InConcert May 2013

May 2013

MAY 30 - JUNE 1

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InConcert

MAY 2013

A publication of the Nashville Symphony

TA B L E O F

TITANS

CO NTE NTS

MAY 30 - JUNE 1 Nashville Symphony Giancarlo Guerrero, conductor Edgar Meyer, bass Joshua Bell, violin Mahler - Symphony No. 1: Blumine Edgar Meyer - Double Concerto for Violin and Double Bass *Nashville Symphony co-commission Mahler - Symphony No. 1 in D major “Titan”

departments 48 53 54 55 56 66 68 70 78

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CL A SS I C A L

CLASSICAL SERIES Thursday, May 2, at 7 p.m.

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

s e r i es

dEBUSSY & bRAHMS Nashville Symphony Giancarlo Guerrero, conductor Nashville Symphony Women’s Chorus Kelly Corcoran, interim chorus director Jean-Yves Thibaudet, piano CLAUDE DEBUSSY Nocturnes

Nuages [Clouds]

Fêtes [Festivals]

Sirènes [Sirens]

JAMES MACMILLAN Concerto for Piano No. 3 “The Mysteries of Light”

Baptisma Jesu Christi

Miraculum in Cana

Proclamatio Regni Dei

Transfiguratio Domini Nostri

Institutio Echaristiae

(movements played without pause) Jean-Yves Thibaudet, piano

INTERMISSION

JOHANNES BRAHMS

Symphony No. 4 in E minor, Op. 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

This concert is presented in honor of the Ozgener Family.

Choral programs supported in part by Mary C. Ragland Foundation.

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InConcert

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C L A U D E D E B U SSY

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CL A SS I C A L s e r i es

he “nocturnal” quality suggested by Claude Debussy’s title points to his admiration for the American painter James McNeill Whistler, who called several of his paintings “nocturnes.”

Further inspiration came from the composer’s fascination with French Symbolist poetry from the late 19th century. Describing his Nocturnes project, Debussy wrote: “It is an experiment with the various combinations of texture that can be made from one color – like a study in grays in the realm of painting.”

In the preface to his score, Debussy elaborated: “The title Nocturnes is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore it is not meant to designate the unusual form of the nocturne, but rather all the various impressions and the special effects of light that the word suggests.”

W hat to l i sten fo r Born on August 22, 1862, in Saint-Germainen-Laye, France; died on March 25, 1918, in Paris Nocturnes Debussy composed Nocturnes between 1897 and 1899, likely drawing on sketches dating back to 1892. Following on his breakthrough in orchestral writing with Prélude à l’après-midi d’un faune, the tripartite Nocturnes continued to open the door to a new century of innovation by bringing a fresh focus to musical texture and nuance.

First performance: Nocturnes was performed as a complete triptych for the first time on October 2, 1901, in Paris, with Camille Chevillard conducting.

First Nashville Symphony performance: October 27, 1953, with Music Director Guy Taylor Estimated length: 25 minutes

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Each of the three panels comprising Nocturnes establishes a unique form and characteristic tone color. The first panel, Nuages (“Clouds”), presents “the slow motion of the clouds” in pastel shadings that drift against a plaintive figure from the English horn. Toward the end, flute and harp float their languid lyricism.

A dramatic contrast follows in the extroverted Fêtes (“Festivals”). Here, Debussy wrote, his concern was to convey “the vibrating, dancing rhythm of the atmosphere with sudden flashes of light.” He goes on to describe an episode involving “a procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it.

Moving from air to “the sea and its countless rhythms,” Debussy returns to the ambiguously floating sensibility of Nuages in the longest of the three sections, Sirènes. The title refers to the mythic creatures of Homer’s Odyssey.

Debussy enhances the otherworldly mystery of the Sirens’ imagined song through hypnotic, oscillating rhythms, as well as through the ambiguity of the wordless singing of a female chorus. Their echoing interplay with the orchestra suggests “the waves silvered by moonlight.” Amid the repetitive textural patterns, details bubble to the surface and glisten like flecks reflected on the waves.

J A M ES M AC MIL L A N

Piano Concerto No. 3 “The Mysteries of Light” MacMillan composed The Mysteries of Light in 2007-08 on a commission from Osmo Vänskä and the Minnesota Orchestra on the occasion of the orchestra’s centennial. This richly colorful work, inspired by the composer’s Catholic faith, fuses the virtuosity of a piano concerto with the dramatic power of a symphonic poem.

First performance: April 14, 2011, with Jean-Yves Thibaudet as the soloist and Osmo Vänskä conducting the Minnesota Orchestra First Nashville Symphony performance. The orchestra introduces The Mysteries of Light to its repertory with these concerts.

Estimated length: 25 minutes

n a thought-provoking essay published in the British cultural and political magazine Standpoint in 2009, Scotland’s leading composer, James MacMillan, declared that “the case for modernism has been undermined by the flow and permanence of tradition, and many other things that [postwar modernists] didn’t see either as important or effective in the making of the modern world.”

One of the things MacMillan has in mind is “religion in the fault lines of this ongoing discussion.” The religious impulse, for him, belongs to the “primal, universal aspects of the human condition” to which postwar modernism had intentionally blinded itself. MacMillan goes on to point out the important role religion has played in the thinking of such modernist icons as Stravinsky, Schoenberg and even John Cage.

Religion — specifically, a commitment to the Roman Catholic faith — has been integral to MacMillan’s inspiration as a composer, much as it was for J.S. Bach or Anton Bruckner. Combining this trait with a natural gift for musical storytelling and emotionally compelling scores, the prolific MacMillan also draws on the folk music of his native Scotland and a wide spectrum of influences ranging from plainchant to the ecstatic soundscapes of Olivier Messiaen (an influence especially apparent in The Mysteries of Light).

Born on Scotland’s west coast, MacMillan became interested in composing during his childhood when he observed the pleasure his coal miner grandfather found in music. His international breakthrough came with the premiere of The Confession of Isobel Gowdie at the high-profile BBC Proms concerts. Two years later, fellow Scot and percussion virtuoso Evelyn Glennie introduced Veni, Veni, Emmanuel, a percussion concerto that has enjoyed enormous success, at the same venue.

The Mysteries of Light uses the concerto format to express MacMillan’s inspiration by theological ideas. Specifically, he turns his attention to the introduction by Pope John Paul II in 2002 of an additional set of five meditations, known as the Luminous Mysteries, to the devotional practice of praying the Rosary. In Catholicism, the Rosary traditionally embraces

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s e r i es

Born on July 16, 1959, in Kilwinning, Scotland; currently resides in Glasgow

I

CL A SS I C A L

Nocturnes is scored for 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, snare drum, 2 harps and strings, as well as female chorus.

CL A SS I C A L

Religion — specifically, a commitment to the Roman Catholic faith — has been integral to MacMillan’s inspiration as a composer, much as it was for J.S. Bach or Anton Bruckner.

s e r i es

three sets of mysteries, with a focus on the veneration of the Virgin Mary. It is a form of devotion meant to foster spiritual contemplation amid daily life. MacMillan writes that he wanted “to revive the ancient practice of writing music based on the structure of the Rosary.” The Mysteries of Light therefore supplements the traditional 15 mysteries covered by Biber by addressing the recently introduced five Luminous Mysteries, which form “the basis of the five sections of this concerto.” Yet MacMillan adds that his music isn’t “devotional in any accepted, traditional sense” but that “each image or event becomes the springboard for a subjective reflection, and proceeds in quasi-dramatic fashion, not too distant in concept from the musical tone poem.”

W hat to listen for Like several other concertos in MacMillan’s catalogue, The Mysteries of Light can be enjoyed on one level purely as an abstract composition with its own logic and remarkable soundscape.

At the same time, the composer’s specific source of inspiration is the Rosary. The Mysteries of Light fuses the principle of the concerto with aspects of the Romantic symphonic poem, incorporating numerological and word-painting references of the sort widely practiced by Baroque composers.

MacMillan remarks that this concerto/symphonic poem fusion “has long been a favorite pursuit of mine in earlier works.”

This single-movement concerto consists of five linked sections. The first, “The Baptism of Jesus Christ,” opens with a simple six-note modal phrase quoting Gregorian chant. This serves as a binding motif and recurs, refrain-like, throughout the opening section and at several pivotal moments later in the work. MacMillan’s orchestration conveys a sense of both ceremony

22

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and Messiaen-like wonder, while also leaving space for the piano to develop a distinctive persona. Here it does so by playing elaborate, fluid tracery between iterations of the chant motif.

MacMillan has written an especially taxing part for the soloist, who is an almost constant presence throughout the concerto, whether blending with the ensemble or in the spotlight.

The tone becomes earthier with the cheerful woodwinds and dance-centered ideas of the second section, “The Wedding at Cana,” though the brass introduce a more serious-minded chorale in counterpoint to the piano’s wild ecstasies. In “Proclamation of the Kingdom of God,” a sustained cloudbank of strings gives way to an intimate passage in the concerto, as the soloist descants with his right hand (“like raindrops”) on the simpler lyrical line played by his left.

A repeat of the chant motif leads into the fourth section, “The Transfiguration of Our Lord.”

The orchestra builds in intensity and volume throughout the first section before the piano reappears in another intimate but even more mysterious guise, with gentle accompaniment from vibraphone, tuned gongs, tubular bells and harp. The sustained strings then signal the passage to the last and longest of the five sections, “The Institution of the Eucharist.” MacMillan writes fast music here, its flavor often scherzolike, to suggest a kind of unbridled joy. Further moments of introspection from the piano disrupt this momentum several times before the concerto crests in a last reference to the chant motif.

In addition to solo piano, the Concerto is scored for 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 3 clarinets (3rd doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussionists, harp and strings.

J OH A NN ES B R A HM S CL A SS I C A L

Born on May 7, 1833, in Hamburg, Germany; died on April 3, 1897, in Vienna Symphony No. 4 in E minor, Op. 98

s e r i es

Brahms composed his Symphony No. 4 between 1884 and 1885 and conducted the premiere at Meiningen, Germany, on October 25, 1885.

First performance: October 25, 1885, in Meiningen, Germany, with the composer conducting First Nashville Symphony performance: October 30, 1951, with conductor Guy Taylor Estimated length: 40 minutes

W

hile Nuages points to compositional ideas that would be further developed in Debussy’s later masterworks such as La Mer, Brahms drew on the wisdom he had gathered from looking backward in the last of his four symphonies. Here, the composer distills his deep reverence for tradition as well as decades of knowledge gained from his own creative struggles into one of the most solidly yet subtly constructed works of the orchestral repertory.

Despite containing some of the most impassioned moments in Brahms’ entire output, the Fourth is couched in a language of implacable tragedy. There is no sweetener here to palliate its harsh truths. Even the brief joyful moments in this music come more as a surprise than as relief. The composer’s nature metaphor likewise points to the process of musical germination in the score, in which complex structures blossom organically from simple, at times even harsh, musical seeds.

What to listen fo r The primary “seed” in this case is the interval of the third, which permeates the score. We hear it in descending chains at the start of the first

movement, when Brahms presents the first theme as the music sighs and pauses with the gestures of passionate breathing. He discarded earlier sketches for some preliminary measures, deciding to dispense with a curtain raiser and plunge us at once into the heart of the matter.

The entire first movement enacts a process of development, reflecting the organic nature of Brahms’ musical thought. Through a process Schoenberg called “developing variation,” ideas cross-fertilize and are continually transformed.

This is not merely an intellectual or abstract concept but affects the emotional temperature throughout. Notice, for example, the air of mystery with which Brahms alters his thematic ideas to prepare for the recapitulation of the opening material. By the end of the movement, the tragic implications hinted in the main theme have accumulated to produce an overwhelming effect. Another aspect impossible to miss in the Allegro is the presence of dance impulses. Like the “sighs” of the opening, these tether his music to the organic, patterned rhythms of the body.

The Andante nominally brightens to the tonic major, but the tonality is surprisingly ambiguous at times. This movement also begins with an invitation to the dance, but a rather solemn one.

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Brahms blends instrumental timbres, developing his thematic material through contrasts of light and shade and creating gorgeous effects of sonic chiaroscuro. The sensual reality of sound color is integral to his imagination, as is the more abstract exploration of motivic ideas.

The third movement, Allegro giocoso, adds piccolo and tinkling triangle (the only times Brahms employs these instruments). The brighter light seems to dispel any night thoughts. But the brevity of this joy, framed in an innocently exuberant C major, comes as a shock. This music is energetic, like a scherzo, and its animated spirit turns out to be a delusion in view of the unyielding, titanic drama that will follow.

As far as the Romantics were concerned, Beethoven’s Fifth had opened up the genre of the symphony to reveal a new philosophical depth.

The widespread belief that this work evoked the power of “fate” became associated in particular, for several composers, with the inexorable patterns of ancient Greek tragedy. Brahms had already come to terms with the Fifth in his own C minor symphony (his First), which likewise paralleled Beethoven’s trajectory from darkness to jubilant light. But he saves the grimmest music of all for the finale of his last symphony.

Here, Brahms adapts the Baroque form of the passacaglia, which involves a set of variations (typically in triple meter) that take place over a constantly repeating harmonic sequence in the bass. As long as we keep in mind that Brahms is in no way writing program music to illustrate an external story, it’s possible to hear the cycling pattern of the passacaglia as a powerful metaphor for the inescapability of fate.

Yet Brahms never allows it to become a formal straitjacket. The miracle of the finale is the abundance of transformation that takes place within the limited confines of the passacaglia. The basis for these variations is the sequence of eight chords stated in the opening measures, which Brahms borrowed from the final movement of one of Bach’s earliest known cantatas, “Nach dir, Herr, verlanget mich” (“For Thee, O Lord, I Long”). By reviving a form that was presumed to be defunct, Brahms provided a model for composers to reclaim elements of the past in creative ways.

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Brahms fuses the predictability of the passacaglia’s repetitions with the forward-moving drama of sonata form. Notice, for example, the sense of recapitulation that arrives when the full orchestra climactically plays out the theme. Brahms even outlines the pattern of a miniature four-movement symphony in his implicit subdivisions of the variations into groups, such as the woodwind-dominated variations at the center (suggesting the equivalent of a slow movement). Whatever expectations might be set up of a “victorious” conclusion are dashed by the genuinely tragic close. This most severe of the Fourth’s movements charges ahead in an urgent coda to its ruthless, unredeemed close.

The Symphony No. 4 is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle and strings.

—Thomas May is the Nashville Symphony’s program annotator.

About the Soloist JEAN-YVES THIBAUDET, piano After appearing at the Hollywood Bowl, Tanglewood and Ravinia, acclaimed pianist Jean-Yves Thibaudet began his 2012/13 season playing Gershwin with the New Jersey Symphony. He toured Europe with Kammerorchester Basel, and he played an allDebussy program at Lincoln Center, in San Francisco and Houston. Other engagements this season have included Messiaen’s Turangalîla with the Seattle Symphony, Liszt’s Piano Concerto No. 2 with Bergen Philharmonic, and Ravel’s Piano Concerto in G major with the RAI Orchestra in Torino. In April, Thibaudet performed during a three-week residency with the Orchestre National de Lyon.

In the 2011/12 season Thibaudet performed with the Philadelphia Orchestra, the San Diego

N ashvi lle Symphony Cho r us KELLY CORCORAN, interim chorus director

ALTO Sarah Boone Gretchen Brecht Lyn Camping Cathi Carmack

Symphony and the Royal Philharmonic Orchestra, among others. He has released more than 40 albums with Decca, which have won the Schallplattenpreis and the Diapason d’Or, among other awards. In 2010, he released his latest CD, Gershwin, with the Baltimore Symphony and Music Director Marin Alsop. He recorded the soundtrack of the 2012 film Extremely Loud & Incredibly Close, composed by Alexandre Desplat.

Thibaudet was born in Lyon, France, where he began his piano studies at age 5. At 15 he won the Premier Prix du Conservatoire. In 2001, the Republic of France awarded him the prestigious Chevalier dans l’Ordre des Arts et des Lettres, and he was awarded the title Officier by the French Ministry of Culture in 2012.

Thibaudet is represented worldwide

by IMG Artists, LLC, and he records exclusively for Decca Records.

Lisa Cooper Karen Crow Janet Davies Shanon Freeman Liz Gilliam Aynsley Martindale Lisa Pellegrin Gerda Resch Debbie Reyland Carmen Sanders Carla Simpson Maribeth Stahl Debra Lee Williamson

Belmont University Musical Theatre Presents A new production of BOUBLIL and SCHÖNBERG’S

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MARCH 15-17 & MARCH 21-24 For more information on student performances or majors, please visit www.belmont.edu/music or call 615.460-6408.

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Marcy McWilliams Jean Miller Jessica Moore Carolyn Naumann Catie Pratt Sonya Sardon Mallory Street Marla Thompson

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SOPRANO Karen Argent Stephanie Breiwa Anna Caldwell Amanda Dier Jennifer Erickson Abbey Francis Delphine Gentry Laurens Glass Grace Guill Carlie Hill Vanessa Jackson Alesia Kelley Heather Lannan Megan Latham

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CLASSICAL SERIES Thursday, May 9, at 7 p.m.

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

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Mendelssohn’s Elijah Nashville Symphony Nicholas McGegan, conductor Nashville Symphony Chorus Kelly Corcoran, interim chorus director Yulia Van Doren, soprano Mary Phillips, mezzo-soprano Thomas Cooley, tenor Andrew Foster-Williams, bass-baritone FELIX MENDELSSOHN Elijah, Op. 70 Part I Introduction: As God the Lord of Israel liveth Overture No. 1 (Chorus): Help, Lord!

