5 Mr. and Mrs. Bill B. Rutherford, 9 Mr. and Mrs. William Paul Rutledge, 10 The Scarlett Family Foundation, 4 Mr. and Mrs. Joe Scarlett, 11 Tim and Beth Scarvey, 6 Mr. and Mrs. James Schmitz, 4 Mr. and Mrs. David G. Sehrt, 4 Mr. and Mrs. Richard Shallcross, 10 Michael and Lisa Shmerling, 13 Mr. and Mrs. W. Lucas Simons, 23 R. Timothy Sinks, 3 Mr. and Mrs. Barry R. Smith, 3 Mr. and Mrs. Jeffrey Smith, 3 Mr. and Mrs. Wayne T. Smith, 10 Grant and Suzanne Smothers, 1 Joe and Joanne Sowell, 2 Mr. and Mrs. Robert E. Spieth, 6 Mr. and Mrs. Charles Sprintz, 10 Mr. and Mrs. Joe N. Steakley, 14 Mr. John M. Steele, 12 John and Beth Stein, 4 Mr. and Mrs. Donald W. Stinnett, 5 Mr. and Mrs. Don Street, Jr., 12 Mr. and Mrs. J. Michael Sullivan, 9 David and Mona Tehle, 1 Mr. and Mrs. Steve Thomas, 6 Mrs. Kim Bradley Thomason, 3 Robin and Overton Thompson, 1 Mr. and Mrs. John C. Tishler, 3 Ms. Claire Whitfield Tucker, 12 Mr. and Mrs. Cal Turner, 24 James Stephen Turner Family Foundation, 3 Juan and Elizabeth Vallarino, 2 Mr. and Mrs. Lee F. Van Dyke, 3 Mr. and Mrs. David T. Vandewater, 16 Mr. and Mrs. Fred Viehmann, 18 Mr. and Mrs. Jay Wallace, 12 Mr. and Mrs. Johnson B. Wallace, Jr., 12 Brian and Christy Waller, 6 Ms. Leigh Walton, 1 Mr. Brian Ampferer Ward, 9 Mr. and Mrs. Robert Waterman, 14 Mr. and Mrs. Jonathan Weaver, 9 Marti and Brian Webster, 1 Colleen and Ted Welch, 18 Betty and Bernard Werthan Foundation, 30 Mrs. John Warner White, 24 Mr. and Mrs. David Williams II, 4 Ms. Noel B. Williams, 13 Mr. and Mrs. Ridley Wills II, 30 Dan Wilson and Linda Dickert Wilson, 3 Mr. and Mrs. Brad Withrow, 3 Mr. and Mrs. Kevin Witt, 4 Mr. and Mrs. Alan R. Yuspeh, 11 Mrs. Robert K. Zelle, 28 Chancellor Nicholas S. Zeppos, 3 Raymond and Etta Zimmerman, 30 Dana A. Zukierski, 1

Eight members prefer to remain anonymous.

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D u k E E l l i N g T O N gEORgE gERSHwiN V lA D i M i R H O ROw i T z JOE AuguSTiNE • SERgEi RAcHMANiNOff • iRViNg BERliN • fR A N z liSzT Billy JOEl • lANg lANg VlADiMiR ASHkENAzy ANTONiO POMPA-BAlDi AlViN cHOw • gERARDO T E i S S O N N i E R E • AHMAD J A M A l • HARRy cONNick, JR. JERRy wONg • HAliDA DiNOVA cAROliNE OlTMANNS • i g N A c E PADEREwSki • DiANA kRAll • SERgEi B A BAyA N • Mi c H El l EgRAND ARTHuR RuBiNSTEiN • PETER NERO RO gER williAMS • PAul ScHENly gEORgE wiNSTON • EM ANuE l Ax S A N D R A S H A P i R O • D O N N A lEE VAN cliBuRN • A N g E l A c H E N g M O R E T H A N 1, 5 0 0 O T H E R S …

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condUctoRs

MUsIC dIReCtOR

GIANCARLO GUeRReRO

Now entering his third season as its Music Director, Giancarlo Guerrero continues to flourish with the Nashville Symphony Orchestra (NSO). In autumn 2011, Guerrero also begins his new appointment as Principal Guest Conductor of The Cleveland Orchestra Miami Residency.

A fervent advocate of new music and contemporary composers, Guerrero has collaborated with and championed the works of several of America’s most respected composers, including John Adams, John Corigliano, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, Michael Daugherty and Roberto Sierra. His first recording with the Nashville Symphony, on Naxos, of Michael Daugherty’s Metropolis Symphony and Deux Ex Machina, won three 2011 GRAMMY® Awards, including the category of Best Orchestral Performance. In 2010/11, Guerrero and the NSO released two more recordings on Naxos — one featuring the music of Argentine legend Astor Piazzolla and another featuring the music of American composer Joseph Schwantner.

In 2011/12, Guerrero will debut several world premieres with the Nashville Symphony, including a new work by Richard Danielpour, a banjo concerto by Béla Fleck and a concerto for electric violin by Terry Riley, which the NSO will bring to Carnegie Hall as part of the Spring for Music festival. With The Cleveland Orchestra, where Guerrero first appeared in May 2006, he will conduct subscription concerts in both Severance Hall and for Miami Residency performances

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February 2012

at the Arsht Center, as well as plan and engage in education and community programs in the Miami-Dade area. Also this season, he returns to the Cincinnati Symphony Orchestra and makes his debut with the Pacific Symphony.

Internationally, highlights of this season include his first European tour with the Monte Carlo Philharmonic and Jean-Yves Thibaudet, concerts with the Slovenian and Strasbourg Philharmonics, the BBC Scottish and BBC Welsh Symphony Orchestras, and a return to the São Paulo State Symphony Orchestra.

In summer 2011, Guerrero again led the Philadelphia Orchestra in concert at Mann Center, and in addition conducted the orchestra in their summer residencies at Vail and Saratoga.

This followed a busy 2010/11 season that included guest-conducting engagements in five continents: Europe, Asia, Australia, North America and South America. He now returns annually to Caracas, Venezuela, to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s much-lauded El Sistema music education program.

In recent seasons he has appeared with many of the major North American orchestras, including the symphony orchestras of Baltimore, Boston, Cincinnati, Dallas, Detroit, Seattle, Toronto, Vancouver and the National Symphony in Washington, D.C. He has also appeared at several major summer festivals, including the Los Angeles Philharmonic at the Hollywood Bowl, The Cleveland Orchestra at Blossom Music Festival, and Indiana University’s summer orchestra festival.

In June 2004, Guerrero was awarded the Helen M. Thompson Award by the American Symphony Orchestra League, which recognizes outstanding achievement among young conductors nationwide.

He holds degrees from Baylor and Northwestern universities. Guerrero was formerly the music director of the Eugene Symphony (2001-2008), associate conductor of the Minnesota Orchestra (1999-2004) and music director of the Táchira Symphony Orchestra in Venezuela.

REsidEnt condUctoR

AssociAtE condUctoR

AlBERt-GEoRGE schRAm

kEllY coRcoRAn

Albert-George Schram, a native of the Netherlands, has served as resident conductor of the Nashville Symphony since 2006. While he has conducted on all series the orchestra offers, Schram is primarily responsible for its Bank of America Pops Series.

Schram’s longest tenure has been with the Columbus Symphony Orchestra, where he has worked in a variety of capacities since 1979. As a regular guest conductor of the Charlotte Symphony Orchestra, Schram in 2002 opened the orchestra’s new permanent summer home, Symphony Park. From 1990 to 1996, he served as resident conductor of the Louisville Orchestra. The former Florida Philharmonic Orchestra appointed Schram as resident conductor beginning with the 2002/03 season.

In 2008 Schram was invited to conduct the Orquesta Sinfónica Nacional of Bolivia and the Orquesta Sinfónica UNCuyo in Mendoza, Argentina. His other foreign conducting engagements have included the KBS Symphony Orchestra and the Taegu Symphony Orchestra in Korea, and the Orchester der Allgemeinen Musikgesellschaft Luzern in Switzerland. He has returned to his native Holland to conduct the Netherlands Radio Philharmonic and the Netherlands Broadcast Orchestra.

In the U.S., his recent and coming guest conducting appearances include the Dallas Symphony Orchestra, Tucson Symphony, Louisiana Philharmonic, Oklahoma City Philharmonic, Spokane Symphony, Dayton Philharmonic, Shreveport Symphony, San Antonio Symphony, Allentown Symphony and the Mansfield Symphony.

Schram’s studies have been largely in the European tradition under the tutelage of Franco Ferrara, Rafael Kubelik, Abraham Kaplan and Neeme Järvi. He received his initial training at the Conservatory of The Hague in the Netherlands, then later moved to Canada to undertake studies at the universities of Calgary and Victoria. His training was completed at the University of Washington.

Now in her fifth season with the Nashville Symphony, Associate Conductor Kelly Corcoran serves as the primary conductor for the orchestra’s education and community engagement concerts. She has also conducted the Symphony’s Classical Series, Pops Series, and its CD collaboration with Riders In The Sky, ‘Lassoed Live’ at the Schermerhorn.

Corcoran has conducted major orchestras throughout the country, including the Houston and Utah Symphonies, and return engagements with the Detroit, Milwaukee and National Symphonies.

In 2009, she made her South American debut as guest conductor with Orquesta Sinfónica UNCuyo in Mendoza, Argentina, returning for multiple programs in 2011. She has developed a reputation for exciting performances. The Tennessean has hailed her work on the podium as “lively” and “fresh.”

Named as Honorable Mention for the Taki Concordia Conducting Fellowship, Corcoran studied with Marin Alsop and shared performances with her and the Bournemouth (U.K.) Symphony and Colorado Symphony. In 2004, she participated in the National Conducting Institute, where she studied with her mentor Leonard Slatkin. She has also attended the Lucerne Festival’s master class in conducting with Pierre Boulez.

Prior to Nashville, Corcoran completed three seasons as assistant conductor for the Canton Symphony Orchestra in Ohio and music director of the Canton Youth Symphony and the Clevelandarea Heights Chamber Orchestra. She has served as assistant music director of the Nashville Opera, founder/music director of the Nashville Philharmonic Orchestra and fellow with the New World Symphony.

Originally from Massachusetts and a member of the Tanglewood Festival Chorus for more than 10 years, Corcoran received her Bachelor of Music in vocal performance from The Boston Conservatory, and she received her Master of Music in instrumental conducting from Indiana University.

She currently serves on the faculty at the New York Summer Music Festival.

