InConcert - September 2011

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InConcert

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september 2011

tAble of contents

21

seAson opening celebrAtion with

YO-YO MA

september 9, 2011

31 61

bAnk of AmericA pops series

Wynonna

september 15, 16 & 17, 2011 JAzz series

Larry Carlton

september 30, 2011

departMentS

proGraMS

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8 10 14 56 64 69 70 71 73 74 76 78 86 90 91 92 94

suntrust clAssicAl series

BÊla Fleck’s Banjo Concerto september 22, 23, 24, 2011

Overture: Giancarlo Guerrero High Notes Backstage: Concertmaster Jun Iwasaki 2011/12 Season Calendar Conductors Orchestra Roster Board of Directors Staff Roster InTune: SunTrust InTune: RJ Young InTune: Tennessee Arts Commission Annual Fund: Individuals Annual Fund: Corporations A Time for Greatness Campaign Legacy Society Guest & Facility Information Building Map

InConcert

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overture

welcome to the 2011/12 seAson world premieres, free music And educAtion

Along with these new works, we’ll mainThank you for being a part of our new season tain our commitment to exploring some of the at Schermerhorn Symphony Center! This is an greatest orchestral music ever written — pieces especially exciting month for us at the Nashville

by Beethoven, Brahms, Mozart, Prokofiev, Symphony. In addition to our Season Opening Tchaikovsky and much more. We’ll continue Celebration featuring the incomparable Yo-Yo to make our way through the complete cycle of Ma, we’re also launching our SunTrust Classical Mahler’s symphonies, with a performance of his Series with the world premiere of Béla Fleck’s Fourth in November, and we’ll also continue to Concerto for Banjo. We’ve had the pleasure of present the music of Anton Bruckner, whose working with Béla in the past, but until now he’s music is perfectly suited for the never written a concerto acoustics of the Schermerhorn. specifically designed to show With a full concert schedule, off his singular mastery of our musicians stay busy, but the banjo. This promises it’s important to all of us at the to be a musical experience Nashville Symphony that we are unlike any other, and we’ll be able to share the joy of music and recording the concert for a music education with everyone future release. in our community. This season, Béla’s piece really sets the thousands of schoolchildren will tone for our whole season, Béla’s piece really sets pass through our doors for our because we’ll be undertaking the tone for our whole Young People’s Concerts, and several other notable world many of our musicians will devote premieres and recordings. season, because we’ll be In November, we’ll be workundertaking several other hours of their time each week to teaching and performing for ing once again with Richard notable world premieres our free education and commuDanielpour, one of our counand recordings. nity engagement programs. Next try’s most distinctive commonth, on October 1, we look posers. And in May, we will forward to welcoming everyone to unveil a new piece by Terry Schermerhorn Symphony Center for our annual Riley, one of the most influential musical thinkRegions FREE Day of Music. ers to emerge in the last half-century. He’s writing All of this — our concerts, our premieres, our a concerto for electric violinist Tracy Silverman, education and engagement programs — is posa member of the Nashville community whose sible because of you. Thank you for supporting incredible musicianship has taken him to concert the Nashville Symphony. I hope you enjoy this halls all over the world. After we premiere Riley’s evening’s concert, and I look forward to seeing piece here at the Schermerhorn, we will take it to you at the Schermerhorn this season!

Carnegie Hall’s Spring for Music festival on May GIANCARLO GUERRERO 12, 2012. We hope you can join us in New York!

Music Director, Nashville Symphony

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SEptEmBER 2011

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

high notes

roAd to cArnegie SpRING fOR mUSIC fEStIvAL CARNEGIE hALL

mAy 12, 2O12

NAShvILLE SymphONy GIANCARLO GUERRERO, CONdUCtOR

JOIN US At CARNEGIE hALL

photo by Jeff golgberg-esto

Our Saturday-evening concert will be the Spring for music festival’s finale. mORE INfORmAtION At RoadtoCarnegie.com

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SEptEmBER 2011

In May, the Nashville Symphony is going to Carnegie Hall to perform at the Spring for Music festival — and you’re invited to join us!

We’ve partnered with Sailair Travel to make concert tickets available to members of the Middle Tennessee community. For more information, visit RoadtoCarnegie.com and click on the “Tickets and Travel Information” link.

The Nashville Symphony was one of only six North American ensembles invited to participate in this year’s Spring for Music, which highlights orchestras doing innovative, original programming.

Our Saturday-evening concert at Carnegie Hall will be the festival’s finale and will feature Nashville electric violinist Tracy Silverman in a brand-new piece written for him by Terry Riley. The orchestra will also perform the New York premiere of Charles Ives’s Universe Symphony, as realized by Larry Austin. This breathtaking work involves the participation of multiple ensembles and conductors and will unite the Nashville musical community as peers from local ensembles join the orchestra in this high-profile appearance.