Recitative: The deeps afford no water No. 2 (Duet with Chorus): Lord, bow Thine ear No. 3 (Recitative): Ye people, rend your hearts No. 4 (Aria): If with all your hearts No. 5 (Chorus): Yet doth the Lord No. 6 (Recitative): Elijah, get thee hence No. 7 (Double Quartet): For He shall give His angels Recitative: Now Cherith’s brook No. 8 (Recitative and Aria): What have I to do with thee No. 9 (Chorus): Blessed are the men who fear Him No. 10 (Recitative and Chorus): As God the Lord of Sabaoth No. 11 (Chorus): Baal, we cry to three No. 12 (Recitative and Chorus): Call him louder, for he is a god No. 13 (Recitative and Chorus): Call him louder: he heareth not No. 14 (Aria): Lord God of Abraham No. 15 (Chorus): Cast thy burden upon the Lord No. 16 (Recitative and Chorus): O Thou, who makest Thine angels spirits No. 17 (Aria): Is not His word like a fire No. 18 (Arioso): Woe unto them who forsake Him! No. 19 (Recitative and Chorus): O man of God, help thy people!

No. 20 (Chorus): Thanks be to God INTERMISSION Part II No. 21 (Aria): Hear ye, Israel No. 22 (Chorus): Be not afraid No. 23 (Recitative and Chorus): The Lord hath exalted thee InConcert

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No. 24 (Chorus): Woe to him No. 25 (Recitative): Man of God No. 26 (Aria): It is enough!

No. 27 (Recitative): See, now he sleepeth No. 28 (Trio): Lift thine eyes No. 29 (Chorus): He, watching over Israel No. 30 (Recitative): Arise, Elijah No. 31 (Aria): O rest in the Lord No. 32 (Chorus): He that shall endure No. 33 (Recitative): Night falleth round me No. 34 (Chorus): Behold, God the Lord No. 35 (Recitative and Chorus): Holy is God the Lord No. 36 (Chorus and Recitative): Go, return upon thy way!

No. 37 (Arioso): For the mountains shall depart No. 38 (Chorus): Then did Elijah No. 39 (Aria): Then shall the righteous shine forth No. 40 (Recitative): Behold, God hath sent Elijah No. 41 (Chorus): But the Lord from the North No. 42 (Chorus): And then shall your light break forth

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F EL I X M E N D E L SSO HN Born on February 3, 1809, in Hamburg, Germany; died on November 4, 1847, in Leipzig, Germany Elijah, Op. 70 Mendelssohn initially conceived his oratorio Elijah in 1837. He composed the work in 1845-46, on a commission from the Birmingham Music Festival, and later revised the score. Marking the climax of his career, this hugely ambitious oratorio provided a vehicle to reaffirm his faith in the elevating power of art and pushed his imagination to its limits. A little more than a year after Elijah’s triumphant premiere, the overworked composer suffered a series of strokes and died at the age of 38.

First performance: August 26, 1846, at the Birmingham Music Festival in England, with Mendelssohn conducting First Nashville Symphony performance: These are the orchestra’s first performances.

Estimated length: 128 minutes (not including intermission)

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and intended to make the new work something more akin to a pious sermon, insisting on including passages from the New Testament.

Mendelssohn provided a counterweight to Schubring’s design by actively collaborating in shaping the text, emphasizing the importance of its dramatic shape and the integrity of the original story. Using Martin Luther’s German translation of the Bible, he composed it as Elias — the German counterpart of “Elijah” — but then had the text meticulously translated into the English of the King James Bible for the first performance.

Elijah avoids the traditional device of an interlinking narrator in favor of a more directly dramatic approach, leaving the connections between its colorful scenes implicit. Schubring and Mendelssohn interspersed passages from other sources in Hebrew Scripture. The singers actually adopt the roles of specific characters, at times playing more than one. The bass soloist is Elijah, while the alto, for example, represents both an angel and the idol-mongering Queen Jezebel. The chorus embodies the Israelites as well as the priests of Baal (Jezebel’s imported deities), but also comments on the miracles of divine intervention.

Mendelssohn treats his musical predecessors with deep respect. St. Paul, with its prominent chorales and fugal textures, is clearly Bachcentered, while Elijah adheres more closely to the dramatic model established by Handel. At the same time, the score shows awareness of Bach, and its treatment of the miracles that punctuate the story indicates an obvious familiarity with the imaginative tone painting Haydn used so remarkably in his own oratorios The Creation and The Seasons.

The composer clearly expressed his own view of the power inherent within the prophet’s story: “I imagined Elijah as a grand, mighty prophet, of the kind we might require in our own day,” he wrote while the idea was still percolating.

“Energetic and zealous, but also stern, angry, brooding, in striking contrast to the rabble you find both in court and in the populace — indeed, up against the whole world — yet borne aloft on angels’ wings.”

CL A SS I C A L

ith his landmark revival of Bach’s St. Matthew Passion in 1829, Felix Mendelssohn began to reclaim the “oldfashioned” genre of the oratorio. Following the success of his first original oratorio, St. Paul, which appeared in 1836, Mendelssohn almost immediately set to work imagining another venture in this format. Delays ensued, however, as a result of indecision over the libretto. After trying to collaborate with one of his childhood friends, he eventually turned to another longtime friend, the Protestant pastor and theologian Julius Schubring, to serve as librettist.

It took a high-profile commission to spur Mendelssohn into composing Elijah in earnest.

In 1845 the Birmingham Music Festival asked the composer — who was already a favorite with the English public — for a grand new choral work for the following season. He completed the extensive score with just two weeks to spare, but he remained unsatisfied despite the fresh triumph it brought him and went on to make substantial revisions soon after the premiere.

Biographers have remarked that St. Paul might be viewed as an allegory of the Mendelssohn family’s conversion from Judaism to Protestantism when the composer was a boy. With Elijah he explores his Jewish roots as part of a larger quest that conductor-scholar Leon Botstein describes as a continuation of the work of his famous grandfather Moses. This great philosopher of the Jewish Enlightenment, says Botstein, “focused on the compatibilities between religion and 18th-century rationalism.”

For his part, the younger Mendelssohn was “syncretic, not sectarian. His Christian faith focused on the extent to which Christianity was a universalization of Judaism.”

It wasn’t just Elijah’s message of steadfast resistance to empty idols that appealed to Mendelssohn. He was also attracted to the musical and dramatic possibilities contained in the terse but wonder-filled narrative of the prophet given in the two books of Kings. “I am anxious to do full justice to the dramatic element,” he wrote to Schubring, who had also compiled the libretto for St. Paul from Scripture. But Schubring had an agenda of his own as a Lutheran pastor

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Elijah opens with a remarkably dramatic gesture: an austerely scored brief prologue in which the prophet predicts doom to come. Only after this plunge into a story already in progress does Mendelssohn provide an Overture — here a tone poem depicting the people’s suffering — which spills directly into the opening chorus. The Prologue also introduces two key musical ideas that will recur: a rising triad (here in D minor) signifying the divinity and a sinister descending figure to indicate the curse brought on by the Israelites’ inconstancy.

The score abounds in marvelous pictorial opportunities drawing on large-scale orchestral and choral forces. Examples include the descent of fire in the contest of the gods, the onrush of water at the conclusion of Part One, and the whirlwind of fire in Elijah’s ascent to heaven.

Mendelssohn heightens their impact with his effective use of suspense, as in the savage silences after the frenzied invocations to Baal.

On the large scale, the oratorio is patterned after powerful contrasts and internal echoes.

The collective despair depicted in the opening is set against a moving scene in which we see the widow’s individual suffering, with the revival of

her child inspiring a restoration of faith. (For the part of the widow, Mendelssohn originally wrote with the voice of the famous soprano Jenny Lind — the “Swedish nightingale” — in mind.)

The individual angle comes most clearly into focus in Mendelssohn’s multi-faceted portrayal of the prophet himself. Part Two focuses on Elijah’s inner life, culminating in the dark night of “It Is Enough,” which is patterned after a famous aria from Bach’s St. John Passion. Mendelssohn then builds a kind of spiritual crescendo from this point of utter dejection to the sacred epiphany of “Behold! God the Lord Passeth By!” At the opposite end of the gloom-ridden, somber music that opened the oratorio, Elijah reaches a securely serene conclusion in D major with the chorus “And Then Shall Your Light Break Forth.”

In the process, Mendelssohn gives monumental form to his spiritual and artistic preoccupations. No wonder that the eloquence of such arias as “O Rest in the Lord” or the serenely reassuring double-quartet “For He Shall Give His Angles Charge Over Thee” spoke so consolingly to audiences in the Victorian era, when science and relentless material progress were unraveling old certainties. Yet however distant from our own sensibilities the reactions of those original

Eli jah ’s N a r r ativ e The story of Elijah unfolds as a sequence of events structured to build two distinct climaxes, one for each half of the bipartite oratorio. Part One begins as Elijah prophesies a devastating drought as punishment for the Jews’ acceptance of idols. The prophet then goes into hiding in the desert and revives the lifeless son of a widow who has sheltered him. Three years later, he returns to King Ahab and stages a showdown between the Baal worshippers and “the Lord God of Abraham.” The first part reaches its

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climax when Elijah’s prayer for the return of life-restoring rain is answered.

Part Two finds the prophet again confronting the ruling powers as Queen Jezebel rouses the people against him.

He flees once more to the wilderness and faces abject despair but, in another powerful climax, is granted a vision of the Lord. Elijah continues to fulfill his mission and finally ascends to heaven in a chariot of fire. The concluding numbers suggest parallels between Elijah and the future Messiah.

listeners might seem, Mendelssohn’s achievement — so far-reaching in scope — retains its immediacy and power to move us.

Handel arias with Lorraine Hunt Lieberson, and Haydn Symphonies Nos. 88, 101 and 104 (nominated for a GRAMMY® Award).

YULIA VAN DOREN, soprano RussianAmerican soprano Yulia Van Doren is increasingly sought after for her ability to tackle the most demanding and varied repertoire. In recent seasons, she made her Los Angeles Philharmonic debut in Shostakovich’s Orango, sang St. Theresa in Virgil Thomson’s Four Saints in Three Acts with the Mark Morris Dance Group, performed Nielsen’s Symphony No. 3 with the American Symphony Orchestra at the Bard Festival, and sang Handel’s Messiah with the Houston Symphony and Bach’s Mass in B minor with Music of the Baroque.

Recent opera performances include Dorinda in Handel’s Orlando at the Mostly Mozart, Ravinia and Tanglewood Festivals with Philharmonia Baroque, as well as Galatea in Handel’s Acis and Galatea at the Macau International Music Festival.

In the 2012/13 season, Van Doren will travel to the Netherlands for Handel’s Alexander’s Feast and Acis and Galatea, and to Walt Disney Concert Hall to perform the Brahms Requiem with the Los Angeles Master Chorale. She will also debut with the Baltimore and Toronto Symphonies in Messiah and with the Pasadena Symphony in Mahler’s Symphony No. 4.

Van Doren earned an undergraduate degree at the New England Conservatory and a master’s degree from Bard College. She is a recipient of the prestigious Soros Fellowship for New Americans.

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NICHOLAS MCGEGAN, conductor As he embarks on his fourth decade on the podium, Nicholas McGegan is increasingly recognized for his revelatory explorations of music from all periods. He has been music director of Philharmonia Baroque Orchestra for 27 years, and he was Artistic Director of the International Handel Festival Göttingen from 1991-2011. Beginning in the 2013/14 season, he becomes principal guest conductor of the Pasadena Symphony.

His intelligent, joyful approach to period style has led to appearances with major orchestras including the New York, Los Angeles and Hong Kong Philharmonics, as well as the Chicago, Milwaukee, St. Louis, Toronto and Sydney Symphonies. He has also appeared with the Northern Sinfonia and the Scottish Chamber Orchestra, where his programs often mingle Baroque with later works. He is also at home in opera houses, having conducted companies including Covent Garden, San Francisco, Santa Fe and Washington.

Born in England, McGegan was educated at Cambridge and Oxford. He was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.”

Other awards include the Halle Handel Prize, the Order of Merit of the State of Lower Saxony (Germany) and the Medal of Honour of the City of Göttingen.

His extensive discography includes recent releases on Philharmonia Baroque Productions (PBP), including Berlioz’s Les Nuits d’été and

— Thomas May is the Nashville Symphony’s program annotator.

CL A SS I C A L

About the soloists

Elijah is scored for solo soprano, alto, tenor and bass, mixed chorus, and an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, organ and strings.

CL A SS I C A L s e r i es

MARY PHILLIPS, mezzo-soprano Internationally acclaimed mezzo-soprano Mary Phillips’ recent appearances have included her role debut as Brangaene in Wagner’s Tristan und Isolde for Dallas Opera, as well as Schwertleite in Wagner’s Ring and Mrs. Alexander in Philip Glass’ Satyagraha for the Metropolitan Opera. She is best known for her Amneris in Aida, reprised in 2012 for Hawaii Opera Theatre.

She has sung Fricka and Waltraute in Die Walküre and Waltraute in Götterdämmerung at Canadian Opera.

Phillips’ concert highlights include Mahler’s Symphony No. 8 with the New York Philharmonic and Mahler’s Symphony No. 2 with the Atlanta Symphony and the Los Angeles Philharmonic. Her many performances of Beethoven’s Symphony No. 9 include the Boston Symphony Orchestra under James Levine and the Philadelphia Orchestra under Charles Dutoit.

Performances in 2012 included Beethoven’s Symphony No. 9 with the Baltimore Symphony and Prokofiev’s Alexander Nevsky with the Milwaukee Symphony.

Phillips maintains a strong interest in performing and recording Baroque repertoire.

On the opera stage, this has included Sesto in Giulio Cesare in Barcelona and Eduige in Rodelinda for Dallas Opera. Concert appearances include Messiah at Carnegie Hall, as well as with the Atlanta Symphony, Seattle Symphony and Gulbenkian Orchestra in Lisbon.

THOMAS COOLEY, tenor Minnesota-born tenor Thomas Cooley is quickly establishing a reputation on both sides of the Atlantic — and beyond — as a singer of great versatility, expressiveness and virtuosity. Highlights of his 2012/13 season include Bach’s Mass in B minor at the Atlanta Symphony, Handel’s Messiah at Minnesota Orchestra, Bach’s Lutheran Mass with Les Violons du Roy, and Bach’s Christmas Oratorio at Baldwin-Wallace Bach Festival.

Recent seasons have included the Berlioz Requiem at Carnegie Hall, Beethoven’s Missa Solemnis with the Atlanta Symphony, Handel’s Alexander’s Feast at Carmel Bach Festival, and

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Beethoven’s Symphony No. 9 at the Oregon Bach Festival, with the Kansas City Symphony and with Eiji Oue in Osaka, Japan. Cooley also appeared in Handel’s Tamerlano as Bajazet at the International Handel Festival Göttingen, and in Mozart’s Krönungsmesse, Honneger’s Le Roi David and Mozart’s Requiem in Amsterdam.

Cooley’s recordings include Mathan in Handel’s Athalia with Peter Neumann and the Kölner Kammerchor on MDG and the premiere recording of Vivaldi’s Dixit Dominus on Deutsche Grammophon, as well as Mozart’s Requiem with the Windsbacher Knabenchor for Sony.

ANDREW FOSTER-WILLIAMS, bass-baritone Andrew Foster-Williams appears regularly at Washington National Opera, where his roles have included Albert in Werther and Leone in Tamerlano. He will open his current season in Washington singing Leporello in Don Giovanni.

Other opera plans include Telramund in Wagner’s Lohengrin at the 2013 Lanaudière Festival and Deborah Warner’s staging of Messiah and Peter Grimes for Lyon Opera.

Concert plans this season and beyond include Beethoven’s Cantata on the Death of Emperor Joseph II with the San Francisco Symphony and Michael Tilson Thomas; Bach’s St. Matthew Passion with the Philadelphia Orchestra and Yannick Nézet-Séguin; Haydn’s Creation with the Orchestra of the Age of Enlightenment and Adam Fischer; and Lully Phaeton on tour, including Paris, Lausanne and London, with Les Talens Lyriques and Christophe Rousset. Recent concert performances have included Haydn’s Die Jahreszeiten with the London Symphony Orchestra and Sir Colin Davis, and Beethoven’s Missa Solemnis and Brahms’ Requiem with L’Orchestre des Champs Elysée and Philipe Herreweghe. Opera appearances have included Nick Shadow in The Rake’s Progress for Opéra National de Lorraine, Fenice in Handel’s Deidamia for Netherlands Opera, and Don Pizarro in Fidelio for Opera North.

U.S. appearances have included Haydn’s Nelson Mass and Bach’s Lutheran Mass with Franz Welser-Möst and The Cleveland Orchestra, as well as Mozart’s Requiem with the Philadelphia Orchestra and Yannick Nézet-Séguin.