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Seussical SCA Spring 2011

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2011/12 NASHVILLe SYMPHONY ORCHeStRA giaNCarlo guerrero Music Director alBert-george SChram Resident Conductor Kelly CorCoraN Associate Conductor

CelloS* Christopher Stenstrom Keith Nicholas Xiao-Fan Zhang

SeCoNd violiNS* Carolyn Wann Bailey, Principal Zeneba Bowers, Assistant Principal Kenneth Barnd Jessica Blackwell Rebecca Cole Radu Georgescu Benjamin Lloyd Louise Morrison Laura Ross Lisa Thrall Jeremy Williams Rebecca J Willie

PiCColo Norma Grobman Rogers

photos by Jackson deparis

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violaS* Daniel Reinker, Principal Shu-Zheng Yang, Assistant Principal Judith Ablon Hari Bernstein Bruce Christensen Michelle Lackey Collins Christopher Farrell Mary Helen Law Melinda Whitley Clare Yang

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george l. maBry Chorus Director

FirSt violiNS* Jun Iwasaki, Concertmaster Walter Buchanan Sharp Chair Gerald C. Greer, Associate Concertmaster Erin Hall, Assistant Concertmaster Mary Kathryn Van Osdale, Concertmaster Emerita Denise Baker Kristi Seehafer John Maple Deidre Fominaya Bacco Alison Gooding Paul Tobias Beverly Drukker Anna Lisa Hoepfinger Kirsten Mitchell Erin Long Isabel Bartles

CelloS* Anthony LaMarchina, Principal Julia Tanner, Assistant Principal James Victor Miller Chair Bradley Mansell Lynn Marie Peithman Stephen Drake Michael Samis Matthew Walker

BaSSeS* Joel Reist, Principal Glen Wanner, Assistant Principal Elizabeth Stewart Gary Lawrence, Principal Emeritus Kevin Jablonski Joe Ferris II FluteS Erik Gratton, Principal Anne Potter Wilson Chair Ann Richards, Assistant Principal Norma Grobman Rogers

oBoeS James Button, Principal Ellen Menking, Assistant Principal Roger Wiesmeyer eNgliSh horN Roger Wiesmeyer ClariNetS James Zimmermann, Principal Cassandra Lee, Assistant Principal Daniel Lochrie e-Flat ClariNet Cassandra Lee BaSS ClariNet Daniel Lochrie BaSSooNS Cynthia Estill, Principal Dawn Hartley, Assistant Principal Gil Perel CoNtra BaSSooN Gil Perel horNS Leslie Norton, Principal Beth Beeson

horNS Kelly Cornell, Associate Principal/3rd Horn Hunter Sholar Radu V. Rusu, Assistant 1st Horn trumPetS Jeffrey Bailey, Principal Patrick Kunkee, Co-Principal Gary Armstrong, Assistant Principal tromBoNeS Lawrence L. Borden+, Principal Susan K. Smith, Assistant Principal Prentiss Hobbs, Acting Assistant Principal BaSS tromBoNe Steven Brown tuBa Gilbert Long, Principal timPaNi William G. Wiggins, Principal PerCuSSioN Sam Bacco, Principal Richard Graber, Assistant Principal Trent Leasure harP Licia Jaskunas, Principal KeyBoard Robert Marler, Principal liBrariaNS D. Wilson Ochoa, Principal Jennifer Goldberg, Librarian orCheStra PerSoNNel maNagerS Anne Dickson Rogers Carrie Marcantonio, Assistant *Section seating revolves +Leave of Absence

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ROSTERS

2011/12 BOARD OF DIRECTORS OFFICERS

DIRECTORS

James C. Gooch Board Chair

Janet Ayers Julian B. Baker, Jr. Russell W. Bates Scott Becker James L. Beckner Rob Bironas David L. Black Julie Boehm James B. Boles Jack O. Bovender, Jr. William H. Braddy III, CFP Anastasia Brown Ann Carell Rebecca Cole * Lisa Cooper * Susannah C. Culbertson * Ben L. Cundiff Carol Daniels Bob Dennis David Steele Ewing Bob Ezrin John D. Ferguson Ben Folds John Gawaluck Amy Grant Carl Grimstad Carl Haley, Jr.

Edward Goodrich Board Chair Elect John T. Rochford Board Vice Chair David Williams II Board Treasurer Betsy Wills Board Secretary Alan D. Valentine * President & CEO

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FEBRUARY 2012

Billy Ray Hearn C. Keith Herron Lee Ann Ingram Martha R. Ingram Clay Jackson Ruth E. Johnson Elliott Warner Jones, Sr. Larry Larkin Kevin P. Lavender Mary Helen Law * Zachary Liff Ellen Harrison Martin * Robert A. McCabe, Jr. Robert E. McNeilly III Eduardo Minardi Gregg Morton Peter Neff Victoria Chu Pao Charles R. Pruett Jennifer Puryear Jesse B. Register Wayne J. Riley Norma Rogers * Anne L. Russell Michael Samis * Mike Schatzlein, M.D. James C. Seabury III

Kristi Seehafer * Nelson Shields Beverly K. Small Renata Soto Bruce D. Sullivan Brett Sweet Louis B. Todd Van Tucker Jay Turner Steve Turner Mark Wait Jeffery Walraven Johnna Watson Ted Houston Welch William Greer Wiggins * Jeremy Williams * William M. Wilson Clare Yang * Shirley Zeitlin James Zimmermann* Young Leaders Council Intern Amy Richardson *Indicates Ex Officio

2011/12 NASHVILLe SYMPHONY STAFF exeCuTive alan d. valentine, President and CEO Karen Fairbend, Executive Assistant to the President and CEO mark a. Blakeman, V.P. of Orchestra and Building Operations and General Manager Sarah Jones, Assistant to the V.P. of Orchestra and Building Operations andrea dillenburg, V.P. of External Affairs Polly rembert, Assistant to the V.P. of External Affairs michael Kirby, V.P. of Finance and Administration and CFO Jim mancuso, V.P. of Artistic Administration Jonathan Norris, SPHR, V.P. of Human Resources ARTisTiC ADMiNisTRATiON emma Smyth, Manager of Artistic Administration valerie Nelson, Manager of Pops & Special Programs ellen Kasperek, Artistic Administration Assistant andrew risinger, Organ Curator bOx OFFiCe/TiCkeTiNG Kimberly darlington, Director of Ticket Services emily Shannon, Box Office Manager tina messer, Ticket Services Specialist missy hubner, Ticket Services Assistant COMMuNiCATiONs Jonathan marx, Director of Communications laurie davis, Publicist Nancy vanreece, Social Media Strategist and Website Manager DATA sTANDARDs Sheila Wilson, Sr. Database Associate DeveLOPMeNT erin Wenzel, Sr. Director of Development hayden Pruett, Major Gifts Officer maribeth Stahl, Director of Corporate Relations and Grants holly Noble, Grants Manager Kristy reuter, Benefit Fulfillment Coordinator Sara hanahan, Development Events Manager eDuCATiON Blair Bodine, Director of Education and Community Engagement andy Campbell, Education and Community Engagement Program Manager Kelley Bell, Education and Community Engagement Assistant FiNANCe Karen Warren, Controller mildred Payne, Accounts Payable and Payroll Manager Sheri Switzer, Senior Accountant Steven mcNeal, Staff Accountant debra hollenbeck, Buyer/Retail Manager FOOD, beveRAGe AND eveNTs Steve Perdue, Director of Food, Beverage and Events roger Keenan, Executive Chef david Bolton, Sous Chef Bruce Pittman, Sales Manager Kayanne Jones, Catering and Events Manager lacy lusebrink, Food and Beverage Manager

Collin husbands, Food, Beverage and Events Coordinator angela gutheridge, Food and Beverage Supervisor Johnathon mcgee, Food and Beverage Supervisor anderson S. Barns, Beverage Manager garland Smith, Beverage Supervisor huMAN ResOuRCes ashley Skinner, PHR, Human Resources Manager Kathleen mcCracken, Volunteer Manager martha Bryant, Receptionist and Human Resources Assistant i.T. dan Sanders, Director of Information Technology trenton leach, Software Applications Developer Chris Beckner, Desktop Support Specialist MARkeTiNG ronda Combs helton, Sr. Director of Marketing misty Cochran, Director of Advertising and Promotions Sarah vickery, Sales Manager meredith Benning, Promotions & Sales Coordinator Jessi menish, Graphic Designer ashley may, Graphic Design Associate PRODuCTiON AND ORChesTRA OPeRATiONs tim lynch, Sr. Director of Operations and Orchestra Manager anne dickson rogers, Orchestra Personnel Manager Carrie marcantonio, Assistant Orchestra Personnel Manager d. Wilson ochoa, Principal Librarian Jennifer goldberg, Librarian John Sanders, Chief Technical Engineer Brian doane, Production Manager mitch hansen, Lighting Director gary Call, Audio Engineer mark dahlen, Audio Engineer W. Paul holt, Stage Manager Josh Walliser, Stage and Production Assistant PATRON seRviCes Kristen drake, Director of Patron Services Patron Services Specialists: Darlene Boswell, Dennis Carter, Phil Shay, Daniel Tonelson, Judith Wall Jackie Knox, Manager of Marketing Associates eric adams, Assistant Manager of Marketing Associates marketing associates: Linda Booth, Toni Conn, James Calvin Davidson, Gina Haining, Mark Haining, Lloyd Harper, Rick Katz , Deborah King, Cassie Nowels, Misha Robledo, Jesse Rosas, Dustin Skilbred veNue MANAGeMeNT eric Swartz, Associate V.P. of Venue Management Craig Colunga, Director of Security danny Covington, Chief Engineer raay Creech, Facility Maintenance Technician Kenneth dillehay, Facility Maintenance Technician Wade Johnson, Housekeeping Manager Kevin Butler, Housekeeper veronica morales, Housekeeper tony meyers, House Manager

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“There’s something special about this place.”

615.292.9465 www.ctk.org Applications Accepted Year-Round PREKINDERGARTEN THROUGH GRADE 8

Preparing students for College, Life, and Eternity

Age 3 - 12th Grade Cultivated performing arts program College-prep academics Competitive athletics

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PreK-6th | Located in Green Hills | 615.269.4751 www.StPaulChristianAcademy.org

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“i am a member.”

great art. see it free.

Join the Frist today – being a member truly is a great value. Whether you visit us a lot or just a little, come alone or with the whole family, there’s a Frist membership for everyone. To join or for more information, visit fristcenter.org/join-support/membership.

Frist Center for the Visual Arts • Downtown Nashville fristcenter.org • 615-244-3340

FC1266_Mab_PerformingArts.indd 1

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Support the

NASHVILLE SYMPHONY The Nashville Symphony is proud to be your orchestra. Come share our stories!

Led by Music Director Giancarlo Guerrero, the Nashville Symphony is comprised of 85 world-class musicians, who also serve as teachers and volunteers throughout our community. The orchestra’s recordings have received 14 GRAMMY® nominations and six GRAMMY® Awards, and our commitment to innovative programming has earned the Nashville Symphony an invitation to perform at Carnegie Hall in May 2012.

Each year, the Nashville Symphony reaches more than 200,000 children and adults through its free education and engagement programs. We share the joy of music through free concerts in parks and on campuses, as well as our annual Regions FREE Day of Music and “Let Freedom Sing!,” our musical celebration of the life and legacy of Dr. Martin Luther King Jr.

your story We invite you to support the Nashville Symphony and be a part of our story. Your gift sustains our abiding commitment to serving the Middle Tennessee community with great music and meaningful, life-changing programs for people of all ages.

To make your tax-deductible donation, visit NashvilleSymphony.org/support or mail your check to: Nashville Symphony Schermerhorn Symphony Center One Symphony Place Nashville, TN 37201-2031 615.687.6500

Nurturing the Spirit

HARDING A C A D E M Y

Harding Academy exists to educate, nurture, and inspire. As a co-educational K–8 independent school, we are dedicated to academic excellence and the pursuit of educating thoughtful, creative, lifelong learners who are self-disciplined, responsible, caring citizens.

170 Windsor Drive Nashville, TN 37205 (615) 356-2974 www.hardingacademy.org Scan code with a smartphone QR app to view a video.

Inspiring the Mind

Eighth Annual Fine Art Show & Sale

50 Regional Artists & Artisans | Featuring Leatha Frost

February 10-12, 2012 David Lipscomb Campus School | 3901 Granny White Pike Nashville, Tennessee

lipscombartevent.com 2012 Sponsors

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111 THE ROYAL TREATMENT. Winding through Southern hills, the paths leading to the Renaissance Birmingham Ross Bridge Golf Resort & Spa reveal elegance at every turn.

Upon approaching the castle-like resort, guests are swept into a fairytale escape where culinary masterpieces tempt the palette and an awardwinning spa promises to treat the senses. The world’s fourth longest golf course, part of Alabama’s Robert Trent Jones Golf Trail, challenges your skills, while state-of-the-art meeting space inspires productivity.

RENAISSANCE BIRMINGHAM ROSS BRIDGE GOLF RESORT & SPA 4000 Grand Avenue Birmingham, AL 35226 t: 205 916 7677 rossbridgeresort.com

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AnnUAl FUnd

iNDiviDuALs

the nashville symphony is deeply grateful to the following individuals who support its concert season and its services to the community through their generous contributions to the Annual Fund. donors as of december 27, 2011.

virtuoSo SoCiety Gifts of $10,000+

THA

Anonymous (1) David & Diane Black Richard & Judith Bracken Mr.* & Mrs. J. C. Bradford Jr. Mr. & Mrs. John Chadwick Mac & Linda Crawford Janine & Ben Cundiff Mr. & Mrs. Brownlee O. Currey Jr.

Mr. & Mrs. Frank A. Daniels III James C. Gooch & Jennie P. Smith Giancarlo & Shirley Guerrero Patricia & H. Rodes Hart Mrs. Martha R. Ingram Dr. & Mrs. Howard Kirshner LifeWorks Foundation

The Martin Foundation Mr. & Mrs. Cano Ozgener Mr. & Mrs. Ben R. Rechter Anne & Joe Russell Margaret & Cal Turner Mr. & Mrs. Steve Turner Mr. & Mrs. Ted H. Welch

StradivariuS SoCiety Gifts of $5,000+ Anonymous (1) Mr. & Mrs. James Ayers Judy & Joe Barker Russell W. Bates Mr. & Mrs. Lee A. Beaman Mr. James B. Boles Mr. & Mrs. Jack O. Bovender Jr. Mr. & Mrs. Richard W. Carlton Kelly & Bill Christie Mr. & Mrs. Tom F. Cone Hilton & Sallie Dean Mr. & Mrs. Robert J. Dennis Marty & Betty Dickens Dee & Jerald Doochin Mr. & Mrs. Jere M. Ervin Annette S. Eskind

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The Jane & Richard Eskind & Family Foundation Marilyn Ezell Allis Dale & John Gillmor Ed & Nancy Goodrich Carl & Connie Haley Mrs. Harold Hassenfeld Mr. & Mrs. Billy Ray Hearn Mrs. V. Davis Hunt Mr. & Mrs. David B. Ingram Lee Ann & Orrin Ingram Gordon & Shaun Inman Keith & Nancy Johnson Elliott Warner Jones & Marilyn Lee Jones Robin & Bill King

Christine Konradi & Stephan Heckers Jim Lewis Mr. Zachary B. Liff Robert Straus Lipman Mr. & Mrs. Robert A. McCabe Jr. Sheila & Richard McCarty Dr. Ron McDow The Honorable Gilbert S. Merritt Gregg & Cathy Morton Anne & Peter Neff Dr. Harrell Odom II & Mr. Barry W. Cook Burton Jablin & Barron Patterson Hal & Peggy Pennington Mr. & Mrs. Philip M. Pfeffer Mr. & Mrs. Charles R. Pruett

Carol & John T. Rochford The Roros Foundation Dorothy & Joe Scarlett Dr. & Mrs. Michael H. Schatzlein Mr.* & Mrs. Nelson Severinghaus Ronald & Diane Shafer Mr. & Mrs. Irvin Small Michael & Grace Sposato Mr. & Mrs. Earl S. Swensson Dr. John B. Thomison Mr. & Mrs. Louis B. Todd Jr. Alan D. & Connie F. Valentine Peggy & John Warner Mr. & Mrs. Julian Zander Jr. Mr. Nicholas S. Zeppos & Ms. Lydia A. Howarth

goldeN BatoN SoCiety Gifts of $2,500+ Anonymous (1) Clint & Kali Adams Mrs. R. Benton Adkins Jr. Shelley Alexander Dr. & Mrs. Elbert Baker Jr. Dr. & Mrs. Robert O. Begtrup Mr.* & Mrs. Arthur H. Buhl III Ann & Frank Bumstead Mrs. Patricia B. Buzzell Mr. & Mrs. Terry W. Chandler Richard & Kathy Cooper Mr. & Mrs. James H. Costner Mr. & Mrs. Justin Dell Crosslin Barbara & Willie K. Davis

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February 2012

Andrea Dillenburg & Ted Kraus Donna & Jeffrey Eskind Mr. & Mrs. Robert A. Ezrin Harris A. Gilbert Amy Grant & Vince Gill Kate R. W. Grayken Suzy Heer Mr. & Mrs. Robert C. Hilton Ms. Cornelia B. Holland Mr. & Mrs. Donald J. Israel Mr. & Mrs. John F. Jacques Anne Knauff Mr. & Mrs. Michael A. Koban Jr. Kevin P. & May Lavender

Dr. Arthur M. Mellor F. Max & Mary A. Merrell Edward D. & Linda F. Miles Drs. Mark & Nancy Peacock Mr. & Mrs. Joseph K. Presley Eric Raefsky, M.D. & Ms. Victoria Heil Mr. & Mrs. Gerald A. Risk Anne & Charles Roos Debbie & Albert-George Schram Mr. & Mrs. J. Ronald Scott Mr. & Mrs. Rusty Siebert Dr. Michael & Tracy Stadnick Mr. & Mrs. Brett Sweet

Pamela & Steven Taylor The Vandewater Family Foundation Drs. Pilar Vargas & Sten H. Vermund Mr. & Mrs. Jeffery C. & Dayna L. Walraven Jonathan & Janet Weaver Carroll Van West & Mary Hoffschwelle Dr. & Mrs. Artmas L. Worthy Shirley Zeitlin

Ray & Rosemarie Kalil Mr. & Mrs. Bill G. Kilpatrick Michael & Melissa Kirby Tom & Darlene Klaritch Mr. Richard B. Kloete William C. & Deborah Patterson Koch Mr. & Mrs. Gene C. Koonce Mr. & Mrs. Edward J. Kovach Heloise Werthan Kuhn Mr. & Mrs. Randolph M. LaGasse Bob & Mary LaGrone Robert & Carol Lampe Larry & Martha Larkin Sandi & Tom Lawless Sally M. Levine John T. Lewis Margaret & Bill Lindberg Dr. & Mrs. Nicholas Lippolis Robert A. Livingston Elizabeth & Jim Mancuso Shari & Red Martin Rhonda A. Martocci & William S. Blaylock Scott & Jennifer McClellan Tommy & Cat McEwen Mr. & Mrs. Martin F. McNamara III Mr. & Mrs. Robert McNeilly Jr. Mr. & Mrs. Richard D. McRae III Mr. & Mrs. William P. Morelli Ms. Lucy H. Morgan Matt & Rhonda Mulroy James & Patricia Munro Leonard Murray & Jacqueline Marschak Lannie W. Neal Pat & John W. Nelley Jr. Ms. Agatha L. Nolen Jonathan Norris & Jennifer Carlat Representative & Mrs. Gary L. Odom Ms. Mary E. Pinkston David & Adrienne Piston Charles H. Potter Jr. Dr. Neil Price & Nancy M. Falls Mr. & Mrs. Gustavus A. Puryear IV Dr. Gipsie B. Ranney Sharon Hels & Brad Reed Dr. Jesse B. Register Drs. Jeff & Kellye Rice Drs. Wayne & Charlene Riley Mr. & Mrs. Doyle R. Rippee Mr. & Mrs. Kenneth L. Roberts Margaret Ann & Walter Robinson Foundation Ms. Sara L. Rosson & Ms. Nancy Menke James & Patricia Russell Mr. & Mrs. John J. Sangervasi Mr. & Mrs. Eric M. Saul Dr. Norm Scarborough & Ms. Kimberly Hewell Mr. Paul H. Scarbrough Dolores & John Seigenthaler Mrs. Wendy F. Sensing Dr. & Mrs. R. Bruce Shack Allen Spears* & Colleen Sheppard Mr. & Mrs. Martin E. Simmons

ANK elliott & Marilyn Jones, LeAnn Rimes, Colleen & Warner Jones

CoNduCtor’S CirCle

Gifts of $1,500+

Anonymous (4) Jeff & Tina Adams James & Glyna Aderhold Dr. Alice & Mr. Richard C. Arnemann Jon K. & Colleen Atwood James M. Bailey Jr. Mr. & Mrs. H. Lee Barfield II Barbara & Mike Barton Betty C. Bellamy Mr. & Mrs. Jeffrey K. Belser Dr. Eric & Elaine Berg Frank M. Berklacich, MD Mr.* & Mrs. Harold S. Bernard Mark & Sarah Blakeman Julie & Dr. Frank Boehm Dennis & Tammy Boehms Mr. & Mrs. Robert Boyd Bogle III Mr. Jamey Bowen & Mr. Norman Wells Dan & Mindy Brodbeck Mr. & Mrs. Martin S. Brown Jr. Mr. & Mrs. Paul J. Buijsman Betty & Lonnie Burnett Drs. Rodney & Janice Burt Chuck & Sandra Cagle Michael & Jane Ann Cain Mr. & Mrs. Gerald G. Calhoun Brenda & Edward Callis Mr. & Mrs. William H. Cammack Jan & Jim Carell Ann & Sykes Cargile Clint & Patty Carter Fred Cassetty Erica & Doug Chappell Barbara & Eric Chazen James H. Cheek III Mr. & Mrs. John J. Chiaramonte Jr. Catherine Chitwood M. Wayne Chomik Mr. & Mrs. Sam E. Christopher Drs. Keith & Leslie Churchwell Mr. George D. Clark Jr. Dorit & Don Cochron Ed & Pat Cole Marjorie & Allen* Collins Mr. & Mrs. Charles W. Cook Jr. Roger & Barbara Cottrell Mr. & Mrs. Roy J. Covert