Nash ville SymphonY Cho r us KELLY CORCORAN, interim chorus director Marva Swann Leah Taylor Marla Thompson Beth Thorneycroft Jennice Threlkeld Kathryn Whitaker Becky Young ALTO Carol Armes Caroline Barry Sarah Boone Gretchen Brecht Mary Callahan Lyn Camping Cathi Carmack** Teresa Cissell Lisa Cooper** Jaci Cordell Karen Crow Beth Cyrus Janet Keese Davies Carla Davis Leriel Davis June Dye Susan Fouche Shanon Freeman Elizabeth Gilliam Judith Griffin Stefanie Griffith Leah Handelsman+ Marah Harrington+ Alyssa Harris Sallie Hart Gay Hollins-Wiggins Younhee Kim Aynsley Martindale Shelley McCormack Sarah Miller Karen Mitchell Katharina Nowatny- Boles Lisa Pellegrin Lauren Ramey Stacy Reed Gerda Resch Debbie Reyland Nancy Roberts Stephanie Robinson

Ursula Roden Gretchen Roth Amy Russo Carmen Sanders Patricia Sharp Carissa Shockley Laura Sikes Carla Simpson Brandi Snead Maribeth Stahl** Emily Stubbs Allison Thompson Debra Greenspan Watts Alicia Webb Debra Lee Williamson TENOR Irving Basanez David Carlton Christon Carney Thomas Clay James Cortner Joe Fitzpatrick Mike Handley Michael Harrison David W. Hayes William F. Hodge Cory Howell^ John Manson** Lynn McGill Derek Meler Mark Naumann William Paul John Perry+ David W. Piston Gary Rabideau Keith Ramsey Adrian Romero David M. Satterfield+ William Seminerio Daniel Sissom Eddie Smith** Stephen F. Sparks Tony Stogsdill Zach Thompson James W. White Bruce Williams Scott Wolfe Jonathan Yeaworth

BASS Gary Adams Gilbert Aldridge Robert A. Anderson Anthony Barta Kenton Dickerson Scott Edwards John Ford Stuart Garber Richard Hatfield Charles Heimermann Kentaro Hirama Michael Hopfe Stanley Jenkins Carl Johnson Clinton Anthony Johnson Matt Landman Joshua Alan Lindsay William B. Loyd Matt McDonald Ben McKeown Bruce Meriwether Andrew Miller Stephen Mitchell Christopher Mixon Dwayne Murray Steve Prichard Greg Ray J. Paul Roark Matthew Smedberg Larry Strachan+ Chad Stuible David B. Thomas+ Lee Velez John Williams Eric Wiuff

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SOPRANO Beverly Anderson Karen Argent Esther Bae Amie Bates Stephanie Breiwa Anna Caldwell Rose Christian Amanda Dier Katie Doyle Jennifer Leilani Erickson Becky Evans-Young M. Kathleen Figaro Abbey Francis Delphine Gentry Laurens Glass Grace Guill Jane Harrison Carlie Hill Vanessa Jackson+ Carla Jones Young-Soon Kang Alesia Kelley Barbara Laifer Heather Lannan Megan Latham Jennye Laws-Woolf Jennifer Lynn Janet MacDonald Lora Manson Rebecca Mathias Diana McCormick Marisa McWilliams Dori Mikus Jean Miller Jessica Moore-Hooten Linda Naron Carolyn Naumann+ Iris Walton Perez Catherine Pratt Lauren Price Sonya Sardon Deborah Schrauger Esther Sooter Maria Spear Jennifer Goode Stevens** Mallory Street Brandi Surface

CL A SS I C A L

Soloists noted in boldface

Cory Howell, interim assistant director John Roberts, librarian Elizabeth Smith, accompanist ** NSC Board + Section Leader ^ Assistant Conductor

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POPS SERIES

P OPS

Thursday, May 23, at 7 p.m.

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

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cirque musica Nashville Symphony Albert-George Schram, conductor Overture

Julius Fucik: Entrance of the Gladiators, Op. 68 Marcelo Zarvos: Cirque Musica Prelude

Rolla Bolla Nikolai Rimsky Korsakov: Flight of the Bumblebee from Tsar Saltan

Simon and Lyric Arestov Love Bended

Marcelo Zarvos: Cirque Musica Power Ekaterina Sknarina

Classic Themes

John Williams: Themes from Star Wars and Superman

Sorcerer’s Apprentice Hooped

Paul Dukas: Sorcerer’s Apprentice Ashley Winn

Mars Slackwire Gustav Holst: Mars from The Planets

Evgeny Vasilenko

INTERMISSION 1812

Pyotr Ilyich Tchaikovsky: 1812 Overture Simon and Lyric Arestov

Bald Mountain Modest Mussorgsky: Night on Bald Mountain

George Coronas and Miles Hay

Whip Cracking Hoe-Down Aaron Copland: “Hoe Down” from Rodeo

Gioachino Rossini: Overture from William Tell

Angelo “AJ Silver” Iodice All You Need Is Love

McCartney/Lennon et al.: Beatles Medley Matt Roben

Beauty Pyotr Ilyich Tchaikovsky: Violin Concerto in D Major, Op. 35

Allegro Moderato

Kathleen Sloan, violin, and Christian Stoinev

The Grand Finale Marcelo Zarvos: Cirque Musica Finale

Cirque Musica Cast

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About the artists P OPS s e r i es

STEPHEN COOK, executive producer Stephen Cook, president and CEO of TCG Productions and The Cooking Group, has almost 20 years of entertainment marketing experience and created TCG Productions and The Cooking Group with the vision of servicing the arts and overall entertainment industry with top quality programming, booking, marketing and publicity services. The Cooking Group clients include Kenny G, The Annie Moses Band, Twist & Shout, the Dallas POPS Orchestra, the Saint Louis Symphony and Bowfire, among others.

Prior to starting The Cooking Group, Cook held leadership positions at top entertainment companies including Universal Studios, Six Flags Over Texas, Dallas Symphony Orchestra, The Tussauds Group in Las Vegas and Feld Entertainment, Inc. TRACY SILVERMAN, music director Nashville-based electric violinist Tracy Silverman has performed and recorded with a virtual who’s-who of the rock, pop, new music and jazz fields, including artists as diverse as legendary composer Terry Riley, jazz pianist Billy Taylor, the rock band Guster, electric violinist Daniel Bernard Roumain, Jim Brickman and others. In 2003, Pulitzer Prize-winning composer John Adams composed The Dharma at Big Sur, a concerto for electric violin, specifically for Silverman. A recording artist and composer, Silverman recently premiered his own second concerto for electric violin, Between the Kiss and the Chaos. A faculty member at Belmont University, he tours internationally as a soloist with orchestras, with his one-man concerts and with his band Eclectica.

MARCELO ZARVOS, original music composer Marcelo Zarvos has written for virtually every medium, from film, television and theater, to dance and the concert stage. He has received praise for his affecting scores from films such as The Art of Losing (now in post-production), The Good Shepherd, Hollywoodland, Strangers with Candy, The Door in the Floor, Kissing Jessica Stein and the Academy Award-nominated short

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film A Soccer Story. Zarvos started his classical music studies as a teenager in São Paulo with H.J. Koelreutter, the West German composer who also taught Antonio Carlos Jobim and many other of Brazil’s greatest composers.

Cast

Rietta “Lyric Wallenda” Arestov Simon Arestov George Coronas Miles Hay Angelo Iodice Matt Roben Ekaterina Sknarina Christian Stoinev Evgeny Vasilenko Ashley Winn Featured Violinist: Kathleen Sloan Special thanks to Phil and Karen Drayer, and Monica Cook

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The donations made to Homes for Our Troops are part of Bank of America’s commitment to make up to 1,000 homes available nationwide through 2014 through property donations to military veteran-support organizations and first responders through other nonprofit, communitybased groups. Bank of America also partners with Military Warriors Support Foundation on this effort, and through our partnership donated homes in Antioch and Smyrna which were given, mortgage free, to veterans who served in Iraq or Afghanistan.

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titans Nashville Symphony Giancarlo Guerrero, conductor Joshua Bell, violin Edgar Meyer, double bass

GUSTAV MAHLER

Blumine

EDGAR MEYER Double Concerto for Violin, Double Bass and Orchestra

Quarter Note = 135

Quarter Note = 100

Half Note = 80 Joshua Bell, violin Edgar Meyer, double bass

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GU STAV M A HL E R CL A SS I C A L

Born on July 7, 1860, in Kalischt, Bohemia (present-day Czech Republic); died on May 18, 1911, in Vienna Blumine

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Mahler initially composed Blumine as part of a score of incidental music. In 1884 he decided to recycle it as the second movement in the original version of his First Symphony. This music is closer in feeling to the intimate, lyrical passages that serve as “oases” within the epic expanse of the First.

First performance: November 20, 1889, in Budapest, with Mahler conducting the Budapest Philharmonic First Nashville Symphony performance: These are the orchestra’s first performances.

Estimated length: 8 minutes

G

ustav Mahler thought big when, still only in his late 20s, the time came to introduce his First Symphony. His original plan called for a fivemovement work, of which Blumine was to be the second. He incorporated material from smallerscale pieces into this grand design, including two songs from his first song cycle.

Blumine was written as part of a suite of incidental music to an epic poem set in the Thirty Years War, The Trumpeter of Säckingen by German writer Joseph Viktor von Scheffel. The manuscript for that suite was lost, and Blumine nearly disappeared into oblivion when Mahler decided to omit it from the First Symphony before publishing the larger work. By chance a private manuscript resurfaced decades later, and Benjamin Britten reintroduced this music at the Aldeburgh Festival in 1967. The word Blumine riffs on the standard German term for flower (Blum) and might be rendered as something like “Flowerine.” (The German writer Jean Paul was the source for this use, as well as the title Titan.)

W hat to l i sten fo r The original context of Blumine is clear in the prominence of the solo trumpet, which represents the poem’s protagonist as he serenades his lover across a river. Mahler’s chamber-like scoring is echoed in several of the more intimate passages of the First, but it also contrasts strikingly with the symphony’s orchestral effects when Mahler unleashes the full onslaught of his forces in the first and final movements. Some conductors who wish to reintroduce this music play it as a second movement, but that contradicts Mahler’s own final design for the First. Hearing Blumine on its own provides a fascinating context for the range of thinking that went into this landmark early work.

Blumine is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, trumpet, timpani, harp and strings.

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EDGA R M E Y E R CL A SS I C A L se r i es

Born on November 24, 1960, in Tulsa, Oklahoma; currently resides in Nashville Double Concerto for Violin, Double Bass and Orchestra Edgar Meyer composed his Double Concerto between January and April 2012, later revising the score. The work was written on a joint commission from the Nashville Symphony, the Aspen Music Festival and the Toronto Symphony Orchestra. Celebrated for his virtuosity on the double bass and his innovative exploration of hybrid musical idioms, Meyer teams up once again with one of his familiar partners in this double string concerto, drawing inspiration from Baroque models, the rhythmic intricacy of Hindustani music and the American vernacular.

First performance: July 7, 2012, at the Tanglewood Festival, with Joshua Bell as violinist, the composer as double bassist, and Michael Stern conducting the Boston Symphony Orchestra First Nashville Symphony performances: The Nashville Symphony introduces Meyer’s Double Concerto to its repertory with these concerts.

Estimated length: 28 minutes

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ollaborative projects are at the heart of Edgar Meyer’s musical life as a composer, touring performer, recording artist and teacher, so it’s not surprising that a prominent part of his catalogue to date includes works using the concerto principle of a solo instrument (or instruments, as in the work on this program) collaborating with a larger ensemble. Along with the new Double Concerto and the Triple Concerto, he has written three concertos for double bass, a violin concerto, and a double concerto for bass and cello.

The more intimately collaborative medium of chamber music has also inspired Meyer’s work, as in the Short Trip Home project, a groundbreaking quartet comprising Meyer, Joshua Bell and bluegrass legends Sam Bush and Mike Marshall.

The new Double Concerto brings Meyer together again with his longtime friend and musical partner Joshua Bell. What in particular appeals to him about Bell’s playing? “It’s a unique combination of abilities,” Meyer explains. “He has a gift for the overview and can see the whole piece when he plays it. In his classical playing, Joshua also possesses a lean voice that is appropriate for the music I write. And he can master the more ambitious rhythmic aspects of my writing as well.”

W hat to l i sten fo r A major challenge Meyer sets for himself as composer here is to pit two extremes against each other. The violin and double bass are, of course, both members of the string family, but they outline its furthest reaches on opposite sides of the pitch spectrum. Moreover, the violin is generally associated with the “main line,” the melodic center of attention, whereas the bass, in the classical model at least, frequently plays the role of harmonic supporter when not singled out for special effects (as in the third movement of Mahler’s First Symphony).

But Meyer has devoted his career to exploding stereotypes of his instrument. In this case he develops engaging forms of duologue between the two soloists, often creating captivating harmonic and rhythmic structures from their interactions.

Their first “collaboration,” for example — coming right after a brief introduction by the orchestral strings and the perky melody by the violin alone

In addition to solo violin and double bass, the Double Concerto is scored for 2 flutes, 2 oboes, 2 clarinets (2nd doubling E-flat clarinet), 2 bassoons, 3 horns, 2 trumpets, 2 trombones, tuba, timpani, harp and strings.

GU STAV M A HL E R Born on July 7, 1860, in Kalischt, Bohemia; died on May 18, 1911, in Vienna Symphony No. 1 in D major “Titan” Mahler composed the first (five-movement) version of his Symphony No. 1 in 1888, drawing some of its material from such previous works as his first song cycle (1884-85). He continued to make substantial revisions to both the scoring and the presentation of the work throughout the 1890s before publishing it in 1899. A second revised edition appeared in 1906. Among the boldest and most exciting first symphonies by

any composer, Mahler’s First mingles epic and song, autobiography and imagination into a confident credo that envisions anew what the symphony can achieve.

First performance: November 20, 1889, in Budapest, in the original version with five movements, with Mahler conducting the Budapest Symphony First Nashville Symphony performance: March 20 & 21, 1961, with Music Director Willis Page Estimated length: 55 minutes

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accompaniment to a long passage for the bass soloist — here in pizzicato and slowed down by a factor of five, with atmospheric punctuation by the harp.

Meyer recalls writing the final movement “from the inside out,” building it up using material generated from the large tutti passage which we hear several minutes into the finale, where the brass dominate against scurrying notes in violas, cellos and low woodwinds. As often in Classical concertos, the dance impulse animates this music. In Meyer’s vocabulary, that means the influences of all the musicians with whom he’s collaborated. At first the “fiddle” music in this movement may suggest an almost improvisatory bluegrass session of complex changing meters.

But underlying this is a carefully planned, strict structure of patterns that repeat throughout cycles of about 20 seconds (another inspiration from Indian classical music). Thematically, Meyer contrasts a hymn-like idea for oboes, horns and strings with the high-energy rhythmic cycles, which contrast in unexpected ways until the concerto reaches its subdued conclusion.

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— exaggerates the dramatic difference in pitch extremes, only to bring the soloists together in what Meyer refers to as “rhythmic compositions.”

Embedded throughout the concerto are several rhythmic devices, including interlaced crossrhythms that eventually sync up on the same beat and rhythmic cycles that repeat over a longer range — which Meyer points out he learned from his immersion in the rich tradition of Indian classical music.

Baroque and Classical models, meanwhile, inform Meyer’s overall design; hence the familiar three-movement structure, with a slower, lyrical central movement surrounded by faster music. The Classical principle of contrast has an especially dramatic function in each of the movements. In the first movement, Meyer contrasts the opening violin melody against the angular, harmonically unstable music of the violin and double bass in tandem. This is one of the concerto’s embedded “rhythmic compositions,” in which the pauses clarify the pulse. The opening theme inspires important contributions from the flute and other woodwinds — part of Meyer’s generally Classical, restrained approach to the larger orchestra in this work. Following an extensive duo cadenza, the movement comes to a quiet close.

The middle movement’s main melody, entrusted at first to the clarinet, also appears in the orchestral double bass line as an

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The inspirations behind this score are multilayered and represent Mahler’s responses to literature, folk and art song, visual sources and philosophy — and, to a large extent, his own emotional and spiritual experiences.

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hile the First Symphony incorporates material Mahler had written several years earlier, the work as a whole marks one of the most thrilling symphonic debuts in the history of the genre. The First is, on one level, a confident manifesto declaring the composer’s bold, innovative, convention-defying vision of what the symphony should entail. Its content already encompasses and juxtaposes a lifetime of experience: the remembered innocence of childhood and the profound contemplation of the philosopher; earthy, rambunctious high spirits and the passion of lovers; violent despair and nature’s healing beauty; and the dread of death and the hunger for transcendence. A tall order, for sure — but Mahler’s mastery of orchestral combinations and unusual colors gives vibrant form to these ideas.

The inspirations behind this score are multilayered and represent Mahler’s responses to literature, folk and art song, visual sources and philosophy — and, to a large extent, his own emotional and spiritual experiences. He managed all this while composing in his spare time, apart from his demanding day job as a conductor.

During the revision process Mahler tried out several programmatic explanations for what he knew would be a perplexing new work for audiences, hoping this approach would make it more accessible. But he came to realize that such descriptions tended to distract listeners from the music itself and ultimately rejected them.

W hat to listen for Mahler’s ambitious vision in this music is apparent from the start. The opening bars, a sustained chord of nothing but the note A spread across seven octaves, evokes a cosmic “sound of nature” (the composer’s phrase) and a state of primeval stasis that gradually quickens into a

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scene of spring and love awakening. Mahler builds from a core motif based on a simple interval (a descending fourth), adding color and subsidiary motifs evoking bird calls and distant fanfares to bring the scene into clearer focus. What is especially impressive here is the composer’s sense of timing — as unerring as that of a brilliant film director in keeping us riveted to the anticipation of an unfolding event. What seem at first to be merely colorful touches will acquire structural significance as the movement continues.

The atmosphere lightens dramatically for the beginning of the first movement proper.

With a cheerfully striding theme, Mahler further narrows the scale to the personal. The tune comes from his first full-fledged song cycle, Lieder eines Fahrenden Gesellen (“Songs of a Wayfarer”), which had been inspired by the composer’s youthful love for the soprano Johanna Richter. The associated feelings of spring and the hope of youthful love define the “protagonist,” as well as Mahler’s selfportrait.

At the same time, Mahler interpolates the self-contained atmosphere of the art song into this epic orchestral space. This strategy will become a trademark in his next three symphonies. Echoes of the slow introduction return as the movement progresses, now wonderfully rescored and reconfigured to interact with our symphonic hero.

The fanfares that had been so distant sounding at the beginning provide the foundation for a massive climactic outburst before the movement ends in giddy high spirits.

The Scherzo, which also makes use of music Mahler had previously written, was at first presented as an image of “setting sail,” but its boisterous accents just as easily suggest a vigorous dance scene. In either case, the thematic ideas involve a lively variant of the “nature awakening” music and the rising-scale melody of the first

“Hallelujah” Chorus that sets the phrase, “and He shall reign forever.” The confident affirmation with which Mahler ends his First Symphony carries all the more conviction for having been so richly earned.

— Thomas May is the Nashville Symphony’s program annotator.

About the artists JOSHUA BELL, violin Joshua Bell is one of the world’s most celebrated violinists. He was recently appointed music director of the Academy of St. Martin in the Fields, making him the first successor to Sir Neville Marriner, who formed the orchestra in 1958. In 2013, Bell is touring the U.S. with The Cleveland Orchestra and Europe with the New York Philharmonic.

Bell currently records exclusively for Sony Classical. Since his first recording at age 18, he has recorded more than 40 CDs. Sony releases include Romance of the Violin, which Billboard named the 2004 Classical CD of the Year. Bell has premiered new works by composers Nicholas Maw, John Corigliano, Aaron Jay Kernis, Edgar Meyer, Behzad Ranjbaran and Jay Greenberg. He also performs and has recorded his own cadenzas to many of the major violin concertos.

In 1989, Bell received an Artist Diploma in Violin Performance from Indiana University, where he currently serves as a senior lecturer at the Jacobs School of Music. Today he serves on the artist committee of the Kennedy Center InConcert

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The Symphony No. 1 is scored for a large orchestra of 4 flutes (3rd doubling piccolo), 4 oboes (1 doubling English horn), 4 clarinets (2 doubling bass clarinet, 2 doubling E-flat clarinet), 3 bassoons (1 doubling contrabassoon), 7 horns, 5 trumpets, 4 trombones, tuba, timpani, bass drum, cymbals, triangle, tam-tam, harp and strings.

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movement. Mahler juxtaposes the earthy vigor of the outer sections with a pastoral trio of nostalgic grace similar in feeling to the omitted Blumine movement.

Another song without words is the subject of the bizarre third movement, where Mahler adds an ironic angle to counter love’s blind illusions.

Along with the literary inspirations, this music had a visual one: a woodcut depicting a grotesque reversal of who is hunter and who is hunted, with animals carrying the coffin of their slain hunter. Played in canon and in the minor mode, the well-known folk or nursery tune of “Frère Jacques” conjures a macabre funeral procession.

Mahler heightens its surreal character through orchestration and incongruous contrasts. The movement opens, for example, with a muted solo double bass at the strained top of its register, while the march itself is interrupted by the insouciant playing of a klezmer-like band. Mahler almost creates the impression of witnessing one’s own burial in progress, as if in a hallucinatory vision.

The ironic distance created by this odd movement serves as an effective foil for the fiercely agitated opening of the vast final movement. Like a thunderclap, Mahler shakes the rafters from the outset with a shattering chord not unlike the start of the finale of Beethoven’s Ninth — this is music of apocalypse. The remainder of the symphony works out its aftermath. Among his earlier programmatic ideas, Mahler had applied the Dante-esque title dall’inferno al paradiso (“from hell to paradise”) to the journey undertaken in the finale. The music represents Mahler’s deeply subjective updating of the tradition of the “victory” symphony, with its path from darkness to light.

The central drama of the movement revolves around the false sense of security we get before genuine triumph is allowed to break through.

This deception happens more than once: first, in an achingly beautiful patch of serene lyricism in the strings and later, in an eruption of premature triumphalism. Music from the opening movement returns on both occasions.

Eventually, though, the distant fanfares from the introduction are allowed to peal forth, as jubilant brass wordlessly echo the theme from Handel’s

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Honors and is on the board of directors of the New York Philharmonic. He performs on the 1713 Huberman Stradivarius violin and uses a late-18th-century French bow by François Tourte.

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EDGAR MEYER, double bass Edgar Meyer has received acclaim as both a performer and composer. His unique contributions to music were recognized with a MacArthur Award in 2002. As a solo classical bassist, he has released a concerto album with the St. Paul Chamber Orchestra featuring Bottesini’s Gran Duo with Joshua Bell and his own Double Concerto for Bass and Cello with Yo-Yo Ma. 2011 saw the release of the Sony Masterworks recording The Goat Rodeo Sessions, on which Meyer joined Yo-Yo Ma, mandolinist Chris Thile and fiddler Stuart Duncan.

In the summer of 2012, Meyer debuted his newest composition, Double Concerto for Double Bass and Violin, with Joshua Bell. The work premiered at Tanglewood with the Boston Symphony Orchestra and at the Hollywood Bowl with the L.A. Philharmonic. In the 2011/12 season, he was composer-in-residence with the Alabama Symphony and premiered his third concerto for double bass.

Collaborations are a central part of Meyer’s work. Past projects include a duo with Béla Fleck; a quartet with Joshua Bell, Sam Bush and Mike Marshall; a trio with Béla Fleck and Mike Marshall; and a trio with Yo-Yo Ma and Mark O’Connor. The latter trio collaborated on Appalachia Waltz, which was released in 1996, followed by Appalachian Journey in 2000.

Meyer began studying bass at age 5. In 2000 he became the only bassist to receive the Avery Fisher Prize. Currently, he is Visiting Professor of Double Bass at the Royal Academy of Music and at the Curtis Institute of Music in Philadelphia.

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music director

Giancarlo Guerrero

G

iancarlo Guerrero is Music Director of the Nashville Symphony Orchestra (NSO) and concurrently holds the position of Principal Guest Conductor of The Cleveland Orchestra Miami Residency. Last year, he led the Nashville Symphony to a GRAMMY® win for a second consecutive year with their recording of American composer Joseph Schwantner’s Concerto for Percussion and Orchestra.

His previous recording with the orchestra of Michael Daugherty’s Metropolis Symphony and Deus Ex Machina won three 2011 GRAMMY® Awards, including Best Orchestral Performance. 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, Michael Daugherty, Roberto Sierra and Richard Danielpour.

In the 2012/13 season, Guerrero makes debuts with the BBC Symphony Orchestra, Deutsches Symphonie Orchester Berlin and Norwegian Radio Orchestra. He returns to the Boston, Indianapolis and Toronto Symphony Orchestras, Philadelphia Orchestra for both its subscription season and at Vail, Brussels Philharmonic, Polish National Radio Symphony Orchestra, São Paulo State Symphony Orchestra and to Australia for performances with the Adelaide Symphony and Auckland Philharmonia. An advocate for young musicians and music education, Guerrero now returns annually to Caracas, Venezuela, to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s lauded El Sistema music program. This season he will also work with the student orchestras of Curtis Institute and the Colburn School.

In recent seasons Guerrero has appeared with many of the major North American orchestras, including the symphony orchestras of Baltimore,

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Boston, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Milwaukee, Philadelphia, San Diego, Seattle, Toronto, Vancouver and the National Symphony in Washington, D.C., as well as 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. He is also establishing an increasingly visible profile in Europe, where his upcoming engagements will include a debut appearance with the London Philharmonic Orchestra.

Last season, he led a five-city European tour with the Monte Carlo Philharmonic.

Early in his career, Guerrero worked regularly with the Costa Rican Lyric Opera, and in recent seasons has conducted new productions of Carmen, La Bohème and Rigoletto. Future plans include productions at the Houston Grand Opera and Marseille Opera. In February 2008, he gave the Australian premiere of Osvaldo Golijov’s one-act opera Ainadamar at the Adelaide Festival, to great acclaim.

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

Guerrero holds degrees from Baylor and Northwestern universities. He was previously the Music Director of the Eugene Symphony in Oregon.

From 1999 to 2004, he served as Associate Conductor of the Minnesota Orchestra, where he made his subscription debut in March 2000 leading the world premiere of John Corigliano’s Phantasmagoria on the Ghosts of Versailles. Prior to his tenure with the Minnesota Orchestra, he served as Music Director of the Táchira Symphony Orchestra in Venezuela.

associate conductor

Albert-George Schram

Kelly Corcoran

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T

lbert-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.

he 2012/13 season marks Associate Conductor Kelly Corcoran’s sixth season with the Nashville Symphony. During this time, she has conducted a variety of programs, including the Classical and Pops Series, and has served as the primary conductor for the orchestra’s education and community engagement concerts. She made her Carnegie Hall conducting debut in May 2012 with the Nashville Symphony during the Spring For Music Festival. This season she is also the Acting Director for the Nashville Symphony Chorus.

Corcoran appears this season with The Cleveland Orchestra, Naples Philharmonic, Louisville Orchestra, Knoxville Symphony and as a Music Director candidate with the Topeka Symphony and FargoMoorhead Symphony. She has conducted major orchestras throughout the country, including the Atlanta, Detroit, Houston, Milwaukee and National Symphonies, often with return engagements. In 2009, she made her South American debut as a guest conductor with the Orquesta Sinfónica UNCuyo in Mendoza, Argentina, returning for multiple subscription programs in 2011.

Named as Honorable Mention for the Taki Concordia Conducting Fellowship, Corcoran studied with Marin Alsop and shared performances with her and the Bournemouth (UK) Symphony and Colorado Symphony. Prior to Nashville, she completed three seasons as assistant conductor for the Canton Symphony Orchestra in Ohio and music director of the Canton Youth Symphony and the Cleveland-area Heights Chamber Orchestra. Corcoran attended the Lucerne Festival’s master class in conducting with Pierre Boulez.

In 2004, Corcoran participated in the National Conducting Institute, where she studied with Leonard Slatkin. Her past posts include 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 her Master of Music in instrumental conducting from Indiana University.

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CO ND U C TOR S

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Blair Concert Series 2012-2013 The Blair School of Music at Vanderbilt University—Artistry in Education

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

2012/13 Nashville Symphony orchestra First Violins*

Jun Iwasaki,

Hunter Sholar Jennifer Kummer,

Assistant Concertmaster

Glen Wanner,

Trumpets

Concertmaster Emerita

Elizabeth Stewart Gary Lawrence,

Patrick Kunkee,

Denise Baker Kristi Seehafer John Maple Deidre Fominaya Bacco Alison Gooding Paul Tobias Beverly Drukker Anna Lisa Hoepfinger Kirsten Mitchell Erin Long+ Isabel Bartles Second Violins*

Carolyn Wann Bailey, Principal

Kelly Corcoran Associate Conductor

Acting Associate Principal/ 3rd Horn

Joel Reist,

Mary Kathryn Van Osdale,

Albert-George Schram Resident Conductor

Radu V. Rusu,

Associate Concertmaster

Erin Hall,

Giancarlo Guerrero Music Director

Basses*

Horns

Zeneba Bowers,

Assistant Principal

Principal

Assistant Principal Principal Emeritus

Kevin Jablonski Flutes

Erik Gratton,

Principal Anne Potter Wilson Chair

Ann Richards,

Assistant Principal

Kathryn Ladner Piccolo

Kathryn Ladner,

Norma Grobman Rogers Chair

Kenneth Barnd Jessica Blackwell Rebecca Cole Radu Georgescu Benjamin Lloyd Louise Morrison Laura Ross Lisa Thrall+ Adrienne Watkinson++ Jeremy Williams Rebecca J Willie

Oboes

Violas*

Cassandra Lee,

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 Cellos*

Co-Principal

Preston Bailey,

Acting Assistant Principal

Trombones

Susan K. Smith,

Acting Principal

Prentiss Hobbs,

Acting Assistant Principal

Bass Trombone

Steven Brown Tuba

Gilbert Long, Principal

Ellen Menking,

Principal

Assistant Principal

Roger Wiesmeyer

English Horn

William G. Wiggins, Percussion

Sam Bacco, Principal

Roger Wiesmeyer

Richard Graber,

Clarinets

Trent Leasure

James Zimmermann, Principal

Assistant Principal

Daniel Lochrie

E-flat Clarinet

Cassandra Lee

Assistant Principal

Harp

Licia Jaskunas, Principal

Keyboard

Robert Marler, Principal

Bass Clarinet

Librarians

Bassoons

Jennifer Goldberg,

Daniel Lochrie Cynthia Estill, Principal

Dawn Hartley,

Assistant Principal

Julia Tanner,

Contra Bassoon

Bradley Mansell Lynn Marie Peithman Stephen Drake Michael Samis Matthew Walker

Principal

Timpani

Principal

Gil Perel

Assistant Principal James Victor Miller Chair

Jeffrey Bailey,

James Button,

Anthony LaMarchina, Principal

Acting Assistant 1st Horn

Gil Perel

Horns

Leslie Norton, Principal

Beth Beeson

D. Wilson Ochoa, Principal

Librarian

Orchestra Personnel Managers

Anne Dickson Rogers Carrie Marcantonio, Assistant

*Section seating revolves +Leave of Absence ++Replacement/Extra

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r oste r

photos by Jackson DeParis

Gerald C. Greer,

Christopher Stenstrom Keith Nicholas Xiao-Fan Zhang

o r chest r a

Concertmaster Walter Buchanan Sharp Chair

Cellos*

B O A RD

2012/13 BOARD OF DIRECTORS

OF DIR E C T O R S

Officers

Directors

Edward A. Goodrich Board Chair

Janet Ayers John Bailey III Joseph Barker Russell Bates Scott Becker David Black Jack Bovender Jr. William Braddy Anastasia Brown Keith Churchwell Rebecca Cole * Michelle R. Collins * Lisa Cooper * Ben Cundiff Carol Daniels Robert Dennis Robert Ezrin Benjamin Folds Judy Foster James Gooch Alison Gooding * Amy Grant Carl Haley Jr.

James Seabury III Board Chair Elect Kevin Crumbo Board Treasurer Betsy Wills * Board Secretary Alan D. Valentine * President & CEO

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Michael W. Hayes Billy Ray Hearn Lee Ann Ingram Martha R. Ingram * Elliott Warner Jones Sr. Larry Larkin John T. Lewis Richard Miller Eduardo Minardi David Morgan Peter Neff Cano Ozgener Victoria Chu Pao Pam Pfeffer Deborah Pitts Jennifer H. Puryear Anne Russell Michael Samis * Nelson Shields Beverly K. Small Renata Soto Brett Sweet Van Tucker

Steve Turner Mark Wait Jeffery Walraven Johnna Watson Ted Houston Welch William Greer Wiggins * David Williams II Harry Williams Jr. * Jeremy Williams * Rebecca Willie * Clare Yang * Donna Yurdin * Shirley Zeitlin James Zimmermann * *Indicates Ex Officio Ingram Scholar Intern Marwah Shahid

Box Office/Ticketing & SALES Kimberly Darlington, Director of Ticket Services Emily Shannon, Box Office Manager Tina Messer, Ticket Services Specialist Missy Hubner, Ticket Services Assistant Sheridan Ernst-Cavanaugh, Group Ticket Services Specialist Jackie Knox, Director of Sales Marketing Associates: Alexandra Arekelian, Richard Bartkowiak, Linda Booth, Toni Conn, James Calvin Davidson, Kevin Davis, Kimberly DePue, Mark Haining, Lloyd Harper, Monique Ireland, Rick Katz, Deborah King, Misha Robledo, Dustin Skilbred Data Standards Tony Exler, Director of Data Standards Sheila Wilson, Sr. Database Associate Development Erin Wenzel, CFRE, Sr. Director of Special Campaigns Maribeth Stahl, Sr. Director of Annual Campaigns Hayden Pruett, Major Gifts Officer Sara Davenport, Development and League Events Manager Jason Parker, Grants and Research Manager Dan Tonelson, Corporate Development 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 Pam Lindemann, Payroll and Accounts Payable Manager Sheri Switzer, Senior Accountant Steven McNeal, Staff Accountant Food, Beverage and Events Steve Perdue, Sr. Director of Food, Beverage and Events Lacy Lusebrink, Food and Beverage Manager Bruce Pittman, Catering & Events Sales Manager Hays McWhirter,Catering and Events Manager Collin Husbands, Catering and Events Manager Staci Davenport, Food, Beverage and Events Assistant

Human Resources Ashley Skinner, Director of Human Resources Kathleen Conwell, Human Resources Coordinator Kathleen McCracken, Volunteer Manager and League Liaison Martha Bryant, Receptionist and Human Resources Assistant I.T. Dan Sanders, Director of Information Technology Trenton Leach, Software Applications Developer Chris Beckner, Technical Support Specialist

STA F F

Artistic Administration Laurence Tucker, Director of Artistic Administration Emma Smyth, Manager of Artistic Administration Ellen Kasperek, Manager of Pops and Special Programs Andrew Risinger, Organ Curator

Johnathon McGee, Food and Beverage Supervisor Schuyler Thomas, Food and Beverage Supervisor Anderson S. Barns, Beverage Manager Garland Smith, Beverage Supervisor Debra Hollenbeck, Buyer/Retail Manager

S Y MP H O N Y

Executive Alan D. Valentine, President and CEO Karen Fairbend, Executive Assistant to the President and CEO Myles McDonald, Interim COO Mark A. Blakeman, Senior Vice President, General Manager Katy Lyles, Assistant to the Senior Vice President and General Manager Michael Kirby, V.P. of Finance and Administration and CFO Jonathan Norris, V.P., Revenue Delaney Gray, Assistant to the V.P., Revenue

N A S H VI L L E

2012/13 Nashville Symphony Staff

Marketing & COMMUNICATIONS Jonathan Marx, Sr. Director of Marketing & Communications Misty Cochran, Director of Advertising and Promotions Laurie Davis, Publicist Nancy VanReece, Social Media Strategist and Website Manager Jessi Menish, Graphic Designer Sean Shields, Graphic Design Associate Patron Services Eric Adams, Director of Patron Services Patron Services Specialists: Dennis Carter, Gina Haining, Paul Shearer, Judith Wall Production and Orchestra Operations Tim Lynch, Sr. Director of Operations and Orchestra Manager Anne Dickson Rogers, Director of Orchestra Personnel 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 Michelle Griesmer, Assistant Lighting Director Gary Call, Audio Engineer Mark Dahlen, Audio Engineer W. Paul Holt, Stage Manager Josh Walliser, Stage and Production Assistant Venue Management Eric Swartz, Associate V.P. of Venue Management Danny Covington, Chief Engineer Kenneth Dillehay, Facility Maintenance Technician Wade Johnson, Housekeeping Manager Kevin Butler, Lead Housekeeper/Utility DeAndrea Mason, Housekeeper Tony Meyers, Director of Security and Front of House Alan Woodard, Security Guard

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Indi vi duals

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 March 31, 2013:

annual

Martha Rivers Ingram Society Gifts of $25,000 +

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David & Diane Black Mr. & Mrs. John Chadwick

Carol & Frank Daniels III Mrs. Martha Rivers Ingram

Walter Sharp Society Gifts of $15,000 - $24,999 Anonymous (1) Judy & Joe Barker

Martin Brown Family Mr. & Mrs. Albert F. Ganier III

Dr. & Mrs. Howard S. Kirshner Mr. & Mrs. Cano Ozgener

Mr. & Mrs. Steve Turner

Virtuoso Society Gifts of $10,000-$14,999 Anonymous (1) Mr. & Mrs. Jack O. Bovender Jr. Richard & Judith Bracken Mr.* & Mrs. J. C. Bradford Jr. Mac & Linda Crawford Janine & Ben Cundiff Mr. & Mrs. Brownlee O. Currey Jr.