Mr. & Mrs. Donald S. A. Cowan James L. & Sharon H. Cox Dr. & Mrs. James Crafton Kimberly L. Darlington John & Natasha Deane Sandra & Daryl Demonbreun The Rev. & Mrs. Fred Dettwiller DJMD Philanthropic Fund Mr. & Mrs. Glenn Eaden E.B.S. Foundation Dr. & Mrs. E. Mac Edington Robert D. Eisenstein David Ellis & Barry Wilker Dr. Meredith A. Ezell Mr. & Mrs. John Ferguson T. Aldrich Finegan John David & Mary Dale Trabue Fitzgerald John & Cindy Watson Ford Tom & Judy Foster Danna & Bill Francis Cathey & Wilford Fuqua Carlene Hunt & Marshall Gaskins Mr. & Mrs. Andrew Giacobone Frank Ginanni Tony & Teri Gosse Mr. & Mrs. C. David Griffin Francis S. Guess Mr. & Mrs. Arthur S. Hancock Dr. Edward Hantel Janet & Jim Hasson Mr. & Mrs. John Burton Hayes Lucia & Don Hillenmeyer Mr. & Mrs. Jeffrey N. Hinson Judith Hodges Mr. & Mrs. Henry W. Hooker Mr. & Mrs. Thomas W. Hulme Dr. & Mrs. Stephen P. Humphrey Judith & Jim Humphreys Marsha & Keel Hunt Rodney Irvin Family Mr. & Mrs. Clay T. Jackson Donald L. Jackson Ellen & Kenneth Jacobs Louis Johnson M.D. Norm & Barb Johnson George & Shirley Johnston Mr. & Mrs. Clark Powell Jones Dr. & Mrs. David S. Jones Jan Jones & Steve Williams Drs. Spyros Kalams & Lisa Mendes

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Tom & Sylvia Singleton William & Cynthia Sites George & Mary Sloan Drs. Walter Smalley & Louise Hanson Suzanne & Grant Smothers K. C. & Mary Smythe Jack & Louise Spann Stuart & Shirley Speyer Mr. & Mrs. Hans Stabell Christopher & Maribeth Stahl Mr. & Mrs. James G. Stranch III Ann & Bob Street Bruce & Elaine Sullivan Fridolin & Johanna Sulser Andrew Keith & Donna Dame Summar Dr. Steve A. Hyman & Mr. Mark Lee Taylor Ann M. Teaff & Donald McPherson III Dr. & Mrs. Clarence S. Thomas Scott & Julie Thomas Candy Toler Dr. & Mrs. Alexander Townes Christi & Jay Turner Kris & G. G. Waggoner Deborah & Mark Wait Mr. & Mrs. Martin H. Warren Mr. & Mrs. Thomas G. B. Wheelock Charles Hampton White Mr. & Mrs. Jimmie D. White Stacy Widelitz Mr. Donald E. Williams Shane & Laura Willmon Mr. & Mrs. Ridley Wills III Ms. Marilyn Shields-Wiltsie & Dr. Theodore E. Wiltsie Dr. & Mrs. Lawrence K. Wolfe eNCore CirCle

Gifts of $1,000+

Anonymous (8 ) Mark & Niki Antonini Ms. Peggy Mayo Bailey Mrs. Brenda Bass Mr. & Mrs. James Beckner Mr. & Mrs. Raymond P. Bills Bob & Marion Bogen Mr. Michael F. Brewer Jean & David Buchanan John E. Cain III Anita & Larry Cash Dr. Elizabeth Cato Mary & Joseph Cavarra Dr.* & Mrs. Robert Chalfant Mrs. John Hancock Cheek Jr. Mr. & Mrs. W. Ovid Collins Joe C. Cook III Mr. & Mrs. Joe C. Cook Jr. Greg & Collie Daily Mr. & Mrs. Julian de la Guardia Kimberly & Stephen Drake

78

February 2012

Laura L. Dunbar Mr. & Mrs. Mike Dye Mr. & Mrs. Thomas S. Edmondson Sr. Drs. James & Rena Ellzy Robert & Cassandra Estes Mr. & Mrs. DeWitt Ezell Ms. Paula Fairchild Drs. Robert & Sharron Francis Dr. & Mrs. John R. Furman Mr. & Mrs. J. Michael Gould Mr. Larry O. Helms Keith & Kelly Herron Mr.* & Mrs. John B. Hickox Carrie & Damon Hininger Mr. & Mrs. Ephriam H. Hoover III Ray Houston Hudson Family Foundation Donna & Ronn Huff Bud Ireland Mr. & Mrs. Toshinari Ishii Peter* & Marion Katz Walter & Sarah Knestrick Rachel & John Kuchtey Richard & Diane Larsen Dr. & Mrs. John W. Lea IV Jon & Elaine Levine Dr. & Mrs. T. A. Lincoln Dr. & Mrs. Christopher Lind Burk & Caroline Lindsey Tim Lynch Dr. & Mrs. Joe MacCurdy Steve & Susie Mathews Lynn & Jack May Robert P. Maynard Jim & Judi McCaslin Emily & Jonathan McDevitt Robert Ness Mr. & Mrs. Marvin Nischan Dr. Casey Noble Ann & Denis O’Day Mr. & Mrs. Douglas Odom Jr. Inka & Richard Odom Mr. & Mrs. James E. Orgain Alex S. Palmer David & Pamela Palmer Don & Chris Portell Mr. & Mrs. Paul E. Prill Mr. Edwin B. Raskin Susan B. Ridley Mr. & Mrs. David L. Rollins Georgianna W. Russell David Sampsell Paula & Kent Sandidge Samuel A. Santoro & Mary M. Zutter Dr. & Mrs. John S. Sergent Nita & Mike Shea Bill & Sharon Sheriff Dr. & Mrs. Andrew Shinar Matt & Kristen Slocum Mr. & Mrs. Brian S. Smallwood

Mr. & Mrs. David B. Stewart Jane Lawrence Stone James B. & Patricia B. Swan William & Rebecca Taylor Norman & Marilyn Tolk Joe & Ellen Torrence Thomas L. & Judith A. Turk William E. Turner Jr. Mike & Elaine Walker Mr. & Mrs. William G. Wiggins Mr. & Mrs. Mark A. Williams

THA CoNCertmaSter

Gifts of $500+

Anonymous (15) Jerry Adams Don & Judi Arnold Jeremy & Rebecca Atack Don & Beverly Atwood Mr. & Mrs. James E. Auer Mr. & Mrs. Brian C. Austin Jeff & Carrie Bailey Mr. & Mrs. Thomas N. Bainbridge Mr. & Mrs. Richard W. Baker Mr. & Mrs. Edwin Barton Mr. & Mrs. Thomas E. Bateman Katrin T. Bean Scott & Dawn Becker Marti Bellingrath Bernice Amanda Belue Mike & Kathy Benson Dr. & Mrs. Ben J. Birdwell Ralph & Jane Black Randolph & Elaine Blake Mr. & Mrs. Bill Blevins Dr. & Mrs. Marion G. Bolin Irma Bolster Mr. & Mrs. William E. Boyte William H. Braddy III Berry & Connie Brooks Dr. & Mrs. Glenn Buckspan Mrs. Michelle H. Burgess Dr. Roger & Mrs. Donah Burgess Mr. & Mrs. Richard Burks Gene & Jamie Burton John & LuAnnette Butler James Button Mr. & Mrs. Cabot J. & Angelia Cameron Janet C. Camp Mr. Kirk C. Campbell Mr. Thomas R. Campion Michael & Linda Carlson Mr. & Mrs. William F. Carpenter III Mr. & Mrs. John L. Chambers Dr. & Mrs. Robert H. Christenberry Starling Davis Clark & David F. Clark Jay & Ellen Clayton Sallylou & David Cloyd

YO

Dr. & Mrs. Alan G. Cohen Paul & Alyce Cooke Marion Pickering Couch Richard & Marcia Cowan Ms. Susannah C. Culbertson Tenchia Cupp MariaGabriella Giro & Jeff Davidson Dr. & Mrs. Ben Davis Mark & Barbara Dentz Suzanne Day Devine Mr. & Mrs. Arthur DeVooght Mr. & Mrs. Kenton Dickerson Wally & Lee Lee Dietz Dr. Alan W. Dow II Tere & David Dowland Mr. Frank W. Drake Dr. Jane Easdown & Dr. James Booth Emily & Mark Eberle Dr. & Mrs. William H. Edwards Sr. Dr.* & Mrs. Lloyd C. Elam Dr. Christopher & Wendy Ellis Dr. John & Janet Exton Bill & Dian S. Ezell Ms. Marilyn Falcone Dr. Arthur C. Fleischer & Family Art & Charlotte Fogel Randy & Melanie Ford Patrick & Kimberly Forrest Mr. & Mrs. Jeffery J. Forshee Ms. Deborah F. Turner & Ms. Beth A. Fortune Mr. & Mrs. David B. Foutch Robert & Peggy Frye Suzanne J. Fuller Dr. David & Kimberly Furse John & Eva Gebhart Dr. & Mrs. Harold L. Gentry Mr. & Mrs. H. Steven George Bryan D. Graves Richard & Randi Green R. Dale & Nancy G. Grimes Cathey & Doug Hall Jay & Stephanie Hardcastle Dr. & Mrs. Thomas L. Hardy Frank & Liana Harrell Kent & Becky Harrell Dr. & Mrs. Jason Haslam Lisa & Bill Headley Kent & Melinda Henderson John Reginald Hill Dr. Anne L. Hillegas & Mr. Donald Hill Mr. & Mrs. Jim Hitt Elizabeth Dykens PhD & Robert Hodapp PhD Mr. & Mrs. Richard Holton Ken & Beverly Horner Allen, Lucy & Paul Hovious Margie & Nick* Hunter

Mr. & Mrs. David Huseman Sandra & Joe Hutts James R. & Helen H. James Robert C. Jamieson MD Lee & Pat Jennings Jack Jezioro & Ellen Menking Bob & Virginia Johnson Ruth E. Johnson Mary Loventhal Jones Mrs. Robert N. Joyner Dr. Barbara F. Kaczmarska Dr. & Mrs. Michael Kaminski Mr. & Mrs. Michael Kane Thomas Keenan Mr. & Mrs. James Kelso Mrs. Edward C. Kennedy John & Eleanor Kennedy Jane Kersten Patricia Lee & Orville Kronk Mr. & Mrs. Thomas W. Land Mr. & Mrs. Samuel W. Lavender Mr. & Mrs. Irving Levy Drs. Walt & Shannon Little The Howard Littlejohn Family Carolyn & Fred Loeffel Mr. & Mrs. Denis Lovell Samuel C. Loventhal Drs. Amy & George Lynch William R. & Maria T. MacKay James & Gene Manning Mr. & Mrs. Michael R. Manno Mr. & Mrs. Richard Maradik Steve & Carrie Marcantonio & Family Mimsye & Leon May Mr. & Mrs. Charles R. McCarty Sandra & Ken McDonald Joey & Beth McDuffee Mary G. McGrath Dr. & Mrs. Alexander C. McLeod Catherine & Brian McMurray Ed & Tracy McNally Dan & Mary Mecklenborg Herbert & Sharon Meltzer Dr. & Mrs. Berry Middleton Drs. Randolph & Linda Miller Dr. & Mrs. Kent B. Millspaugh