Giancarlo & Shirley Guerrero Carl & Connie Haley Patricia & H. Rodes Hart Jan & Daniel Lewis The Melkus Family Foundation The Honorable Gilbert S. Merritt Richard & Sharalena Miller

Dr. Harrell Odom II & Mr. Barry W. Cook Mr. & Mrs. Philip M. Pfeffer Mr. & Mrs. Ben R. Rechter Mr. & Mrs. James C. Seabury III Margaret & Cal Turner

Stradivarius Society Gifts of $5,000 - $9,999 Anonymous (1) Mr. & Mrs. James Ayers J. B. & Carylon Baker Russell W. Bates Ann & Frank Bumstead Ann Scott Carell* Mr. & Mrs. Richard W. Carlton Fred Cassetty Kelly & Bill Christie Mr. & Mrs. Tom F. Cone Hilton & Sallie Dean Mr. & Mrs. Robert J. Dennis Marty & Betty Dickens Dee & Jerald Doochin Laura & Wayne Dugas Mr. & Mrs. Jere M. Ervin Annette S. Eskind

The Jane & Richard Eskind & Family Foundation Marilyn Ezell John & Lorelee Gawaluck Allis Dale & John Gillmor Ed & Nancy Goodrich Mr. & Mrs. Billy Ray Hearn Helen & Neil Hemphill Mrs. V. Davis Hunt Mr. & Mrs. David B. Ingram Lee Ann & Orrin Ingram Keith & Nancy Johnson Elliott Warner Jones & Marilyn Lee Jones Anne Knauff Christine Konradi & Stephan Heckers Ralph & Donna Korpman

Mr. & Mrs. Fred W. Lazenby Dr. & Mrs. George R. Lee Jim Lewis Zachary Liff Robert Straus Lipman Ellen Harrison Martin Mr. & Mrs. Robert A. McCabe Jr. Sheila & Richard McCarty Edward D. & Linda F. Miles Anne & Peter Neff Dr. Barron Patterson & Mr. Burton Jablin Hal & Peggy Pennington Mr. & Mrs. Charles R. Pruett Carol & John T. Rochford Anne & Joe Russell Joe & Dorothy Scarlett Dr. & Mrs. Michael H. Schatzlein

Dr. & Mrs. John Selby Mr.* & Mrs. Nelson Severinghaus Ronald & Diane Shafer Nelson & Sheila Shields Mr. & Mrs. Irvin Small Mr. & Mrs. Earl S. Swensson Dr. John B. Thomison Mr. & Mrs. Louis B. Todd Jr. Alan D. Valentine Peggy & John Warner Ms. Johnna Benedict Watson Mr. & Mrs. Ted H. Welch David & Gail Williams Barbara & Bud Zander Mr. Nicholas S. Zeppos & Ms. Lydia A. Howarth

Golden Baton Society Gifts of $2,500 - $4,999 Anonymous (1) Clint & Kali Adams Mrs. R. Benton Adkins Jr. Dr. & Mrs. Elbert Baker Jr. Dr. & Mrs. Robert O. Begtrup Ms. Marilyn Bell Mark & Sarah Blakeman Dr. & Mrs. Frank H. Boehm Jamey Bowen & Norman Wells Dan & Mindy Brodbeck Mr.* & Mrs. Arthur H. Buhl III Mr. & Mrs. Paul J. Buijsman Drs. Rodney & Janice Burt Mr. Philip M. Cavender Mr. & Mrs. Terry W. Chandler

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Drs. Keith & Leslie Churchwell Dorit & Donald Cochron The Honorable & Mrs. Lewis H. Conner Richard & Sherry Cooper Mr. & Mrs. James H. Costner Mr. & Mrs. Justin Dell Crosslin The Rev. & Mrs. Fred Dettwiller Donna & Jeffrey Eskind Mr. & Mrs. Robert A. Ezrin Tom & Judy Foster Dr. & Mrs. Thomas Frist Jr. Cathey & Wilford Fuqua Mr. & Mrs. Andrew Giacobone Harris A. Gilbert William & Helen Gleason

Mr. & Mrs. Fred C. Goad Jr. James C. Gooch & Jennie P. Smith Tony & Teri Gosse Mr. & Mrs. C. David Griffin Suzy Heer Mr. & Mrs. Robert C. Hilton Ms. Cornelia B. Holland Mr. & Mrs. Donald J. Israel Donald L. Jackson Mr. & Mrs. John F. Jacques Robin & Bill King Mr. & Mrs. Michael A. Koban Jr. Robert & Carol Lampe Mr. & Mrs. Joseph B. Ledbetter Jr. John T. Lewis

Mr. & Mrs. Jeffery C. & Dayna L. Walraven Mrs. W. Miles Warfield Jonathan & Janet Weaver Carroll Van West & Mary Hoffschwelle Art & Lisa Wheeler Charles Hampton White Mr. & Mrs. Jimmie D. White Mr. & Mrs. Joseph J. Wimberly Dr. Artmas L. Worthy Shirley Zeitlin

F U ND

Geoffrey & Sandra Sanderson Mr. & Mrs. Scott C. Satterwhite Mr. & Mrs. J. Ronald Scott Mr.* & Mrs. Martin E. Simmons Jack & Louise Spann Christopher & Maribeth Stahl Pamela & Steven Taylor Rich & Carol Thigpin Scott & Julie Thomas Dr. & Mrs. Alexander Townes Drs. Pilar Vargas & Sten H. Vermund Mr. Vince Vinson Deborah & Mark Wait

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Red & Shari Martin Mr. & Mrs. Martin F. McNamara III Dr. Arthur M. Mellor F. Max & Mary A. Merrell Mr. & Mrs. Eduardo H. Minardi Christopher & Patricia Mixon Mr. David K. Morgan Ms. Agatha L. Nolen Jonathan R. Norris & Jennifer Carlat Drs. Mark & Nancy Peacock Keith & Deborah Pitts Mr. & Mrs. Gustavus A. Puryear IV Eric Raefsky, M.D. & Ms. Victoria Heil Anne & Charles Roos

CONDUCTOR’S CIRCLE Gifts of $1,000 - $2,499 Anonymous (12) Jerry Adams Jeff & Tina Adams James & Glyna Aderhold Drs. W. Scott & Paige Akers Mark & Niki Antonini Ms. Teresa Broyles-Aplin Jeremy & Rebecca Atack Jon K. & Colleen Atwood Grace & Carl Awh Sallie & John Bailey Dr. & Mrs. Billy R. Ballard Mr. & Mrs. H. Lee Barfield II Barbara & Mike Barton Mrs. Brenda Bass Mr. & Mrs. James Beckner Betty C. Bellamy Mr. & Mrs. Louie A. Belt Dr. Eric & Elaine Berg Frank M. Berklacich, MD Mr.* & Mrs. Harold S. Bernard Mr. & Mrs. Raymond P. Bills Mr. David Blackbourn & Ms. Celia Applegate Dennis & Tammy Boehms Bob & Marion Bogen Mr. & Mrs. Robert Boyd Bogle III Mr. & Mrs. Dennis Bottorff Jean & David Buchanan Dr. & Mrs. Glenn Buckspan Sharon Lee Butcher Chuck & Sandra Cagle John E. Cain III Mr. & Mrs. Gerald G. Calhoun Mr. & Mrs. William H. Cammack Jan & Jim Carell Ann & Sykes Cargile Mr. & Mrs. William F. Carpenter III Clint & Patty Carter Dr. & Mrs. Dennis C. Carter Michael & Pamela Carter Anita & Larry Cash Mary & Joseph Cavarra Erica & Doug Chappell Barbara & Eric Chazen Donna R. Cheek James H. Cheek III Mrs. John Hancock Cheek Jr. Catherine Chitwood M. Wayne Chomik Mr. & Mrs. Sam E. Christopher David & Starling Clark George D. Clark Jr. Mr. Terry Clyne Esther & Roger Cohn Ed & Pat Cole Chase Cole

Marjorie & Allen* Collins Mr.* & Mrs. W. Ovid Collins Mr. Brian Cook Mr. & Mrs. Charles W. Cook Jr. Mr. and Mrs. Joe C. Cook III Joe & Judy Cook Teresa Corlew & Wes Allen Nancy Krider Corley Roger & Barbara Cottrell Mr. & Mrs. Roy J. Covert Mr. & Mrs. Donald S. A. Cowan James L. & Sharon H. Cox Dr. & Mrs. James Crafton Drs. Paul A. & Dorothy Valcarcel Craig Mr. & Mrs. J. Bradford Currie Greg & Collie Daily Mr. Charles E. Daley John & Natasha Deane M. Maitland DeLand, M.D. Mr. & Mrs. Daryl Demonbreun Mr. & Mrs. Robert S. Doochin Stephen & Kimberly Drake Laura L. Dunbar Mr. & Mrs. Glenn Eaden E.B.S. Foundation Dr. & Mrs. E. Mac Edington Mr. & Mrs. Thomas S. Edmondson Sr. Robert D. Eisenstein David Ellis & Barry Wilker Drs. James & Rena Ellzy Dr. Jack W. Erter Laurie & Steven Eskind Robert & Cassandra Estes Mr. Matthew Evers Mr. & Mrs. DeWitt Ezell Dr. Meredith A. Ezell Ms. Paula Fairchild Mrs. Nancye Feistritzer T. Aldrich Finegan John & Cindy Watson Ford Ms. Deborah F. Turner & Ms. Beth A. Fortune Drs. Robert & Sharron Francis Danna & Bill Francis Dr. & Mrs. John R. Furman Mr. & Mrs. Nicholas R. Ganick Carlene Hunt & Marshall Gaskins Mr. & Mrs. Roy J. Gilleland III Frank Ginanni The Evelyn S. & Jim Horne Hankins Foundation Mr. & Mrs. J. George Harris Mr. & Mrs. James O. Hastings Jr. Mr. & Mrs. John Burton Hayes Ms. Doris Ann Hendrix Carrie & Damon Hininger Mr. & Mrs. Jeffrey N. Hinson

Judith Hodges Ken & Pam Hoffman Mr. & Mrs. Dan W. Hogan Mr. & Mrs. Richard Holton Mr. & Mrs. Henry W. Hooker Mr. & Mrs. Ephriam H. Hoover III Vicki & Rick Horne Ray Houston Hudson Family Foundation Drs. James I. and Margo Hudson III Donna & Ronn Huff Mr. & Mrs. Thomas W. Hulme Dr. & Mrs. Stephen P. Humphrey Judith S. & James R. Humphreys Marsha & Keel Hunt Mr. & Mrs. Charles L. Irby Sr. Bud Ireland Rodney Irvin Family Mr. & Mrs. Toshinari Ishii Ellen & Kenneth Jacobs Lee & Pat Jennings George & Shirley Johnston Jan Jones & Steve Williams Mary Loventhal Jones Ray & Rosemarie Kalil Mr. & Mrs. James Kelso Michael & Melissa Kirby Tom & Darlene Klaritch Walter & Sarah Knestrick William C. & Deborah Patterson Koch Ms. Pamela L. Koerner Mr. & Mrs. Gene C. Koonce Mr. & Mrs. Edward J. Kovach Heloise Werthan Kuhn Mr. & Mrs. Randolph M. LaGasse Bob & Mary LaGrone Larry & Martha Larkin Richard & Diane Larsen Kevin P. & May Lavender Sandi & Tom Lawless Dr. & Mrs. John W. Lea IV Sally M. Levine Don & Patti Liedtke Dr. & Mrs. T. A. Lincoln Dr. & Mrs. Christopher Lind Margaret & Bill Lindberg Mr. & Mrs. Lawrence Lipman Myles & Joan MacDonald Dr. John F. Manning Jr. Rhonda A. Martocci & William S. Blaylock Lynn & Jack May Bob Maynard Mr. Charles W. McDowell Joey & Beth McDuffee Tommy & Cat McEwen

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Mr. & Mrs. Robert McNeilly Jr. Mr. & Mrs. Richard D. McRae III Dr. Mark & Mrs. Theresa Messenger Mr. & Mrs. William T. Minkoff Jr. Mr. & Mrs. William P. Morelli Ms. Lucy H. Morgan Matt & Rhonda Mulroy James & Patricia Munro Leonard Murray & Jacqueline Marschak Mr. & Mrs. Joseph L. Nave Jr. Lannie W. Neal Robert Ness Ms. Agatha L. Nolen Representative & Mrs. Gary L. Odom Dan & Helen Owens The Paisley Family David & Pamela Palmer Victoria & William Pao Dr. Edgar H. Pierce Jr. David & Adrienne Piston Mr. Charles H. Potter Jr. Mr. & Mrs. Joseph K. Presley Mr. & Mrs. Paul E. Prill Dr. Gipsie B. Ranney Ms. Allison R. Reed & Mr. Sam Garza Drs. Jeff & Kellye Rice Mr. & Mrs. Doyle R. Rippee Mr. & Mrs. Stephen Riven Mr. & Mrs. John A. Roberts Margaret Ann & Walter Robinson Foundation Mr. & Mrs. David L. Rollins Ms. Sara L. Rosson & Ms. Nancy Menke Georgianna W. Russell James & Patricia Russell

David Sampsell Paula & Kent Sandidge Mr. & Mrs. John J. Sangervasi Samuel A. Santoro & Mary M. Zutter Mr. & Mrs. Eric M. Saul Dr. Norm Scarborough & Ms. Kimberly Hewell Mr. Paul H. Scarbrough Ms. Sandra A. Schatten Mrs. Cooper M. Schley Dr. & Mrs. R. Bruce Shack Joan B. Shayne Anita & Mike Shea Allen Spears* & Colleen Sheppard Bill & Sharon Sheriff Dr. & Mrs. Andrew Shinar Dr. & Mrs. Nicholas A. Sieveking Sr. Luke & Susan Simons Tom & Sylvia Singleton William & Cyndi Sites George & Mary Sloan Drs. Walter E. Smalley Jr. & Louise Hanson Mr. & Mrs. Brian S. Smallwood Suzanne & Grant Smothers K. C. & Mary Smythe Mr. & Mrs. James H. Spalding Mr. & Mrs. Hans Stabell Dr. Michael & Tracy Stadnick Mr. & Mrs. Joe N. Steakley Dr. & Mrs. Robert Stein Mr. & Mrs. David B. Stewart Jane Lawrence Stone Mr. & Mrs. James G. Stranch III Ann & Bob Street Mrs. Susan & Volker Striepe M.D.

Bruce & Elaine Sullivan Johanna & Fridolin Sulser James B. & Patricia B. Swan Brett & Meredythe Sweet Dr. Steve A. Hyman & Mr. Mark Lee Taylor Ann M. Teaff & Donald McPherson III Dr. & Mrs. William Thetford Dr. & Mrs. Clarence S. Thomas Mr. Dwight D. Thrash Candy Toler Norman & Marilyn Tolk Joe & Ellen Torrence Mr. & Mrs. Marshall Trammell Thomas L. & Judith A. Turk Christi & Jay Turner The Vandewater Family Foundation Larry & Brenda Vickers Kris & G. G. Waggoner Dr. & Mrs. Robert W. Wahl Mike & Elaine Walker Mr. & Mrs. Martin H. Warren Talmage M. Watts Erin Wenzel Stacy Widelitz Mr. & Mrs. William G. Wiggins Mr. & Mrs. David M. Wilds Craig P. Williams & Kimberly Schenk Judy S. Williams Mr. & Mrs. Ridley Wills II Mr. & Mrs. William M. Wilson Ms. Marilyn Shields-Wiltsie & Dr. Theodore E. Wiltsie Dr. & Mrs. Lawrence K. Wolfe

CONCERTMASTER Gifts of $500 - $999 Anonymous (17) Carol M. Allen Jeff & Carrie Bailey Dr. Houston A. Baker Richard W. Baker Mr. Randall B. Ball Susan F. & Paul J. Ballard George E. Barrett Mr. & Mrs. Edwin R. Barton Dr. & Mrs. Jere Bass Mr. & Mrs. Thomas E. Bateman Katrin T. Bean Marti Bellingrath Bernice Amanda Belue Mike & Kathy Benson Ralph & Jane Black Randolph & Elaine Blake Mr. & Mrs. Bill Blevins Dr. & Mrs. Marion G. Bolin Irma Bolster Mr. & Mrs. William E. Boyte Mr. Randal Braker Robert* & Barbara Braswell Mr. & Mrs. Stephen Braun Dr. & Mrs. Phillip L. Bressman Berry & Connie Brooks Bob & Kay Brotherton Anastasia Brown Dr. Pamela E. Brown Dr. Roger & Mrs.* Donah Burgess Gene & Jamie Burton

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Mr. Peter L. Bush James Button Michael & Linda Carlson Bill & Chris Carver Mr. & Mrs. Christopher John Casa Santa Ms. Pamela Casey John & Susan Chambers Dr. & Mrs. Robert H. Christenberry Jay & Ellen Clayton Sallylou & David Cloyd Dr. & Mrs. Alan G. Cohen Mr. & Mrs. Domer Collins William & Margaret Connor Paul & Alyce Cooke Mr. Randy M. Cooper Marion Pickering Couch Dr. Robert Crants III Ms. Susannah C. Culbertson Kimberly L. Darlington Mr. & Mrs. Edgar Davenport Maria Gabriella Giro & Jeff Davidson Mr. & Mrs. Charles E. Davis Mr. Shawn Delp Mrs. Edwin DeMoss Mr. Carl Denney Wally & Lee Lee Dietz Peter & Kathleen Donofrio Tere & David Dowland Ms. Katie Doyle

Mr. Frank W. Drake Dr. Jane Easdown & Dr. James Booth Dr. James E. Edwards Mrs. Clara Elam Dr. Christopher & Wendy Ellis Mr. Owen T. Embry Mr. & Mrs. William H. Eskind Dr. John & Janet Exton Bill & Dian S. Ezell Michael & Rosemary Fedele Bill Fialkowski, M.D. Ms. Fern Fitzhenry Bela Fleck Dr. Arthur C. Fleischer & Family Patrick & Kimberly Forrest Robert & Peggy Frye Suzanne J. Fuller John & Eva Gebhart Dr. & Mrs. Harold L. Gentry Mr. & Mrs. H. Steven George Dodie & Carl George Mr. & Mrs. Stewart J. Gilchrist Mr. Benjamin L. Gordon Bryan D. Graves Richard & Randi Green Dr. Gary S. Gutow & Ms. Jessica Gutow Viner RenĂŠe & Tony Halterlein Dr. & Mrs. Thomas L. Hardy Kent & Becky Harrell

Lucille C. Nabors Larry & Marsha Nager Mr. & Mrs. Thomas J. Nagle Leslie & Scott Newman Lonnie & Allene Newton William & Kathryn Nicholson Mr. Brian M. Norris Jane K. Norris Virginia O'Brien D. Wilson Ochoa Mr. & Mrs. Russell Oldfield Jr. Mr. Sergio Ora Dr. & Mrs. Harry L. Page Ms. Jeanne E. Pankow Mr. & Mrs. M. Forrest Parmley Ms. Lisa Pasho-Coughlin Grant & Janet Patterson John W. & Mary Patterson Drs. Teresa & Phillip Patterson Dr. & Mrs. Joel Q. Peavyhouse Mr. John S. Perry Linda & Carter Philips Joe* & Gaynelle Pitner Ms. Julie B. Plexico Rick & Diane Poen Mr. John Pope Dr. & Mrs. James L. Potts J. Hayden Pruett George & Joyce Pust Mr. Edwin B. Raskin Charles H. & Eleanor L. Raths Franco & Cynthia Recchia Mr. Gregory M. Reed Mary Riddle Susan B. Ridley Mrs. Julie A. Roe

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Drs. Walt & Shannon Little The Howard Littlejohn Family Mr. & Mrs. Denis Lovell George & Cathy Lynch Tim Lynch Mr. & Mrs. Peter C. MacDonald William R. & Maria T. MacKay Donald M. & Kala W.* MacLeod Joe & Anne Maddux James & Gene Manning Mr. & Mrs. Michael R. Manno James & Patricia Martineau Mr. & Mrs. Leon May Drs. Ricardo Fonseca & Ingrid Mayer Peg & Al McCree Mr. John M. McDougal Dr. & Mrs. Alexander C. McLeod Catherine & Brian McMurray Ed & Tracy McNally Sam & Sandra McSeveney Linda & Ray Meneely Dr. & Mrs. Robert A. Mericle Bruce & Bonnie Meriwether Cedric & Delberta Miller Drs. Randolph & Linda Miller Dr. & Mrs. Kent B. Millspaugh Dr. Jere Mitchum Diana & Jeff Mobley Dr. & Mrs. Charles L. Moffatt Ms. Gay Moon Beth & Paul Moore Cynthia & Richard Morin Ms. Patricia A. Moseley Margaret & David Moss Dick & Mary Jo Murphy

annual

Dr. & Mrs. Jason Haslam Janet & Jim Hasson Mr. Scott Hatcher Mr. & Mrs. Doug Hauseman Mr. & Mrs. Philip F. Head Lisa & Bill Headley Keith & Kelly Herron Mr. David Hilley Dr. Becky E. Swanson-Hindman Mr. & Mrs. Jim Hitt Dr. Elisabeth Dykens & Dr. Robert Hodapp Ms. Susan S. Holt Dr. Jian Huang Mr. & Mrs. Robert J. Huljak Margie Hunter Mr. & Mrs. David Huseman Bob & Virginia Johnson Ruth E. Johnson Mrs. Robert N. Joyner Dr. Barbara F. Kaczmarska Mr. & Mrs. Michael Kane Mrs. Edward C. Kennedy John & Eleanor Kennedy Jane Kersten & Ray Sissom Ms. Janet Kleinfelter Nancy & Edd Lancaster Mr. & Mrs. Thomas W. Land Mr. & Mrs. Samuel W. Lavender Mrs. Martha W. Lawrence Ted & Anne Lenz Michael & Ellen Levitt Mr. & Mrs. Irving Levy Mr. & Mrs. John Lillie Burk & Caroline Lindsey Dr. & Mrs. Nicholas Lippolis

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Mr. & Mrs. Doug Rogers Dr. & Mrs. Jorge Rojas Mr. & Mrs. David C. Roland Laura Ross Samuel L. & Barbara Sanders Philip & Jane Sanderson David M. Satterfield Pam & Roland Schneller Dr. & Mrs. Timothy P. Schoettle Dr. Kenneth E. Schriver & Dr. Anna W. Roe Peggy C. Sciotto Mr. & Mrs. Robert Scott Mr. Roderick Scruggs Drs. Fernando F. & Elena O. Segovia Odessa L. Settles Max & Michelle Shaff Mr. & Mrs. Richard Shearer Smith Family Foundation Mr. & Mrs. Kevin Scott Smith Dr. Robert Smith & Barbara Ramsey Mr. & Mrs. S. Douglas Smith Mr. & Mrs. Douglas C. Snyder

Mr.& Mrs. James M. Sohr Mr. & Mrs. Ronald M. Sohr Ms. Maggie P. Speight Dr. & Mrs. Anderson Spickard Jr. Mr. M. Clark Spoden Ms. Karen G. Sroufe Gloria & Paul Sternberg Jr. Dr. & Mrs. William R. Stewart Mr. Donald T. Sullivan Jr. Mr. & Mrs. James E. Summar Sr. Craig & Dianne Sussman Dr. & Mrs. J. D. Taylor Mr. Marcus W. Thompson Lorraine Ware & Reid Thompson Mr. & Mrs. William D. Tidwell Mr. Michael P. Tortora Martha J. Trammell Monty Holmes & Van Tucker Ms. Rita R. Vann Kathryn G. Varnell Lois J. Wagner & Barbara M. Lonardi

Dr. & Mrs. Martin H. Wagner Mr. & Mrs. Robert J. Warner Jr. Dr. & Mrs. Mark Wathen Mrs. William C. Weaver III Mrs. James A. Webb Jr. Dr. Medford S. Webster Beth & Arville Wheeler Mr. & Mrs. Fred Wheeler Mr. & Mrs. Thomas F. White Alyson Wideman Joe Wieck Mr. & Mrs. Herbert Wiesmeyer Mrs. Marie Holman Wiggins Adam & Laura Wilczek Vicki Gardine Williams Gary & Cathy Wilson Edward & Mary E. Womack Patrick & Phaedra Yachimski Mr. Payton H. Young Roy & Ambra Zent Mr. & Mrs. Glenn Zigli

David Bordenkircher Jerry & Donna Boswell Robert E. Bosworth Mr. Brian Boxer Don & Deborah Boyd Jeff & Jeanne Bradford Mr. Mark D. Branstetter Mr. Charles Brasher Jere & Crystal Brassell Mary Lawrence Breinig Ms. Alexis Bright Betty & Bob Brodie Kathy & Bill Brosius Mr. & Mrs. Charles H. Brown Ms. Roxanne Brown Tom Bruce Burnece Walker Brunson Mr. Nicholas M. Buda T. Mark & D. K. Buford Dr. & Mrs. Grady Butler Geraldine & Wilson Butts Dr. & Mrs. Robert O. Byrd Mr. Richard Callahan Mrs. Julia C. Callaway Claire Ann Calongne Mr. Richard A. Calvin Bratschi Campbell Gary E. Canaday Robert & Melanie Cansler Mr. T. James Carmichael Karen Carr Ronald & Nellrena Carr Mr. & Mrs. Edwin Carter Valleau & Robert M. Caruthers Kent Cathcart Evelyn LeNoir Chandler Dr. Walter J. Chazin Mrs. Robert L. Chickey Barry & Janie Childers Ms. Dorothy H. Chitwood Mr. Won S. Choi Mr. Joseph B. Christy Dr. AndrĂŠ & Ms. Doreatha H. Churchwell Teresa C. Cissell Mr. Daryl Claggett Councilman & Mrs. Phil Claiborne Drs. Walter & Deborah Clair

Charles & Agenia Clark Steven* & Donna Clark Dr. Paul B. Clark Jr. Mr. & Mrs. Roy Claverie Sr. Mr. & Mrs. Neely B. Coble III Mark & Robin Cohen Mr. & Mrs. Robert T. Coleman Colonel (ret.) Dr. & Mrs. James R. (Conra) Collier Ms. Peggy B. Colson F. Michael Combs Mr. & Mrs. Randy Cook Ms. Anne G. Cooper Mike & Sandy Cooper Kathy & Scott Corlew Elizabeth Cormier Allie & Landford Correll Drs. Charles L. & Joy Cox Mr. & Mrs. George Crawford Jr. Dr. & Mrs. Jeff L. Creasy Mr. & Mrs. David Crecraft R. Barry & Kathy Cullen Mr. Brian B. Cuyler Ms. Margaret M. DAngelo Katherine C. Daniel James & Maureen Danly Mr. M. Bradshaw Darnall III Andrew Daughety & Jennifer Reinganum Janet Keese Davies Ms. Gloria Deaner Steve Sirls & Allen DeCuyper Dr. & Mrs. Roy L. DeHart Wade & Jeanine Denney Mr. & Mrs. J. William Denny Dr. & Mrs. Henry A. DePhillips Mrs. John S. Derryberry Mr. & Mrs. Arthur DeVooght Dr. Joseph & Ambassador Rachel Diggs Mr. Guy R. Dinwiddie Ms. Shirley J. Dodge Dr. & Mrs. W. David Driskill Clark & Peggy Druesedow Mr. & Mrs. Bradley Dugger Kathleen & Stephen Dummer Mr & Mrs. Mike Dungan Mr. & Mrs. Jim Eades Jr.

FIRST CHAIR Gifts of $250 - $499 Anonymous (25) Drs. Oran Aaronson & Shannon Snyder Judith Ablon The Rev. Dr. & Mrs. W. Robert Abstein Ben & Nancy Adams Eric & Shannon Adams Mr. George E. Alexander Dr. & Mrs. John Algren Dr. Joseph H. Allen Newton & Burkley Allen Ruth G. Allen Mr. & Mrs. John Allpress Adrienne Ames Wm. J. & Margery Amonette Ken & Jan Anderson Newell Anderson & Lynne McFarland Mr. & Mrs. Carlyle D. Apple Mr. Aaron Armstrong Patricia & Jay Armstrong Todd & Barbara Arrants Candy Burger & Dan Ashmead The Brian C. Austin Family Mr. & Mrs. Gerald Averbuch Dr. & Mrs. J. Kelley Avery Janet B. Baggett Lawrence E. Baggett James M. & Kim M. Bailey Ms. Susie M. Baird Mr. & Mrs. J. Oriol Barenys Dr. Beth S. Barnett A. S. Barns Dr.* & Mrs. Thomas C. Barr Mr. & Mrs. William Beach Dr. Sammy F. Becdach Susan O. Belcher Mark H. Bell Ron & Sheryl Bell Mr. & Mrs. W. Todd Bender Ms. Margaret P. Bernado Dick & Gwen Berry Annie Laurie & Irvin Berry Cherry & Richard Bird Dr. & Mrs. Ben J. Birdwell Dr. Joel S. Birdwell Ms. Helen R. Blackburn-White Rick & Abby Blahauvietz Joan Bledsoe Ms. Mimi Bliss David L. Bone

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J. Edgar Lowe Mr. & Mrs. Jay Lowenthal Ms. Frances B. Lumbard Mr. & Mrs. James C. Lundy Jr. Patrick & Betty Lynch Mr. & Mrs. Michael C. Lynn Sr. Sharron Lyon Herman & Dee Maass Dr. & Mrs. Joe MacCurdy Mr. John Maddux Dr. Mark A. Magnuson & Ms. Lucile Houseworth Mr. & Mrs. Robert A. Maier Mr. Cosmin E. Majors Audrea & Helga Maneschi Dr. & Mrs. N. H. Mann Jr. Sheila Mann Mr. Joshua P. Manning David & Leah Marcus Sam & Betty Marney Dr. & Mrs. Harry D. Marsh Mr. Henry Martin Dr. & Mrs. Raymond S. Martin Abraham, Lesley & Jonathan Marx Mr. & Mrs. Brian S. Masterson Sue & Herb Mather Mr. Jimmy R. Mattingly Margery Mayer & Carolyn Oehler Mr. & Mrs. John D. McAlister Joanne Wallace McCall Chris & John McCarthy Kathleen McCracken Mary & John McCullough Bob McDill & Jennifer Kimball Ed & Carla McDougle Mr. Brian L. McKinney Dr. & Mrs. Timothy E. McNutt Sr. Mr. & Mrs. Michael R. McWherter Ms. Virginia J. Meece Ronald S. Meers Janis Meinert Drs. Manfred & Susan Menking Sara Meredith Ms. Brinkley Meyers Sherree Meyers Mr. & Mrs. Mike Hannold Dr. & Mrs. Philip G. Miller Dr. Ron V. Miller Dr. Fernando Miranda & Dr. Patricia Bihl-Miranda Mr. Michael Mishu Mr. Hershel Mitchell Mr. Steve C. Mitchell Mr. & Mrs. Steven Moll Dr. Michael F. Montijo & Mrs. Patricia A. JamiesonMontijo Mr. & Mrs. Jonathan Morphett Lynn Morrow Mr. Gary Morse Dr. Matthew K. Mosteller Mr. & Mrs. B. Dwayne Murray Jr. Mr. & Mrs. J. William Myers Allen & Janice Naftilan Ms. Carolyn Heer Nash Dr. Turner Nashe Mr. Fred S. Nelson Ms. Lynise Nelson Mr. Hunter S. Neubert Dr. & Mrs. Harold Nevels Dr. John Newman & Ms. Rebecca Lyford Al Nisley Judy M. Norton Mr. & Mrs. Michael Nowlin

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Mr. Jonathan Harwell Mr. & Mrs. Gerald Hausman David & Judith Slayden Hayes Peggy R. Hays Stephen & Deborah Hays Fred & Judy Helfer Doug & Becky Hellerson John Reginald Hill Ronald & Nancy Hill Mr. & Mrs. Robert C. Hilmer Mr. Charles R. Hinterman Ms. Christina M. Hirsch Dr. & Mrs. Robert L. Hodum Mr. & Mrs. Donald Hofe Jim & Kim Holbrook Aurelia L. Holden Mr. & Mrs. James G. Holleman William Hollings Mr. James N. Hollingsworth Catherine J. Holsen Mr. & Mrs. Robert E. Hooper Drs. Richard T. & Paula C. Hoos Dr. & Mrs. Robert W. House Allen, Lucy & Paul Hovious Samuel H. Howard Ms. Edith B. Hudson Dr. & Mrs. Louis C. Huesmann II The Hunt Family Foundation Michael & Evelyn Hyatt Mr. Narum Hyatt Dr. & Mrs. Roger Ireson Dr. Anna M. Jackson Frances C. Jackson Haynie & Patsy Jacobs Mr. & Mrs. Alan R. Javorcky Mr. Richard W. Jett John T. & Kerrie Johnson Susan & Evan Johnston Dr. Amos Jones Jr. Mr. Patrick D. Jones Dr. & Mrs. Herman J. Kaplan Mrs. Michel G. Kaplan Mrs. Cynthia A. Keathley Jeffrey & Layle Kenyon Mr. Jason Kesler Bill & Becca Killebrew Mr. & Mrs. Monty Kimble Kathleen & Don King Louise & Joe Kitchell George McCulloch & Linda Knowles Mr. & Mrs. Rick Koelz David & Judy Kolzow Dr. Valentina Kon & Dr. Jeffrey L. Hymes Sanford & Sandra Krantz Tim Kyne Mr. & Mrs. John H. Laird Dr. & Mrs. Jeffrey Lawrence Mr. & Mrs. Joseph A. Lawrence Mrs. Douglas E. Leach Rob & Julia Ledyard Dorothy & Jim Lesch Ralph G. Leverett John & Marge Lewis Mr. & Mrs. Monty S. Ligon Mr. & Mrs. Ronald S. Ligon Robert A. Livingston Dr. & Mrs. John L. Lloyd Keltner W. & Debra S. Locke Jean & Steve Locke Kim & Mike Lomis David & Nancy Loucky Thomas H. Loventhal Kenyatta & Tracey Lovett