Mr. Conley Minnick Dr. Jere Mitchum Diana & Jeff Mobley Dr. & Mrs. Charles L. Moffatt Ms. Gay Moon Cynthia & Richard Morin Steve & Laura Morris Lynn Morrow Margaret & David Moss Lucille C. Nabors Larry & Marsha Nager Mr. & Mrs. Joseph L. Nave Jr. Jane K. Norris Chris & Leslie Norton Virginia O’Brien D. Wilson Ochoa Patricia J. Olsen Dan & Helen Owens Dr. & Mrs. Harry L. Page Mr. Steven C. Page Ms. Kathern W. Parker Mr. & Mrs. M. Forrest Parmley John W. & Mary Patterson Drs. Teresa & Phillip Patterson Theresa G. Payne Dr. & Mrs. Joel Q. Peavyhouse Steve A. Perdue Linda & Carter Philips Drs. Sherre & Daniel Phillips Mr. Edward B. Phillips Faris & Bob Phillips Keith & Deborah Pitts Mr. John Pope Ms. Elizabeth M. Potocsnak Dr. & Mrs. James L. Potts Mr. & Mrs. John Prine George & Joyce Pust Tom & Chris Rashford Mr. & Mrs. David Rawlings Franco & Cynthia Recchia Ms. Allison R. Reed & Mr. Sam Garza Candace Mason Revelette Martha & Buist Richardson Mrs. Julie A. Roe Dr. & Mrs. Jorge Rojas Margaret H. Rollins

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shirley Zeitlin, harris Gilbert, sally Levine

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AnnUAl FUnd

Laura Ross Mr. & Mrs. Dick Sammer Samuel L. & Barbara Sanders Cooper* & Helen Schley Pam & Roland Schneller Dr. & Mrs. Timothy P. Schoettle Drs. Carl & Wendy Schofield Dr. Kenneth E. Schriver & Dr. Anna W. Roe Peggy C. Sciotto Odessa L. Settles Max & Michelle Shaff Joan Blum Shayne Allen Shoffner Crea & Alan Sielbeck Dr. & Mrs. Nicholas A. Sieveking Sr. Betty B. Sisk Pamela Sixfin David & Robin Small Mr. & Mrs. Kevin Scott Smith Richard & Molly Dale Smith Mrs. Myrtis F. Smith Dr. Robert Smith & Barbara Ramsey Mr. & Mrs. S. Douglas Smith Mr. & Mrs. Robert Smyth Mr. & Mrs. James H. Spalding Ms. Maggie P. Speight Dr. & Mrs. Anderson Spickard Jr. Mr. & Mrs. Joe N. Steakley Dr. & Mrs. Robert Stein Gloria & Paul Sternberg Elizabeth Stewart & James Grosjean Dr. & Mrs. William R. Stewart Craig & Dianne Sussman Lorraine Ware & Reid Thompson Martha J. Trammell Van Tucker Larry & Brenda Vickers Dr. & Mrs. Martin H. Wagner Kay & Larry Wallace Dr. & Mrs. John J. Warner Bill & Ruth Wassynger Talmage M. Watts Mrs. William C. Weaver III Mr. & Mrs. James Webb III Dr. Medford S. Webster Beth & Arville Wheeler Mr. & Mrs. Fred Wheeler Harvey & Joyce White Vicki Gardine Williams Mr. & Mrs. Ridley Wills II Gary & Cathy Wilson Mr. & Mrs. Stephen F. Wood Sr. Mr. & Mrs. D. Randall Wright Shu-Zheng & Li Li Yang Jane Yount Roy & Ambra Zent

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FirSt Chair Gifts of $250+ Anonymous (33) Drs. Shannon Snyder & Oran Aaronson Mr. & Mrs. John Abernathy Judith Ablon The Rev. Dr. & Mrs. W. Robert Abstein Ben & Nancy Adams Elizabeth Adams & David Scott Chip Alford Dr. & Mrs. John Algren Carol M. Allen Dr. Joseph H. Allen Newton & Burkley Allen Mr. & Mrs. John Allpress Adrienne Ames Mark Amonett Wm. J. & Margery Amonette Ken & Jan Anderson Newell Anderson & Lynne McFarland Ms. Teresa Broyles-Aplin Mr. & Mrs. Carlyle D. Apple Mr. & Mrs. James Armstrong Patricia & Jay Armstrong Mrs. Margaret Arnold Candy Burger & Dan Ashmead Mr. & Mrs. John S. Atkins Mr. & Mrs. Gerald Averbuch Grace & Carl Awh Janet B. Baggett Mr. & Mrs.* F. Clay Bailey Jr. Ms. Susie M. Baird Drs. Ferdinand & Eresvita Balatico Dr. & Mrs. Billy R. Ballard Susan F. & Paul J. Ballard Ms. RenĂŠ Balogh & Mr. Michael Hinchion Dr. Beth S. Barnett Dr.* & Mrs. Thomas C. Barr William & Sharon Baxter Mrs. Teresa A. Beard Dr. & Mrs. R. Daniel Beauchamp Susan O. Belcher Mark H. Bell Ron & Sheryl Bell Mr. & Mrs. W. Todd Bender Mr. & Mrs. Richard M. Berry Ms. Helen R. Blackburn-White William & Betty Blackford David L. Bone Mr. James Bonner David Bordenkircher Ms. Donna R. Bostick Jerry & Donna Boswell Robert E. Bosworth Mr. Brian Boxer Mr. David G. Boyd Don & Deborah Boyd Mr. & Mrs. Douglas G. Bradbury III Jeff & Jeanne Bradford

Dr. Joel F. Bradley Mr. & Mrs. James F. Brandenburg Mr. Mark D. Branstetter Jere & Crystal Brassell Robert & Barbara Braswell Dr. Daniel K. Bregman Mary Lawrence Breinig Phil & Pat Bressman Jamie A. Brewer Miss Sandra J. Brien Betty & Bob Brodie Kathy & Bill Brosius Mr. & Mrs. Charles H. Brown Ms. Roxanne Brown Mr. S. Mark Brumbelow Burnece Walker Brunson Mrs. Margaret J. Bryson T. Mark & D. K. Buford Linda & Jack Burch Mr. & Mrs. David G. Buttrick Geraldine & Wilson Butts Dr. & Mrs. Daniel M. Buxbaum Dr. & Mrs. Robert Byrd Ruth M. Byrdsong Julia C. Callaway Claire Ann Calongne Mr. Richard A. Calvin Bratschi Campbell

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Alan valentine, George Mabry, Giancarlo Guerrero

Gary E. Canaday Mr. Mark J. Cappellino Dr. Wayne Carpenter Ronald & Nellrena Carr Mr. & Mrs. Edwin Carter Valleau & Robert M. Caruthers Bill & Chris Carver Kent Cathcart Mr. & Mrs. John P. Chaballa Evelyn LeNoir Chandler Dean & Sandy Chase Barbara Richards Renée Chevalier Mrs. Robert L. Chickey Mark & Bette Christofersen Neil Christy & Emily Freeman Dr. André & Ms. Doreatha H. Churchwell Mr. Daryl Claggett Councilman & Mrs. Phil Claiborne Drs. Walter & Deborah Clair Steven & Donna Clark Mr. & Mrs. Roy Claverie Sr. Ms. Christy Cleveland Mr. & Mrs. G. William Coble II Mr. & Mrs. Neely B. Coble III Mr. & Mrs. Robert T. Coleman Ms. Peggy B. Colson William & Margaret Connor Laura & Kyle Cooksey Arlene & Charley Cooper Nancy K. Corley Elizabeth Cormier Ms. Laura Crafton-Sizemore Mr. & Mrs. George Crawford Jr. Dr. & Mrs. Jeff L. Creasy Mr. Joe D. Creecy Mr. & Mrs. Rob Crichton Mary & Jim Crossman Mr. Samuel B. Cruz Dr. A. Keith Cryar Ms. Dana R. Curtis Rev. Frederick L. Dale Julie & Peter Damp Katherine C. Daniel Kim & Roy Dano Mr. Robby Dasher Mr. & Mrs. Edgar Davenport Adelaide S. Davis Mr. & Mrs. Charles E. Davis Mr. Joshua M. Davis Ms. Maria de la Cruz Mr. Karl Dean & Ms. Anne Davis Wade & Jeanine Denney Mr. & Mrs. J. William Denny Ann Deol Henry & Catherine DePhillips Natalie R. Dickson & Aaron T. Raney Dr. Joseph & Ambassador Rachel Diggs Mr. & Mrs. John H. Dinkins Ms. Shirley J. Dodge Peter & Kathleen Donofrio

Michael Doochin & Linda Kartoz-Doochin Kristen & David Drake Elizabeth Tannenbaum & Carl Dreifuss Mr. & Mrs. David K. Duchac Kathleen & Stephen Dummer Mrs. Kristi D. Dunham Bob & Nancy Dunkerley Michael & Beverly Dunn Kathryn & Webb Earthman Mr. & Mrs. Douglas Easterling Patricia & Larry Eastwood Ms. Susan S. Edwards The Rev. Dr. Donna Scott & Dr. John Eley Dan & Zita Elrod Dr. & Mrs. Ronald B. Emeson Ms. Kaaren Engel Mrs. Keturah E. Engle Mr. Phillip M. Englehart Ms. Ann Epperson Mr. James Eslinger Ms. Claire Evans Dr. Ann Evers & Dr. Gary Smith David Ewing & Alice Randall Drs. Charles & Evelyn Fancher Kathryn Beasley & Chris Farrell Mr. Steven Fast Michael & Rosemary Fedele Mr. Vincent Fesmire Jill Denmark & William Fialkowski MD Janie & Richard Finch Ms. Deborah G. Flowers Cathy & Kent Fourman Mrs. Katherine H. Fox Mr. & Mrs. Andrew & Mary Foxworth Sr. Mr. & Mrs. J. Richard Franz Jim W. Freeland Scott & Anita Freistat Emily & Randy Frey Ms. Heather Funderburg Tom & Jennifer Furtsch Dr. Henry Fusner Lois & Peter Fyfe Bill & Ginny Gable Jim & Michiko Gaittens Dr. & Mrs. Ronald E. Galbraith Mr. & Mrs. Philip Ganske Ms. Susan M. Gant Mr. & Mrs. George C. Garden Miss Ailish Garrett Alan & Jeannie Gaus Em J. Ghianni Mr. Timothy R. Gidcumb Mr. & Mrs. Stewart J. Gilchrist Ms. Dianne R. Gillespie Mr. Andre L. Gist William & Helen Gleason Linda & Joel Gluck Carol A. Gnyp Mr. Charles S. Golden Mr. & Mrs. William M. Gracey

Antonio M. Granda M.D. Roger & Sherri Gray John F. Gregory III Mary Beth & Raul Guzman Dr. & Mrs. John D. Hainsworth Byron & Antoinette Haitas Ms. Leigh Ann Hale Scott, Kathy & Kate Hall John & Freda Hall Katherine S. Hall Renée & Tony Halterlein Walter H. White III & Dr. Susan Hammonds-White Mr. & Mrs. Clint Hanahan Mr. & Mrs. Harry M. Hanna Mr. & Mrs. Richard W. Hanselman Patty & Bill Harbison Joel T. Hargrove Cindy Harper Dr. & Mrs. Frank P. Harrell Mrs. Edith Harris Dickie & Joyce Harris Mr. & Mrs. Jay Hartley Mr. James S. Hartman Mr. & Mrs. Ira Hartman Dr. Morel Enoch & Mr. E. Howard Harvey Robert & Nora Harvey Kay & Karl* Haury David & Judith Slayden Hayes Bob & Judy Haynes Peggy R. Hays Fred & Judy Helfer Doug & Becky Hellerson Ms. Doris Ann Hendrix Dr. Casilda I. Hermo Mr. David Hilley Mr. & Mrs. Robert C. Hilmer Mr. & Mrs. Donald Hofe Sean Hogan Jim & Kim Holbrook Aurelia L. Holden Dr. Nancy D. Holland James & Christa Holleman William Hollings Paul Holt Drs. Richard T. & Paula C. Hoos Samuel H. Howard Mr. Adam L. Huddleston Dr. & Mrs. Louis C. Huesmann II Dr. Nedra Huggins-Williams Mr. & Mrs. William E. Hughes The Hunt Family Foundation Michael & Evelyn Hyatt Mrs. Beverly Hyde Dr. & Mrs. Roger Ireson Dr. Anna M. Jackson Frances C. Jackson Ms. Laura R. Jackson Mr. & Mrs. Donald E. Jacobs Mr. & Mrs. Alan R. Javorcky Ms. Diane Johnson Joyce E. Johnson Mr. & Mrs. Larry D. Johnson

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Mary & Doug Johnston Donald & Catherine Joiner Pat & David Jones Frank & Audrey Jones Mr. & Mrs. Michael Jones Mr. Patrick D. Jones Sarah Rose Jones Ms. Georgia Keeling Jeffrey & Layle Kenyon Edward & Eunice Kern Robert Kerns Mr. Michael Kice Mr. & Mrs. Brock Kidd Bill & Becca Killebrew Kathleen & Don King Louise & Joe Kitchell Edward & Rosemary Knish Mr. & Mrs. Rick Koelz David & Judy Kolzow Sanford & Sandra Krantz Jennifer Kraus & family Ms. Geri Kristof Tim Kyne Mr. Daniel L. LaFevor Dr. Kristine L. LaLonde Nancy & Edd Lancaster Mr. & Mrs. Joseph A. Lawrence Mrs. Douglas E. Leach Trenton & Shellie Leach Rob & Julia Ledyard Dr. & Mrs. George R. Lee J. Mark Lee Martin & Eileen Leinwand Mr. & Mrs. Michael LeJeune Dorothy & Jim Lesch Ralph G. Leverett Michael & Ellen Levitt Mr. Marvin J. Liebergot Rick & Shirley Lievanos Marty & Ronald S. Ligon Mr. & Mrs. John Lillie Mr. & Mrs. Mack S. Linebaugh Joanne L. Linn, M.D. Mr. & Mrs. Michael Linton Dr. & Mrs. John L. Lloyd Keltner W. & Debra S. Locke Jean & Steve Locke Kim & Bob Looney Mr. & Mrs. David L. Loucky Thomas H. Loventhal J. Edgar Lowe Mr. & Mrs. Jay Lowenthal Mr. & Mrs. James C. Lundy Jr. Revs. James & Michelle Lunsford George & Cathy Lynch Jeffrey C. Lynch Patrick & Betty Lynch Sharron Lyon Mr. John Maddux Anne & Joe Maddux Mr. & Mrs. David J. Mahanes III Mr. & Mrs. Robert A. Maier Mr. Robert C. Majors Mr. Mikal Malik Mr. & Mrs. Eric J. Manders Sheila Mann Mr. Joshua P. Manning Beverly Darnall Mansfield Robert & Debra Marler 82

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Abraham, Lesley & Jonathan Marx Dr. & Mrs. Ralph Massie Frank & Laura Mastrapasqua Sue & Herb Mather Drs. Ricardo Fonseca & Ingrid Mayer Mr. & Mrs. John D. McAlister Callum, Julia & A. J. McCaffrey Ms. Carolyn McClerkin Dr. & Mrs. Robert W. McClure Kathleen McCracken Peg & Al McCree Mary & John McCullough Bob McDill & Jennifer Kimball Mr. & Mrs. Edwin A. McDougle Mr. Brian L. McKinney Dr. & Mrs. Timothy E. McNutt Sr. Sam & Sandra McSeveney Mr. & Mrs. Michael R. McWherter Mr. Michael A. Meadows Ms. Virginia J. Meece Mr. & Mrs. J. D. Meek Ronald S. Meers Mr. Paul Megee Janis Meinert Linda & Ray Meneely Manfred & Susan Menking Sara Meredith Bruce & Bonnie Meriwether Dr. Mark & Mrs. Theresa Messenger Dr. & Mrs. Philip G. Miller Dr. Ron V. Miller Mr. John Milliken Dr. Fernando Miranda & Dr. Patricia Bihl-Miranda Mr. Riley Mitchell Anthony & Ariane Montemuro Dr. Michael F. Montijo & Mrs. Patricia A. Jamieson-Montijo James & April Moore Mr. & Mrs. Steve Moore Mr. David K. Morgan Mr. & Mrs. Jonathan Morphett Dr. Erik B. Motsenbocker Dr. J. Philip Moyers Mr. & Mrs. Charles Murchison Mr. John Murphy Mr. & Mrs. Dwayne Murray Mr. & Mrs. J. William Myers Allen & Janice Naftilan Ms. Carolyn Heer Nash Mr. James R. Neal Dr. & Mrs. Harold Nevels Dr. John Newman & Ms. Rebecca Lyford Leslie & Scott Newman John & Judy Nichols William & Kathryn Nicholson Mr. & Mrs. Lee F. Noel Mrs. Caroline T. Nolen Judy M. Norton Michael & Joanne Nowlin Mrs. Edith M. Oathout Dr. & Mrs. Wills Oglesby Mr. & Mrs. Russell Oldfield Jr. Hunt & Debbye Oliver Philip & Marilyn Ollila Philip & Carolyn Orr

Dr. & Mrs. Ronald E. Overfield Judy Oxford & Grant Benedict Dr. & Mrs. James Pace Mrs. Kimberly Williams Paisley Terry & Wanda Palus Mr. & Mrs. Chris Panagopoulos Doria Panvini Dr. Fritz F. Parl Lisa & Doug Pasto-Crosby Grant & Janet Patterson Dr. & Mrs. W. Faxon Payne John & Lori Pearce Mr. & Mrs. Franklin D. Pendleton Anne & Neiland Pennington Ms. Rosetta Miller Perry Claude Petrie Jr. Kenneth C. Petroni MD Charles & Mary Phy Mr. & Mrs. James R. Pickel Jr. David & Teresa Pitzer Ms. Julie B. Plexico Viv & Don Pocek Rick & Diane Poen Mr. Van G. Pond Jr. & Mr. David Glasgow Phil & Dot Ponder Stanley D. Poole Mr. Marico Portis Mr. & Mrs. Thomas Priesmeyer Ann Pushin Mr. Jovan Quallo Edria & David Ragosin Joel & Elizabeth Rainer Mr. & Mrs. Ross Rainwater Nancy & Harry Ransom Mr. & Mrs. Randall A. Rawlings Nancy Ward Ray Ms. Bonnie D. Reagan Don & Kathy Reed Mr. & Mrs. David R. Reeves Ms. Sandra L. Reeves Allen Reynolds Al & Laura Rhodes Mr. & Mrs. Tate Rich Mr. & Mrs. Michael Richardson Mrs. Jane H. Richmond Mary Riddle Mrs. Paul E. Ridge Margaret Riegel Mr. & Mrs. Brian Roark Ms. Stacie Robbins Mrs. Roscoe R. Robinson Albert & Donna Rodewald Mr. & Mrs. Doug Rogers Fran C. Rogers Dr. & Mrs. Bruce D. Rogers Mr. & Mrs. David C. Roland Rodney & Lynne Rosenblum Edgar & Susan Rothschild Jan & Ed Routon Lauren & Christopher Rowe Mr. Edward J. Rucker Melissa M. & Philip R. Russ Dr. & Mrs. Don Russo Pamela & Justin C. Rutledge Michael Samis & Christopher Stenstrom John R. Sanders Jr. James & Susan Sandlin

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Dr. Neil S. Sanghani Jack & Diane Sasson Mr. Donald D. Savoy Mr.* & Mrs. Thomas W. Schlater III Mr. & Mrs. Kenneth Schnaars Sheila Schott Jack Schuett Dr. & Mrs. Stephen J. Schultenover Mr. & Mrs. Robert Scott Drs. Fernando F. & Elena O. Segovia Mr. & Mrs. J. Douglas Seiters Gene & Linda Shade Richard & Marilyn Shadinger Caroline & Danny Shaw Miss Alena Shostak Russ Sims & Sophia Lee Mr. & Mrs. Steven Singleton Dr. & Mrs. Manuel Sir Alice Sisk Ashley N. Skinner Dr. & Mrs. David Slosky Dallas & Jo Ann Smith Joy & Richard Smith Susan K. Smith Mr. & Mrs. Brian Smokler Mr. & Mrs. Robert Sneed Mr. & Mrs. Douglas C. Snyder Marc & Lorna Soble Nan E. Speller Mr. M. Clark Spoden

Mrs. Randolph C. St. John Caroline Stark & Lane Denson Richard & Jennifer Stevens CAPT & Mrs. Charles E. Stewart Jr. Mr. & Mrs. Charles V Stewart III Mr. J. Cyril Stewart Bob & Tammy Stewart Lois & Larry Stone Mr. Russell P. Stover Tom & Gayle Stroud Gayle Sullivan Mr. & Mrs. James E. Summar Sr. Mrs. T. C. Summers Thomas & Sarah Summers Dr. Esther & Mr. Jeff Swink Ms. Amanda Tallant Dr. & Mrs. J. D. Taylor Dr. Paul E. Teschan Mr. & Mrs. Richard Theiss Dr. & Mrs. William Thetford Mrs. Lillian D. Thomas* Mr. & Mrs. Bob F. Thompson David & Kathryn Thompson Mr. Marcus W. Thompson Richard & Shirley Thrall Mr. & Mrs. William J. Tichi Mr. & Mrs. William D. Tidwell Scott & Nesrin Tift Leon Tonelson Mr. Michael P. Tortora Mila & Bill Truan

Imagine your Potential!