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Kathryn & Webb Earthman Mr. & Mrs. Kevin B. Ebert Thomas D. Edmonds DVM Mr. & Mrs. James H. Ellis III Dan & Zita Elrod Dr. & Mrs. James Ettien Ms. Claire Evans Dr. Ann Evers & Dr. Gary Smith Ed W. Evins Jr. Tony & Shelley Exler Steven & Katie Ezell Chrtistopher Farrell & Kathryn Beasley Laurie & Ron Farris Ms. Karen A. Fentress Dr. Robert G. Ferland Vince & Dorothy Fesmire Billy & Donna Fields Janie & Richard Finch Dr. & Mrs. Jack Fisher Doris T. Fleischer Nellie Folsom Dr. & Mrs. Armando C. Foronda Mr. Kent T. Forward Cathy & Kent Fourman Mrs. Katherine H. Fox Andrew & Mary Foxworth Sr. William H. & Babs Freeman Scott & Anita Freistat Dr. Henry Fusner Bill & Ginny Gable Mr. Anderson C. Gaither Dr. & Mrs. Ronald E. Galbraith Mr. William Gann Mr. & Mrs. Philip Ganske Mr. & Mrs. George C. Garden Mr. & Mrs. Jerry Garrett Alan & Jeannie Gaus Jennifer George Em J. Ghianni Mark Glazer & Ms. Cynthia Stone Linda & Joel Gluck Susan T. Goodwin Dr. & Mrs. Gerald S. Gotterer Dr. Cornelia R. Graves Mr. Chris Gray Mr. & Mrs. Luke Gregory Mr. Michael Grillot Ms. Melinda T. Grimes R. Dale & Nancy G. Grimes Teresa J. Grimes Mr. & Mrs. Russell D. Groff Mr. & Mrs. David C. Guth Jr. Dr. & Mrs. John D. Hainsworth Byron & Antoinette Haitas Ms. Leigh Ann Hale Scott, Kathy & Kate Hall Katherine S. Hall Walter H. White III & Dr. Susan Hammonds-White Mr. & Mrs. Harry M. Hanna Mr. Eric Hardesty Dr. John B. & Kathleen E. Harkey Cindy Harper Mrs. Edith Harris Mr. & Mrs. James M. Harris Dickie & Joyce Harris Mr. & Mrs. Jay Hartley Mr. James S. Hartman Dr. Morel Enoch & Mr. E. Howard Harvey Robert & Nora Harvey

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Ann & Denis* O'Day Jason & Kelly Odum Dr. & Mrs. Wills Oglesby Hunt & Debbye Oliver Mr. & Mrs. Jack Oman Philip & Carolyn Orr Wayne Overby Dr. & Mrs. Ronald E. Overfield Frank & Pamela Owsley Terry & Wanda Palus Dr. Fritz F. Parl Clint Parrish Lisa & Doug Pasto-Crosby John & Lori Pearce Charlie & Connally Penley Anne & Neiland Pennington Dr. & Mrs. A. F. Peterson Jr. Claude Petrie Jr. Kenneth C. Petroni MD Charles & Mary Phy Mr. & Mrs. James R. Pickel Jr. Mrs. Tanya M. Pierce Mr. Maurice W. Pinson Gail Plucker Phil & Dot Ponder Mr. Jason E. Poole Ms. Elizabeth M. Potocsnak Mr. Sean Power Cammy Price Mr. & Mrs. Thomas Priesmeyer Ann Pushin Mr. Daniel L. Rader & Mrs. Leah R. Jensen-Rader Edria & David Ragosin Mr. & Mrs. Ross Rainwater Mr. & Mrs. William C. Randle Randy & Carol Rawlings Ms. Bonnie D. Reagan Buford L. & Ernestine S. Reed Don Reed & Lynne Wallman Mr. & Mrs. David R. Reeves Dr. William M. Regenold Lee Allen Reynolds Al & Laura Rhodes Mr. Cliff N. Rhodes Mr. & Mrs. Larry V. Rhodes Barbara Richards Don & Connie Richardson Mr. & Mrs. Michael Richardson Mrs. Jane H. Richmond Margaret Riegel Mr. Steven B. Robertson Fran C. Rogers Dr. & Mrs. Bruce D. Rogers Judith R. Roney Rodney & Lynne Rosenblum Edgar & Susan Rothschild Jan & Ed Routon Mr. & Mrs. Robert Rutherford Judith Ann Sachs Mr. Stephen Sachs Mr. Douglas L. Sadtler Ron & Lynn Samuels Dr. Glynis Sandler & Dr. Martin Sandler Jack & Diane Sasson William B. & Toni C. Saunders Mrs. Thomas W. Schlater III Molly & Richard Schneider Drs. Carl & Wendy Schofield Jack Schuett Dr. & Mrs. Stephen J. Schultenover Mr. Devin Schultz Mr. & Mrs. Chuck Self Gene & Linda Shade Richard & Marilyn Shadinger Mr. & Mrs. Michael E. Shaw Mr. Paul Shearer Mrs. Jack W. Shepherd Dr. John O. Simmons

Keith & Kay Simmons Mrs. Wilson Sims Dr. & Mrs. Manuel Sir Alice Sisk Pamela Sixfin Ashley N. Skinner Mr. Wesley A. Skinner Dr. & Mrs. David Slosky Charles R. Smith & Vernita Hood-Smith Dallas & Jo Ann Smith Mrs. Rebecca Smith Susan K. Smith & Joe Stegemann Ruth & William Smith Elaine & Robert Smyth Mr. James E. Snider Jr. Dr. Susan Snyder & Mr. William Snyder Marc & Lorna Soble Mr. Chris Song Nan E. Speller Tom Spiggle Mrs. Randolph C. St. John Tabor Stamper - KHS America Caroline Stark & Lane Denson* Lelan & Yolanda Statom Dennis & Billie Jean Stephen Mr. & Mrs. Lemuel Stevens Jr. Richard & Jennifer Stevens CAPT & Mrs. Charles E. Stewart Jr. Mr. & Mrs. Cyril Stewart Bob & Tammy Stewart Tom & Gayle Stroud Mr. & Mrs. Samuel E. Stumpf, Jr. Mr. & Mrs. William C. Suchman Gayle Sullivan Dewayne & Kristy Sullivan Frank Sutherland & Natilee Duning

Mr. & Mrs. Herbert Svennevik Dr. Esther & Mr. Jeff Swink Ms. Jeanette Tatman Mr. & Mrs. Eugene Te Selle Jeremy & Carrie Teaford Dr. Paul E. Teschan Dr. & Mrs. Edward L. Thackston Mr. & Mrs. Richard Theiss Mr. Gilbert Thibedore Richard & Shirley Thrall Mr. & Mrs. Robert W. Thurman Scott & Nesrin Tift Ms. Shari L. Tish Mr. Lewid J. Tomiko Mr. Dan Tonelson Leon Tonelson Mr. & Mrs. Ray Troop Mila & Bill Truan Mr. & Mrs. Timothy True Mr. Phillip Trusty Richard, Kimiko, Jennifer & Lindsey Tucker Mr. & Mrs. John A. Turnbull Mr. & Mrs. James F. Turner Jr. Ms. Junita Turnipseed Rev. and Mrs. Jan P. Van Eys Mr. James N. Vickers Mr. Rory I. Villafuerte Kimberly Dawn Vincent Ms. Lucy A. Visceglia Ms. Maria Voss Mr. Matthew D. Wardle Ms. Leslie P. Ware Lawrence & Karen Washington Dr. Adam E. Watkins Gayle & David Watson Shirley Marie Watts Frank & Jane Wcislo

H. Martin & Joyce Weingartner Dr. & Mrs. Matthew B. Weinger Ms. Karen L. Weissman Mr. Kevin L. Welsh Dr. J. J. Wendel Joni Werthan Franklin & Helen Westbrook Linda & Raymond White Mr. & Mrs. Jeff Whiteaker Mr. Michael T. Whitler & Mr. Mark Weber Jonna & Doug Whitman Ms. Eleanor D. Whitworth Ms. Judith B. Wiens Roger M. Wiesmeyer Mr. & Mrs. Spencer Wiggins Mr. & Mrs. Donald R. Williams Jerry & Ernie Williams Frank & Marcy Williams Mr. & Mrs. Harry E. Williams Jeremy S. Williams John & Anne Williams Dr. Joyce E. Williams Tommy & Carol Ann Wilson The Wing Family Ms. Sandra Wiscarson Scott & Ellen Wolfe Mr. Robert H. Walle Jr. Mr. & Mrs. Stephen F. Wood Sr. Mr. Peter Wooten & Ms. Renata Soto Mr. Howard F. Wright Gary & Marlys Wulfsberg Kay & Randall Wyatt Pam & Tom Wylly Vivian R. & Richard A. Wynn Ms. Na Yang Shu-Zheng & Li Li Yang Dr. Mary Yarbrough Mr. & Mrs. Samuel C. Yeager Donna B. Yurdin Mr. & Mrs. Michael A. Zibart James & Candice Zimmermann Honorary In honor of Bette Berry In honor of Darlene Boswell In honor of Marion P. Couch In honor of Thomas Wynne Cowan In honor of Jeanne Crossnoe In honor of George* & Jo Hall's 58 years of marriage In honor of Martha Ingram In honor of the marriage of Michael Thigpen & Kimhoung Nhep Memorial In memory of Carole Slate Adams In memory of Mrs. Evalina Andrews In memory of Pauline Becker In memory of Mrs. Mary Jane Blount In memory of Steven A. Clark In memory of Mrs. May Drummond In memory of Mr. Charles K. Evers In memory of Mr. Patrick Francis Hamill In memory of Mr. John Bachman Hardcastle In memory of T. Earl Hinton & Nora Smith Hinton From Hutt Family in memory of Dr. James Irvin Hudson Jr. In memory of Dr. James I. Hudson Jr. In memory of Virgil Davis Hunt In memory of Miles Stuart Hunter In memory of Lawrence Levine In memory of Jerry Long In memory of Katherine Ramage Love In memory of Volker Marschall In memory of Mr. J. Patrick Maxwell In memory of Lil McAdams In memory of Cate Myer

Preparing for the Performance of Life

As one of the premier faith-based college preparatory schools in the state, and the only one in Middle Tennessee associated with a top-ranked university, we’re proud of our long history of academic achievement, championship athletics, fine arts and community involvement.

Private Tours Offered Daily

www.lipscombacademy.org Middle & High School 615.966.6409 Elementary School 615.966.6320

“The true meaning of life is to plant trees under whose shade you do not expect to sit.”

Children are starving.

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From South America to Africa...

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YOU can save a child’s life today.

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Just Hope INTERNATIONAL

Visit us at www.JustHopeInternational.org PO Box 2088 • Brentwood, Tennessee 37024

In memory of Mildred J. Oonk In memory of Willis Page In memory of Lt Cmdr Alan A. Patterson In memory of Jean Pinson In memory of Babs Reinfeld In memory of William Satterwhite In memory of Mr. Earl Scruggs In memory of Mr. Gerald E. Sheridan In memory of Martha B. Short In memory of Martin E. Simmons In memory of Mrs. Adele Youngberg Smith In memory of Lester Speyer In memory of Mr. James Albert Stein In memory of Joe Tobias In memory of Fred Viehmann In memory of Dr. David L. Walker In memory of Mary Lee Watson *denotes donors who are deceased

A World - Class Design College in Historic Downtown Franklin

R www.omorecollege.edu 615.794.4254

R Founded in 1970, O’More College of Design is a four-year, not-for-profit college awarding Bachelor of Fine Arts degrees in Fashion Design, Interior Design and Visual Communications.

“There’s something special about this place.”

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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 March 31, 2013:

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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

NASHVILLE CONVENTION & VISITORS BUREAU

Government Metropolitan Government of Nashville and Davidson County

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Mayor Karl F. Dean

Metropolitan Council

Business Partner Gifts of $2,500 - $4,999 American Brokerage Company, Inc. AmSurg BioVentures, Inc. Blevins, Inc. Cassidy Turley Carter Haston Real Estate Services Inc. City of Brentwood Consolidated Pipe & Supply Co., Inc. Delta Dental of Tennessee First Baptist Nashville

Business Council Gifts of $1,500 - $2,499 Alessio International AT&T Butterfly Meadows Inn & Farm CapWealth Advisors LLC The Crichton Group Gannett Foundation/The Tennessean Harmon Group, Inc. J. Alexander's Corporation Lexus of Nashville Reliant Bank Stor-N-Lock Universal Lighting Technologies WASCO, Inc. Business Leader Gifts of $1,000 - $1,499 Anonymous (1) A-1 Appliance Company Marylee Chaski Charitable Corporation DZL Management Company Richard Fletcher of 511 Group Inc. Enfinity Engineering, LLC RD Plastics Co., Inc. Sales Executives Professional Recruitment William Morris Endeavor Entertainment Walker Lumber & Hardware Company Women's Philharmonic Advocacy Business Associates Gifts of $500 - $999 AARP Tennessee ADEX! Homesellers Black Box Network Services The Buzz 102.9 / The Game 102.5 / The LIGHT 102.1 CedarStone Bank Cushman & Wakefield | Cornerstone Haber Corporation J & J Interiors, Inc. Loews Vanderbilt Hotel Northgate Gallery, Inc. Quanta Computer Nashville SESAC, Inc. Stansell Electric Company, Inc.

Stites & Harbison, PLLC Sysco Nashville Volunteer Barge & Transport, Inc. Business Friend Gifts of $300 - $499 V. Alexander & Co., Inc. Batten & Shaw, Inc. CB Richard Ellis, Inc. Courtyard by Marriott Downtown DataMarketing Network, Inc. Frank C. Davis & Associates Demos' Steak & Spaghetti House Freeman Webb Company Realtors, Inc. Horrell Realty and Investments Hoskins & Company, P.C. Hunter Marine Import Auto Maintenance, LLC INDUSCO Jack Cawthon/Jack's Bar B Que Jesse Lee Jones of Robert's Western World Kappa Lambda Omega Chapter, Alpha Kappa Alpha Sorority, Inc. National Toxicology Specialists Inc Riley Warnock & Jacobson PLC Servitech Industries, Inc..

Sharing Spree LLC Trickett Honda Monte Turner/Turner and Associates Realty, Inc. IN-KIND AARP Tennessee American Airlines American Tuxedo Crowe Horwath LLP Dulce Desserts The Glover Group Hampton Inn & Suites Downtown Nashville, 4th Avenue Stephen M. Emahiser Hilton Nashville Downton Ms. Sally M. Levine Lipman Brothers McQuiddy Printing Nashville Symphony Volunteer Auxiliary OSHi Floral DĂŠcor Studio The Pinnacle at Symphony Place Premier Parking of Tennessee Mr. John R. Sanders

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Artistic Underwriters Gifts of $5,000- $9,999 Aladdin Industries, LLC BDO Chet Atkins Music Education Fund of the Community Foundation of Middle Tennessee The Aaron Copland Fund for Music, Inc. Corrections Corporation of America Cracker Barrel Foundation Samuel M. Fleming Foundation Landis B. Gullett Charitable Lead Annuity Trust Interior Design Services, Inc. Nashville Predators Foundation OSHi Flowers PwC The Elizabeth Craig Weaver Proctor Charitable Foundation Tennessee Christian Medical Foundation

First Trust Portfolios Schoenstein & Company Tennsco Corporation Travelink American Express Travel

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Orchestra Partners Gifts of $10,000 - $24,999 Caterpillar Financial Services Chase Coca-Cola Bottling Company Consolidated Ann Hardeman and Combs L. Fort Foundation Ann and Gordon Getty Foundation Griffin Technology Hampton Inn & Suites Downtown Nashville, 4th Avenue Hearn Charitable Foundation Neal & Harwell, PLC Nordstrom Community Giving Publix Super Markets Charities, Inc. Mary C. Ragland Foundation Ryman Hospitality Properties Foundation Wells Fargo

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AmSouth Foundation Andrea Waitt Carlton Family Foundation The Ayers Foundation Bank of America Alvin & Sally Beaman Foundation Lee A. Beaman, Trustee Mr. & Mrs. Dennis C. Bottorff Ann* & Monroe* Carell Caterpillar Inc. & Its Employees The Community Foundation of Middle Tennessee Mike Curb Family Foundation CaremarkRx Greg & Collie Daily

Dollar General Corporation Laura Turner Dugas The Frist Foundation Amy Grant & Vince Gill Patricia & H. Rodes Hart Mr. & Mrs. Spencer Hays HCA Ingram Charitable Fund Lee Ann & Orrin Ingram The Martin Foundation Ellen Harrison Martin Mr. & Mrs. R. Clayton McWhorter The Memorial Foundation Metropolitan Government of Nashville & Davidson County

Anne* & Dick Ragsdale Mr. & Mrs. Ben R. Rechter Estate of Walter B & Huldah Cheek Sharp State of Tennessee 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

Mr. Tom Black Dr. & Mrs. Thomas F. Frist, Jr. Giarratana Development, LLC Carl & Connie Haley Mr. & Mrs. J. Michael Hayes

HCA Foundation, in honor of Dr. & Mrs. Thomas F. Frist Mr. & Mrs. Robert A. McCabe Jr. Regions Bank Mr. & Mrs. James C. Seabury III

Estate of Anita Stallworth SunTrust Bank Tennessee Arts Commission Laura Anne Turner

$250,000+

American Constructors, Inc. Barbara & Jack Bovender American Retirement Corp.