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HOLY ROSARY ACADEMY

Pre-K to Eighth Grade State, SACS and SAIS accredited 190 Graylynn Drive • Nashville, TN 37214 TEL 615 883-1108 See the difference at our Open House

BlairPAM11-12_ad:Layout 1 6/15/11 3:55 PM Page 1

tuesday, january 10 www.holyrosary.edu

The Blair School and Vanderbilt —30 Years of Artistic Excellence Blair Concert Series 2011-2012

For information about our free faculty and student performances, guest artists, lectures, master classes, and more, visit the Blair website at blair.vanderbilt.edu Blair School of Music • Vanderbilt University 2400 Blakemore Avenue • Nashville, TN 37212 Complimentary valet parking and FREE self-parking for most events

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Mr. David Tucker Richard, Kimiko, Jennifer & Lindsey Tucker Dr. & Mrs. Michael Tyler Mrs. Mary A. Van Dyken Dr. Jan Van Eys Kimberly Dawn Vincent Mr. Steven B. Waldrep Mr. & Mrs. Jack Wallace Ms. Cynthia G. Waller Mrs. Bridgette K. Walsh Dr. & Mrs. Lloyd A. Walwyn Ms. Leslie P. Ware Mr. & Mrs. Robert J. Warner Jr. Carolyn M. Wasleski Gayle & David Watson Shirley Marie Watts Frank & Jane Wcislo H. Martin & Joyce Weingartner Mr. Kevin L. Welsh J. Jason Wendel M.D. Erin Wenzel Joni Werthan George & Julie West Ms. Jo H. West Linda C. West Franklin & Helen Westbrook J Peter R. Westerholm Dr. & Mrs. Mark B. Whaley Dr. & Mrs. William Whetsell Ms. Harriett C. Whitaker Linda & Raymond White Mr. Michael T. Whitler & Mr. Mark Weber Ms. Eleanor D. Whitworth Joe Wieck Ms. Judith B. Wiens Mr. & Mrs. Herbert Wiesmeyer Roger M. Wiesmeyer Marie Holman Wiggins Mr. Robert S. Wilkinson Jerry & Ernie Williams Frank & Marcy Williams John & Anne Williams Susan & Fred Williams Amos & Etta Wilson Carol Ann & Tommy Wilson Ms. Carolyn D. Wilson Mr. & Mrs. William M. Wilson The Wing Family Scott & Ellen Wolfe Edward & Mary E. Womack Dr. & Mrs. Robert S. Wood Jr. Mr. & Mrs. Matthew W. Wright Gary & Marlys Wulfsberg Kay & Randall Wyatt Vivian R. & Richard A. Wynn Patrick & Phaedra Yachimski Dr. Michael Zanolli & Julie K. Sandine Mr. & Mrs. Michael A. Zibart James & Candice Zimmermann *denotes donors who are deceased

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thAnk YoU to oUR FUndERs

support the Arts: bolt Them to your Car!

You’ve seen them around town — those eye-catching license plates decorated with a saxophone-playing cat, a grinning fish and a colorful rainbow. But did you know they help a worthy cause? Annual sales of these and other specialty license plates provide more than two-thirds of the funding for the tennessee Arts Commission’s grants programs.

So if you love the arts, invest in one of these license plates. Arts organizations that receive Tennessee Arts Commission grants are much better equipped to serve their communities and improve the quality of life for people of all ages and backgrounds.

When you purchase one of these specialty license plates, you are:

• Providing the primary source of funding for the Tennessee Arts Commission’s grant programs • Funding projects in communities both large and small, urban and rural • enhancing education and appreciation of the arts

• Building tennessee’s next generation of artists and art students • Generating tax dollars for the state • Helping to train a qualified workforce • Leveraging private dollars for local arts activities

if you’d like to order a specialty license plate, you can visit your local County Clerk’s Office, or you can order one online at www.tennessee.gov/revenue/vehicle/ licenseplates/specialty.htm.

The Nashville Symphony thanks you for your support of the arts! Arts organizations can’t succeed in their missions without funds from local, state and national government agencies.

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CORPORATiONs, FOuNDATiONs & GOveRNMeNT AGeNCies

the nashville symphony is deeply grateful to the following corporations, foundations and government agencies that support its concert season and its services to the community through generous contributions to the Annual Fund. donors as of december 27, 2011.

SeaSoN PreSeNterS Gifts of $100,000+

The Martin Foundation PreSideNt’S CouNCil Gifts of $75,000+ TM

direCtorS’ aSSoCiateS Gifts of $50,000+

PriNCiPal PlayerS Gifts of $25,000+ Mike Curb Family Foundation

goverNmeNt Metropolitan Government of Nashville and Davidson County

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Mayor Karl F. Dean

Metropolitan Council

orCheStra PartNerS Gifts of $10,000+ ArtNowNashville.com AT&T Blevins, Inc. Bradley Arant Boult Cummings LLP Caterpillar Financial Services Coca-Cola Bottling Company Consolidated The Cockayne Fund Inc. Ann Hardeman and Combs L. Fort Foundation Gaylord Entertainment Foundation Hastings Architecture Associates, LLC The HCA Foundation KraftCPAs PLLC Neal & Harwell Publix Super Markets Charities Mary C. Ragland Foundation VSA – The International Organization on Arts and Disability MetLife Foundation Wells Fargo

It was 1960 all over again when “Hairspray,” an eight-time, Tony Award winning musical, hit the Lipscomb stage with a whirl of hairdos and heartthrobs. It’s just another example of Lipscomb’s commitment to the arts in Nashville. The chair of our theatre department was named one of Nashville’s top ten directors for 2010, and our partnership in staging Blackbird

Theater’s production of “Twilight of the Gods” resulted in a “best new play” recognition. And that’s just part of the story. Experience it for yourself—there are hundreds of arts performances on campus annually that are open to the public for little or no charge.

Go to events.lipscomb.edu. There’s lots to see and hear at Lipscomb.

We’re not teasing.

One of our recent performances took a lot of teasing.

artiStiC uNderWriterS Gifts of $5,000+ Aladdin Industries, LLC BDO Clarcor Inc. Chet Atkins Music Education Fund of the Community Foundation of Middle Tennessee Corrections Corporation of America Cracker Barrel Foundation Dan McGuinness Irish Pub David Yurman Ford Motor Company Ann and Gordon Getty Foundation Landis B. Gullett Charitable Lead Annuity Trust Hi Fi Buys Interior Design Services, Inc. Monell’s Restaurants Nashville Convention & Visitors Bureau OSHi Flowers The Elizabeth Craig Weaver Proctor Charitable Foundation Tennessee Christian Medical Foundation Waller Lansden Dortch & Davis, LLP

College of arts & sCienCes

events.lipscomb.edu

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BuSiNeSS PartNer Gifts of $2,500+ American General Life & Accident Insurance Company AmSurg Corp BioVentures, Inc. City of Brentwood Dave Nemo Entertainment Delta Dental of Tennessee First Baptist Nashville Gannett Foundation/ The Tennessean VOGUE Washington Foundation BuSiNeSS CouNCil Gifts of $1,500+ BlueCross BlueShield of Tennessee Community Trust Consolidated Pipe & Supply Co., Inc. The Glover Group The Hendrix Foundation J. Alexander's Corporation Paramore | the digital agency Tennsco Corporation WASCO, Inc.

Stansell Electric Co., Inc. Volunteer Barge & Transport, Inc. WBUZ Buzz 102.9 / WPRT The Game 102.5 BuSiNeSS FrieNd Gifts of $300+ A-1 Appliance Company ACP Special T’s V. Alexander & Co., Inc. Alpha Delta Omega Foundation Bloom Electric Supply Bradshaw Collision Repair Centers CB Richard Ellis, Inc. Cooper Steel Courtyard by Marriott Downtown Dancy’s, Nancy June Brandon DataMarketing Network, Inc. DBS & Associates Engineering, Inc. Demos’ Steak & Spaghetti House Freeman Webb Company Realtors, Inc. Hoge Motor Company Hunter Marine IBIS Communications, Inc. INDUSCO integrity events, inc.

Jack Cawthon/Jack’s Bar B Que National Toxicology Specialists Inc. Nitetrain Coach Prime Properties, Inc. David L. Battis / Edwin B. Raskin Company Riley Warnock & Jacobson PLC Robert’s Western World Servitech Industries, Inc. Trickett Honda Monte Turner/Turner and Associates Realty, Inc. Walker Lumber & Hardware Company

In honor of Eric Chazen’s 80th birthday In honor of Marion P. Couch In honor of Jeanne Crossnoe In honor of Laurie Davis & Meredith Benning In honor of Bob Eisenstein’s 95th birthday In honor of Harris Gilbert’s 80th birthday In honor of Giancarlo Guerrero In honor of Martha Ingram In honor of Mitchell Korn In honor of J. Kirby Pate M.D. In honor of Tom Patterson & Mike Eldred’s wedding In honor of Steve & Judy Turner for their civic leadership In honor of Dr. Lawrence K. Wolfe’s birthday

ThANk BuSiNeSS leader Gifts of $1,000+ Anonymous (1) Barrett Johnston Bryan Symphony Orchestra at TTU Carter-Haston Holdings, LLC Marylee Chaski Charitable Corporation Neely Coble Company DZL Management Direct Solutions Economy Pencil Co. J&J’s Market & Cafe Kaatz, Binkley, Jones & Morris Architects, Inc. Purity Dairies, Inc. Stor-N-Lock

yOu

BuSiNeSS aSSoCiateS Gifts of $500+ APEX & Robert E. Lee Moving & Storage, Inc. Black Box Network Services BMW-MINI of Nashville R. H. Boyd Publishing Corporation Broadcast Music, Inc. Capitol Records CedarStone Bank The Celebration Chaffin’s Barn Dinner Theatre D.F. Chase, Inc. Cornerstone Commercial Real Estate Services Country Music Association Fabricators CAD Service, Inc. Haber Corporation Pam Lewis & PLA Media Loews Vanderbilt Hotel Northgate Gallery, Inc. RD Plastics Co., Inc. SESAC, Inc. Sigma Alpha Iota – Vanderbilt Chapter 88

FebrUArY 2011

iN-KiNd Ajax Turner Company, Inc. American Airlines American Paper & Twine Co. American Tuxedo Big Events, Inc. Branches Dulce Desserts The Glover Group Hampton Inn & Suites Downtown Nashville, 4th Avenue Mr. & Mrs. Billy Ray Hearn McQuiddy Printing Nashville Symphony Volunteer Auxiliary Omni Beverage Co. Performance Studios Mr. James C. Seabury III Steinway Piano Gallery Mr. Thomas L. Turner Tyson Foods hoNorary In honor of Lin Andrews In honor of Bette Berry

memorial In memory of Carole Slate Adams In memory of Betty Boatright In memory of Scott Clayton, CLU In memory of Catherine Cook In memory of Gerry Daniel In memory of T. Earl & Nora Smith Hinton In memory of Davis Hunt In memory of Rodney Irvin (2) In memory of Peter Katz In Memory of John Kelingos In memory of Kala Welch MacLeod In memory of Mildred J. Oonk In memory of Lisa Renegar In memory of Betty Richards (2) In memory of Lenore S. Schermerhorn In memory of Ed Wanner In memory of Sandra Whipple

The difference is one degree.

You’re just one degree away from a life-changing career move with a graduate degree from Lipscomb University’s Graduate School of Business.

Call (615) 966-1833, or go to onedegreeaway.lipscomb.edu MBA / Professional MBA Master of Accountancy / Master of Human Resources GRADUATE SCHOOL OF BUSINESS

Great Memories are Better when Shared Sheraton is where friends gather. Make Sheraton a memorable part of your next cultural experience with dinner in Speakers Bistro before the show, or cocktails in Sessions Lounge after the curtain falls.

enjoy our superb cuisine, elegant décor, drink specials and much more

Call 615 259 2000 for Reservations

©2011 Starwood Hotels & Resorts Worldwide, Inc. All Rights Reserved. Sheraton and its logo are the trademarks of Starwood Hotels & Resorts Worldwide, Inc., or its affiliates.

EndoWmEnt cAmpAiGn

photo by Jackson deparis

A tIMe FOR GReAtNeSS CAMPAIGN

A Time for Greatness, the Nashville Symphony’s endowment campaign, ensures a brilliant future for the orchestra. Funds raised through A Time for Greatness are used to increase the orchestra’s financial capacity to support continuing artistic growth and program development, and sustain the orchestra’s expanded operations in Schermerhorn Symphony Center.

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FOuNDeRS Gifts of $1,000,000+

AmSouth Foundation James W. Ayers - FirstBank Bank of America Alvin & Sally Beaman Foundation Lee A. Beaman, Trustee / Kelley Beaman, Trustee Mr. & Mrs. Dennis C Bottorff Ann & Monroe* Carell CaremarkRx Caterpillar Inc. & Its Employees The Community Foundation of Middle Tennessee Mike Curb Family Foundation Greg & Collie Daily Dollar General Corporation Laura Turner Dugas The Frist Foundation The Grimstad & Stream Families Patricia & H. Rodes Hart Mr. & Mrs. Spencer Hays HCA

Ingram Charitable Fund Gordon & Shaun Inman Ellen Harrison Martin Charles N. Martin Jr. The Martin Foundation Mr. & Mrs. R. Clayton McWhorter The Memorial Foundation Metropolitan Government of Nashville & Davidson County Anne* & Dick Ragsdale Mr. & Mrs. Ben R. Rechter The Grimstad & Stream Families Margaret & Cal Turner Jr. James Stephen Turner Charitable Foundation Vanderbilt University The Vandewater Family Foundation Ms. Johnna Benedict Watson Colleen & Ted Welch The Anne Potter Wilson Foundation

EstAtE plAnninG

NASHVILLe SYMPHONY LeGACY SOCIetY lEAvinG A lEGAcY, BUildinG A FUtURE

When Schermerhorn Symphony Center opened to the public in 2006, we envisioned our concert hall serving many generations for decades to come. If you have that same vision for the Nashville Symphony, then a planned gift can become your ultimate demonstration of commitment and support. You can help us plan for our future — and your own — through this creative approach to philanthropy and estate planning, which allows you to make a significant contribution to the Nashville Symphony while also enjoying income and tax benefits for you and your family.

Great orchestras, like all great cultural institutions throughout history, are gifts to posterity; they are built and bestowed to succeeding generations by visionary philanthropists.

To find out more about planned giving opportunities, please visit: NashvilleSymphony.org/plannedgiving, or contact Hayden Pruett, Major Gifts Officer, at 615.687.6615

The Nashville Symphony Legacy Society honors those patrons who have included the Symphony in their estate planning

tHANK YOu

Anonymous Barbara B. & Michael W. Barton Julie & Frank Boehm Mr. & Mrs. Dennis C Bottorff Charles W. Cagle Donna & Steven Clark Mrs. Barbara J. Conder Mr. & Mrs. Roy Covert Andrea Dillenburg & Ted Kraus William M. & Mildred P.* Duncan Deborah Faye Duncan Annette & Irwin* Eskind Judy & Tom Foster Dr. Priscilla Partridge de Garcia & Dr. Pedro E. Garcia James C. Gooch Billy Ray Hearn Judith Hodges Judith S. Humphreys Martha R. Ingram Heloise Werthan Kuhn Sally M. Levine John T. Lewis

Clare* & Samuel Loventhal Ellen Harrison Martin Dr. Arthur McLeod Mellor Cynthia & Richard Morin Anne T. & Peter L. Neff Mr. & Mrs. Michael Nowlin Pamela K. & Philip Maurice Pfeffer Joseph Presley Eric Raefsky, MD & Victoria Heil David and Edria Ragosin Mr. & Mrs. Ben R. Rechter Fran C. Rogers Mr. & Mrs. Martin E. Simmons Irvin & Beverly Small Mary & K.C. Smythe Dr. John B. Thomison Sr. Judy & Steve Turner Mrs. Johnna Benedict Watson Barbara & Bud Zander Shirley Zeitlin Anne H. & Robert K.* Zelle

*deceased

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DINING At tHe SCHeRMeRHORN

ARpEGGio

open before all nighttime series concerts and most special events, Arpeggio features a sumptuous four-course buffet including appetizer, soup station, four entrées and dessert. the price is $38 with water and tea, not including tax and gratuity. Arpeggio is located in the East lobby, and doors open two hours before the performance. Reservations are preferred; please call 615.687.6400. For more information, visit nashvillesymphony.org/Arpeggio.

sYmphonY cAFÉ

located in the West lobby, the symphony café offers breakfast and lunch on weekdays and casual pre-concert dining in the evenings. choose from a selection of gourmet soups, artisan sandwiches and fresh salads in addition to seattle’s Best coffee and espresso. symphony café is open 8 a.m. to 2 p.m. monday through Friday. on concert evenings, the café opens two hours prior to the performance. Free Wi-Fi is available.

BARs

seven bars are located throughout the building offering premium spirits, cocktails, wine, beer, soft drinks and bottled water.

VIStING tHe SCHeRMeRHORN REstRooms & WAtER FoUntAins

cAmERAs, cEll phonEs & othER dEvicEs

Restrooms and water fountains are available on the lounge level, located one floor below the main lobby; on the east and west sides of the Founders and Balcony levels; and outside the mike curb music Education hall on the Founders level. located on the lounge level, unisex restrooms are available for disabled guests needing special assistance.

cameras or audio recording equipment may not be brought into any space where a rehearsal, performance or lecture is taking place. cellular phones, beepers and watch alarms must be turned off prior to the start of any event.

coAt chEck

to enhance the acoustical experience inside laura turner concert hall, guests are invited to check their coats at one of several complimentary coat-check locations on each seating level. the most convenient is on the lounge level, located one floor below the main lobby.

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lAtE sEAtinG

As a courtesy to the performers and other audience members, each performance will have designated breaks when latecomers are seated. those arriving after a performance begins will be asked to remain outside the entrance door nearest their ticketed seats until the appropriate break.

HOW MAY We ASSISt YOu?

PARKING & tRANSPORtAtION

have a question, request or comment? please visit our concert concierge, which is available to help you with anything you might need during your visit. located in the main lobby, concert concierge is open through the end of intermission.

located directly across third Avenue from the schermerhorn, the pinnacle at symphony place offers symphony patrons pre-paid parking at a discount! to purchase, please call 615.687.6401.

concERt conciERGE

sERvicEs FoR GUEsts With disABilitiEs

schermerhorn symphony center has been carefully designed to be barrier-free and meets or exceeds all criteria established by the Americans with disabilities Act (AdA). All public spaces, restrooms, meeting rooms, offices, backstage dressing rooms and orchestra lounge, and production control rooms will accommodate performers, staff and guests with disabilities. interior signage and all elevators make use of Braille lettering for directional signs in both public and backstage areas, including all room signs.

An infrared hearing system is available for guests who are hearing impaired. headsets are available at no charge on a first-come, firstserved basis from the coat-check area on the lounge level, and from the concert concierge.

Accessible and companion seating are available at all seating and price levels with excellent acoustics and sight lines to the stage. transfer seating is also available to allow guests in wheelchairs to transfer easily to seats in the hall. please arrange in advance for accessible seating by calling a customer service representative at 615.687.6400.

EmERGEncY mEssAGEs

Guests expecting urgent calls may leave their name and exact seat information (seating level, door number, row and seat number) with any usher. Anyone needing to reach guests during an event may call the security desk at 615.687.6610. lost And FoUnd

please check with the house manager’s office for any items that may have been left in the building. the phone number for lost and Found is 615.687.6450.

pARkinG At thE pinnAclE

vAlEt

valet parking, provided by parking management company, is available on symphony place, on the north side of the building between third and Fourth avenues. We also offer pre-paid valet parking; for more details, call 615.687.6401. chAUFFEUREd tRAnspoRtAtion

Grand Avenue, the official transportation provider for the nashville symphony, offers town cars, sedans, limousines and bus transport for individuals and groups of all sizes. to make a reservation, please contact GrandAvenuelimo.com or 615.714.5466.

TICKeT SALeS the Box office is on the Fourth Avenue side of the building closest to symphony place. tickets may be purchased with mastercard, visA, American Express, discover, cash or local personal checks. limited 15-minute parking is available on Fourth Avenue just outside the Box office.

Regular hours: 10 a.m.-6 p.m. monday-Friday 10 a.m.-2 p.m. saturday hours on Concert Days: 10 a.m. to intermission monday-saturday call for hours on sunday tickets are also available by visiting nashvillesymphony.org or by phoning the Box office at 615.687.6400. cAn’t mAkE A concERt?

if you are unable to use your tickets, you may exchange them for another performance, availability permitting, or you may donate them for a tax deduction. tickets must be exchanged or donated by 6 p.m. on the day before the performance. some restrictions may apply. call 615.687.6401.

InConcert

93

mAp

oRchEstRA lEvEl loW 1st FlooR

Concert Concierge

east Atrium

West Atrium

box Office

bar

symphony store

bar

symphony Cafe

security

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February 2012

bar

West Lobby

Loge hall Loge boxes

Arpeggio Laura Turner Concert hall

Loge hall Loge boxes

Martha Rivers ingram Courtyard

east Lobby

FoUndERs lEvEl 2nd FlooR

ResTROOMs

exiT West Grand staircase

east Grand staircase

sTAiRs

Classical Conversations, additional bar & restrooms located in third-floor Balcony Lobby

eLevATOR

Founders boxes

board Room

Laura Turner Concert hall

Founders boxes

Founders hall

bar

bar

Founders Circle

COAT CheCk

FOOD

Orchestra view

WiFi ACCess

Curb Room

CONCeRT CONCieRGe InConcert

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GIANCARLO GUERRERO, conductor

The Cleveland Orchestra Giancarlo Guerrero, conductor Gabriela Montero, piano Beethoven - Symphony No. 6 “Pastoral” Grieg - Concerto for Piano Respighi - Pines of Rome

TICKETS: NashvilleSymphony.org 615.687.6400

I invite you to come hear me conduct one of this country’s — and the world’s — greatest orchestras next month at Schermerhorn Symphony Center!

I’ve had the great fortune of working with The Cleveland Orchestra since 2006 and am proud to serve as the Principal Guest Conductor of the ensemble’s Miami Residency. I hope you’ll help me welcome them to our world-class concert hall for a program that is sure to delight.

In addition to performing Beethoven’s “Pastoral” Symphony No. 6 and Respighi’s brilliant orchestral showpiece Pines of Rome, we’ll also welcome pianist Gabriela Montero to the stage for Grieg’s Piano Concerto. It’s going to be one thrilling night of music that you don’t want to miss!

I look forward to seeing you then,