Connie & Tom Cigarran E.B.S. Foundation Gordon & Shaun Inman

Harry & Jan Jacobson The Judy & Noah Liff Foundation Robert Straus Lipman Mrs. Jack C. Massey* Mr. & Mrs. Henry McCall Lynn & Ken Melkus

Richard L. & Sharalena Miller National Endowment for the Arts Justin & Valere Potter Foundation Irvin & Beverly Small Anne H. & Robert K. Zelle

$100,000+

Mr. & Mrs. Dale Allen Phyllis & Ben* Alper Andrews Cadillac/Land Rover Nashville Averitt Express Barbara B. & Michael W. Barton BellSouth Julie & Frank Boehm Richard & Judith Bracken Mr. & Mrs. James C. Bradford Jr. Boult, Cummings, Conners & Berry, PLC The Charles R. Carroll Family Fred J. Cassetty Mr.* & Mrs. Michael J. Chasanoff Leslie Sharp Christodoulopoulos Charitable Trust CLARCOR Mr. & Mrs. William S. Cochran Mr. & Mrs. Thomas Fite Cone Corrections Corporation of America Estate of Dorothy Parkes Cox Janine, Ben, John & Jenny Cundiff Deloitte & Touche LLP The Rev. Canon & Mrs. Fred Dettwiller Marty & Betty Dickens Michael D. & Carol E. Ennis Family Annette & Irwin* Eskind The Jane & Richard Eskind & Family Foundation

The M. Stratton Foster Charitable Foundation Mr. & Mrs. Steven B. Franklin Front Brown Todd LLC Gannett Foundation / The Tennessean Dr. Priscilla Partridge de Garcia & Dr. Pedro E. Garcia Gordon & Constance Gee Genesco Inc. Mr. & Mrs. Joel C. Gordon Guardsmark, LLC Billy Ray & Joan* Hearn The Hendrix Foundation Mr. & Mrs. Henry W. Hooker & Family Mr. & Mrs. Elliott Warner Jones Walter & Sarah Knestrick ESaDesign Team Earl Swensson Associates Inc. I.C. Thomasson Associates Inc. KSi/Structural Engineers Lattimore, Black, Morgan & Cain PC Mr. & Mrs. Fred Wiehl Lazenby Sally M. Levine Andrew Woodfin Miller Foundation Morgan Stanley Dean Witter & Co. Nashville Symphony Chorus Nashville Symphony Orchestra League Pat & John W. Nelley Jr.

O’Charley’s Partnership 2000 Bonnie & David Perdue Mr. & Mrs. Philip Maurice Pfeffer Mr. & Mrs. Dale W. Polley Mary C. Ragland Foundation The John M. Rivers Jr. Foundation Inc. Carol & John Rochford Mr. & Mrs. Alex A. Rogers Anne & Joseph Russell & Family Daniel & Monica Scokin Bill & Sharon Sheriff Mr. & Mrs. Martin E. Simmons Luke & Susan Simons Mr. & Mrs. Michael W. Smith Barbara & Lester* Speyer The Starr Foundation Hope & Howard Stringer Louis B. & Patricia C. Todd Jr. Lillias & Fred Viehmann The Henry Laird Smith Foundation Mr. & Mrs. E.W. Wendell Mr. David M. Wilds Mr. & Mrs. W. Ridley Wills III Mr. & Mrs. David K. Wilson

$500,000+

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$1M+

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CAPITAL FUNDS

The Nashville Symphony wishes to acknowledge and thank the following individuals, foundations and corporations for their commitment to the Symphony.

This list recognizes donors who contributed $10,000 or more to one of the Symphony’s endowment or capital campaigns. These capital campaigns make it possible to ensure a sustainable future for a nationally recognized orchestra worthy of Music City.

Mr. & Mrs. David S. Ewing Ezell Foundation / Purity Foundation Mr.* & Mrs. Sam M. Fleming In Memory of Kenneth Schermerhorn Letty-Lou Gilbert, Joe Gilbert & Family James C. Gooch & Jennie P. Smith Edward A. & Nancy Goodrich Bill & Ruth Ann Leach Harnisch Hastings Architecture Associates, LLC Dr. & Mrs.* George W. Holcomb Jr. Mr. & Mrs. Clay T. Jackson KPMG LLP Mrs. Heloise Werthan Kuhn John T. Lewis Gilbert Stroud Merritt Mr. & Mrs. David K. Morgan Musicians of the Nashville Symphony

Anne & Peter Neff Cano & Esen Ozgener Ponder & Co. Eric Raefsky, M.D. & Ms. Victoria Heil Delphine & Ken Roberts Ro’s Oriental Rugs, Inc. Mrs. Dan C. Rudy* Mary Ruth & Bob Shell Mr. & Mrs. Richard Speer Stites & Harbison, PLLC Mr. & Mrs. Bruce D. Sullivan Alan D. Valentine Waller Lansden Dortch & Davis, LLP Estate of Christine Glenn Webb David & Gail Williams Nicholas S. Zeppos & Lydia A. Howarth

$25,000+

AMSURG Family of Kenneth Schermerhorn The Bank of Nashville Bass, Berry & Sims PLC Tom & Wendy Beasley The Bernard Family Foundation The Honorable Philip Bredesen & Ms. Andrea Conte The Very Rev. Robert E. & Linda M. Brodie Mr.* & Mrs. Arthur H. Buhl III Mr. & Mrs. Frank M. Bumstead Community Counselling Service Co., Inc. Mr. & Mrs. Charles W. Cook Jr. Doug & Sondra Cruickshanks Mr. & Mrs. Robert V. Dale Gail & Ted DeDee In Memory of Ann F. Eisenstein Enco Materials, Inc./Wilber Sensing Jr., Chair Emeritus Nancy Leach & Bill Hoskins John & Carole Ferguson Estate of Dudley C. Fort

Mr. & Mrs. F. Tom Foster Jr. Mr. & Mrs. Keith D. Frazier John & Lorelee Gawaluck Giancarlo & Shirley Guerrero Mr. & Mrs. James Earl Hastings Hawkins Partners, Inc. Landscape Architects Neil & Helen Hemphill Hilton Nashville Downtown In Memory of Ellen Bowers Hofstead Hudson Family Foundation Iroquois Capital Group, LLC John F. & Jane Berry Jacques Mercedes E. Jones Mr. & Mrs. Randall L. Kinnard KraftCPAs PLLC Estate of Barbara J. Kuhn Mr. & Mrs. Lawrence M. Lipman The Howard Littlejohn Family The Loventhal and Jones Families Mimsye & Leon May Kevin P. & Deborah A. McDermott Rock & Linda Morphis Carole & Ed Nelson

Nissan North America, Inc. Odom’s Tennessee Pride Sausage, Inc. Larry D. Odom, Chairman/CEO Hal N. & Peggy S. Pennington Celeste Casey* & James Hugh Reed III* Renasant Bank Jan & Stephen S. Riven Lavona & Clyde Russell Dr. & Mrs. Michael H. Schatzlein Kenneth D. Schermerhorn* Lucy & Wilbur Sensing Nelson & Sheila Shields Michael & Lisa Shmerling Joanne & Gary Slaughter Doug & Nan Smith Hans & Nancy Stabell Ann & Robert H. Street Mr. & Mrs. William J. Tyne Washington Foundation, Inc. Mr. & Mrs. W. Ridley Wills II Mr. & Mrs. Joseph J. Wimberly Janet & Alan Yuspeh Shirley Zeitlin

$15,000+

Kent & Donna Adams Ruth Crockarell Adkins Aladdin Industries, LLC American Brokerage Company, Inc. American Paper & Twine Co. Mr. & Mrs. William F. Andrews Dr. Alice A. & Mr. Richard Arnemann Mr. & Mrs. J. Hunter Atkins Sue G. Atkinson Mr. & Mrs. Albert Balestiere Baring Industries Brenda C. Bass Russell W. Bates James S. & Jane C. Beard Allison & John Beasley Ruth Bennett & Steve Croxall Frank & Elizabeth Berklacich Ann & Jobe* Bernard Mr. & Mrs. Boyd Bogle III John Auston Bridges Mr. & Mrs. Roger T. Briggs Jr. Cathy & Martin Brown Jr. Grennebaum Doll & McDonald PLLC Patricia & Manny* Buzzell Mr. & Mrs. Gerald G. Calhoun Mr. & Mrs. William H. Cammack Terry W. Chandler Neil & Emily Christy Chase Cole

Dr. & Mrs. Lindsey W. Cooper Sr. Mr. & Mrs. Andrew D. Crawford Barbara & Willie K. Davis Mr. & Mrs. Arthur C. DeVooght Mr. & Mrs. Matthew H. Dobson V Mike & Carolyn Edwards Mr. John W. Eley & Ms. Donna J. Scott Sylvia & Robert H. Elman Martin & Alice Emmett Larry P. & Diane M. English Dr. & Mrs. Jeffrey B. Eskind Bob & Judy Fisher Karen & Eugene C. Fleming Mr. & Mrs. H. Lee Barfield II Cathey & Wilford Fuqua Mr. & Mrs. Paul J. Gaeto The Grimstad & Stream Families Heidtke & Company, Inc. Robert C. Hilton Dr. & Mrs. Stephen P. Humphrey Franklin Y. Hundley Jr. Margie & Nick* Hunter Joseph Hutts Mr. & Mrs. T.J. Jackson Mr. & Mrs. David B. Johnson Mr. & Mrs. Russell A. Jones Jr. John Kelingos Education Fund Beatriz Perez & Paul Knollmaier Pamela & Michael Koban Jr.

Mr. & Mrs. Kenneth G. Langone Richard & Delorse Lewis Robert A. Livingston Frances & Eugene Lotochinski Mr.* & Mrs. Robert C.H. Mathews, Jr. Betsy Vinson McInnes Jack & Lynn May Mr. & Mrs. James Lee McGregor Dr. & Mrs. Alexander C. McLeod MR. & Mrs. Robert E. McNeilly III Dr. Arthur McLeod Mellor Mary & Max Merrell Donald J. & Hillary L. Meyers Christopher & Patricia Mixon NewsChannel 5 Network Susan & Rick Oliver Piedmont Natural Gas David & Adrienne Piston Charles H. Potter Jr. Joseph & Edna Presley Nancy M. Falls & Neil M. Price Mr. & Mrs. Charles R. Pruett Linda & Art Rebrovick Mr. & Mrs. Doyle R. Rippee Dr. & Mrs. Clifford Roberson Mr. & Mrs. Walter M. Robinson Jr. Anne & Charles Roos Ron Rossmann Joan Blum Shayne

InConcert

fun d s

Adams and Reese / Stokes Bartholomew LLP American Airlines American General Life & Accident Insurance Company Baker, Donelson, Bearman, Caldwell & Berkowitz J B & Carylon Baker Dr. & Mrs. T.B. Boyd III William H. Braddy III Dr. Ian & Katherine* Brick Mr. & Mrs.* Martin S. Brown Sr. Michael & Jane Ann Cain Mike Curb/Curb Records Inc. The Danner Foundation Dee & Jerald Doochin Ernst & Young

ca p i tal

$50,000+

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Mr. & Mrs. Irby C. Simpkins, Jr. Patti & Brian Smallwood Murray & Hazel Somerville Southwind Health Partners® The Grimstad & Stream Families Dr. Steve A. Hyman & Mark Lee Taylor John B. & Elva Thomison Mr. & Mrs. Marshall Trammell Jr.

Eli & Deborah Tullis Mr. & Mrs. James M. Usdan Louise B. Wallace Foundation Mr.* & Mrs. George W. Weesner Ann & Charles* Wells In Memory of Leah Rose B. Werthan Mr.* & Mrs.* Albert Werthan Betty & Bernard Werthan Foundation

Olin West, Jr. Charitable Lead Trust Mr. & Mrs. Toby S. Wilt Dr. & Mrs. Lawrence K. Wolfe Dr. Artmas L. Worthy Mr. & Mrs. Julian Zander Jr.

soc i ety

Nas h v i l l e S y m p h o n y

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

Anonymous (2) Barbara B. & Michael W. Barton Diane and David L. Black Julie & Frank Boehm Mr. & Mrs. Dennis C Bottorff Charles W. Cagle Donna & Steven Clark Dr. Cliff Cockerham & Dr. Sherry Cummings Mrs. Barbara J. Conder Mr. & Mrs. Roy Covert 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 Ed & Nancy Goodrich Carl T. Haley, Jr. Billy Ray Hearn 70

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Judith Hodges Judith S. Humphreys Martha R. Ingram Elliott Warner Jones & Marilyn Lee Jones Anne T. Knauff Heloise Werthan Kuhn Sally M. Levine John T. Lewis Todd M. Liebergen Clare* & Samuel Loventhal Mrs. Ernestine M. Lynfoot Ellen Harrison Martin Dr. Arthur McLeod Mellor Richard L. Miller 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 & Edria Ragosin Mr. & Mrs. Ben R. Rechter Fran C. Rogers Kristi Lynn Seehafer Mr.* & Mrs. Martin E. Simmons Irvin & Beverly Small Mary & K.C. Smythe Dr. & Mrs. W. Anderson Spickard Jr. Dr. John B. Thomison Sr. Louis B. Todd Judy & Steve Turner Alan D. Valentine Mrs. Johnna Benedict Watson Dr. Colleen Conway Welch & Mr. Ted Houston Welch Barbara & Bud Zander Shirley Zeitlin Anne H. & Robert K.* Zelle *deceased

Graduates of Trevecca’s programs in music, dramatic arts, mass communication, and creative writing find unique ways to become salt and light in their careers, and their individual stories speak volumes about how Christian artists are penetrating the culture.

333 Murfreesboro Road Nashville, TN 37210 615-248-1200 www.trevecca.edu

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DOWNTOWN NASHVILLE • 919 Broadway Nashville, TN 37203 • FRISTCENTER.ORG/ARTDECOAUTOS Lead Sponsors:

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The Frist Center for the Visual Arts is supported in part by:

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Music With Friends

Music With Friends is an exclusive music club that offers its members three

unforgettable performances per year from world renowned artists such as Diana Ross, Earth, Wind and Fire, Bonnie Raitt, Sheryl Crow, Tony Bennett, Steely Dan, Crosby, Stills and Nash as well as a pre-show cocktail party and after party.

Watch for the announcement of our opening dates for the 2013-2014 season with the new CMA Theater in the Country Music Hall of Fame速 and Museum as our chosen venue.

M USIC WI T H F R I E N D S I NVIT ES Y O U TO JO I N TO D AY !

www.MusicWithFriends.com

BECKY M ITCHENER Corporate Director of Membership & Development bmitchener@musicwithfriends.com 704.907.1806 BEC PORTER Director of Membership / Nashville bporter@musicwithfriends.com 615.584.4255

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P O G U PE S T seI N r iF es O RM A T I O N

GUEST

I N F OR M AT I ON

VISTING THE SCHERMERHORN RESTROOMS & WATER FOUNTAINS

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.

COAT cHECK

To enhance the acoustical experience inside Laura Turner Concert Hall, guests are invited to check their coats at one of several complimentary coatcheck locations on each seating level. The most convenient is on the Lounge Level, located one floor below the Main Lobby.

CAMERAS, CELL PHONES & OTHER DEVICES

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.

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.

GET INVOLVED! VOLUNTEER

The Nashville Symphony offers a wide variety of opportunities to engage volunteers from Nashville and surrounding communities. Tasks include providing office support, assisting on concert nights and much more. You’ll have the opportunity to meet fellow music lovers and to help out behind the scenes at the Schermerhorn! Volunteers can customize their schedules to fit their lifestyles. For more information, visit NashvilleSymphony.org/volunteer.

NASHVILLE SYMPHONY ORCHESTRA LEAGUE

The Nashville Symphony Orchestra League (NSOL) is a membership-driven organization committed to supporting the work of the Nashville Symphony.

Members help make a difference in our community by assisting with the Nashville Symphony’s music education programs, presenting pre-concert talks, providing administrative support to the Symphony Spring Fashion Show and more. For more information, visit NashvilleSymphony.org/NSOL.

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CRESCENDO CLUB

The Crescendo Club is a newly launched group of community leaders, philanthropists and music enthusiasts, ages 21 to 40-ish, who are interested in supporting the Nashville Symphony by participating in unique social events, fundraising initiatives and other music educational activities. For more information, visit NashvilleSymphony.org/CrescendoClub.

NASHVILLE SYMPHONY CHORUS

Have you got an urge to sing? Consider joining the Nashville Symphony Chorus! Now numbering more than 130 voices in concert, the Chorus performs at least twice each season as part of the Nashville Symphony’s SunTrust Classical Series, in addition to Handel’s Messiah each December. For more information, including how to audition, visit NashvilleSymphony.org/NashvilleSymphonyChorus.

HOW MAY WE ASSIST YOU? CONCERT CONCIERGE

SERVICES FOR GUESTS WITH DISABILITIES

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 & TRANSPORTATION NEW! FREE PARKING!

New for the 2012/13 season, FREE parking is available in Lot R at LP Field, with shuttles running to and from the lot for just $3 per person roundtrip. This shuttle service is available for all SunTrust Classical, Bank of America Pops and Jazz Series concerts, along with many special events. For more information, call our Box Office at 615.687.6400.

PARKING AT THE PINNACLE

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.

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

Official transportation provider for the Nashville Symphony, Grand Avenue offers town cars, sedans, limousines and bus transport for individuals and groups of all sizes. To help drive the spirit and vitality of Middle Tennessee, the Grand Gives Back program contributes a portion of proceeds from every transaction to community nonprofits. To learn more, email info@grandavenueworldwide. com or call 615.714.5466. Mention the code “symphony1” when making your reservation, and the Nashville Symphony will receive a portion of the proceeds.

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 cannot attend a concert, exchanges must be made at least 10 business days prior to the performance date; otherwise, you may donate your tickets for resale. You may also choose to put the value of your tickets on account no later than 10 business days prior to the performance. On-account money may be used for any concert in which we are allowing exchanges; please contact your Patron Services Specialist for details or contact the box office at 615.687.6400.

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I N F O RM A T I O N

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, first-served 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.

G U EST

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.

JUNE

4

JUNE

VIDEO GAMES LIVE™ An amazing entertainment experience featuring music from the most popular video games of all time!

THE BASEBALL MUSIC PROJECT

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Celebrate Father’s Day with the Nashville Symphony and hear music inspired by America’s greatest sport!

JUNE

TCHAIKOVSKY EXTRAVAGANZA!

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JUNE

28

A night of dazzling music from Russia’s greatest composer!

TCHAIKOVSKY’S 1812 OVERTURE Experience one of the most exciting pieces of music ever written, along with other Tchaikovsky classics!

BUY TICKETS AT:

NashvilleSymphony.org 615.687.6400