We’ll be updating RoadtoCarnegie.com regularly with additional information about the concert, along with informative interviews and other features. Check the site often!

introducing our new orchestrA members When the Nashville Symphony takes the stage at the Schermerhorn this month, you may notice a few new faces onstage. We’re delighted to welcome four new musicians to the orchestra this season: Jun iwasaki, Concertmaster: Iwasaki comes to Nashville from the Oregon Symphony, where he also served as concertmaster. Last season, he appeared several times as guest concertmaster with the Nashville Symphony, including the orchestra’s memorable performances of Mahler’s Second. Now officially in the concertmaster’s seat, he’ll play a key role in shaping the ensemble’s sound. To learn more about Iwasaki, see the interview on p. 14.

hari bernstein, viola: Born and raised in New York City, Bernstein received her bachelor’s degree from The Juilliard School and continued her studies at The Cleveland Institute of Music, appearing frequently as a substitute with the Pittsburgh Symphony and the Cleveland Orchestra. Frequently performing in hospitals and shelters for individuals unable to make it to the concert hall, Hari is a firm believer in the healing power of music.

James button, principal oboe: Originally from Australia, oboist James Button made his solo debut with the Melbourne Symphony at the age of 17. Prior to his appointment with the Nashville Symphony, he was a member of the Seoul Philharmonic and the New World Symphony. He has performed at the Verbier, Edinburgh and Tanglewood Music Festivals, as well as Italy’s Spoleto Festival dei Duo Mondi and the Granada Festival of Music and Dance.

trent leasure, percussion: Leasure comes to the Nashville from the San Antonio Symphony, where he served as principal percussionist and assistant principal timpani. Also active as a soloist and chamber musician, Leasure has performed with the Axiom Ensemble, New Juilliard Ensemble, Eastman Wind Ensemble and Muse New Music.

In addition to receiving his bachelor’s degree from The Juilliard School, he has studied at Eastman School of Music and New England Conservatory.

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high notes

eXciting new Additions to the schermerhorn cAlendAr

In addition to a full schedule of Nashville Symphony concerts, we’ll be presenting an exciting array of special events at Schermerhorn Symphony Center this season. From pop to country to comedy and much more, we’ve got it all right here!

Check our updated list of coming attractions:

October 31

HalloweeN Movie NigHt Featuring Phantom of the Opera with organist tom trenney

November 8

DruMliNe live

December 20 aSleep at tHe wHeel:

Santa loves to Boogie

December 22 ricky SkaggS FaMily cHriStMaS January 21

keNNy rogerS

February 14

valeNtiNe’S witH JoHNNy MatHiS

February 18 Bruce HorNSBy March 4

voiceS oF SpriNg

March 12

tao: way oF tHe DruM

March 16

SteveN wrigHt

April 9

preServatioN Hall Jazz BaND with the Del Mccoury Band

April 14

lily toMliN

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SEptEmBER 2011

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bAckstAge i meet our musiciAns

concertmAster

Jun iwAsAki

what’s your hometown? Although I was born in Tokyo, Japan, and raised in Illinois, my hometown is Dallas, Texas, now. My parents still live there, and that’s where I go when I go “home.”

what they had to offer. They have a great orchestra, a great hall and wonderful support from the city, which are all important to a healthy symphony in any city.

what’s your earliest musical memory? Hearing my parents play music every night as I went to bed. My father is a cellist, and my mother is a pianist. I believe it actually helped me fall asleep when I was young.

what music do you enjoy playing for fun? I enjoy playing all sorts of music. The last couple of years, I have been playing on and off with the band Pink Martini [who are based in my former home, Portland, Oregon], and I have helped record some albums with them. It was a lot of fun and gave me the opportunity to play different styles of music.

What person has had the greatest influence on you as a musician, and what have you learned from them? I would have to say my father. He has taught me so much about music and what it takes to be a professional musician.

Could you describe the job of concertmaster, and what do you see as your particular role with the nashville Symphony? The concertmaster has many job descriptions. The easiest way to explain it would be that they are the liaison between the conductor and the orchestra. My job is to help convey what the conductor wants the orchestra to do without speaking. Ways to do this include body language and eye contact with other players. I hope to bring a sense of chamber music to the Nashville Symphony because in my opinion an orchestra is just a larger version of a chamber ensemble. what made you want to join the nashville Symphony? It was a combination of things.

I thought it was time for me to explore new challenges, and when the Nashville Symphony approached me, I was happily surprised with

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SEptEmBER 2011

what music do you enjoy listening to – classical and otherwise? I love listening to jazz. Mostly because I admire jazz musicians for what they can do with improvisation. It’s something I’ve always been curious about and love listening to when I get a chance. if you weren’t an orchestra musician, what would you be doing? Most likely, I would be pursuing a cooking career. I love eating and the process of getting food onto the table. what did you do this summer? Besides getting ready for the move, I played in different festivals throughout the summer. Most of the festivals involved playing chamber music and teaching to some extent. what are you most looking forward to performing this season? There are so many to look forward to this season, but some include Yo-Yo Ma, Béla Fleck, Emanuel Ax and Mahler’s Fourth.

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SpECIAL EvENt

SpeCial event

friday, September 9, at 8 p.m.

SeASOn Opening CeLeBrAtiOn With

YO-YO MA nashville Symphony Giancarlo Guerrero, conductor yo-yo ma, cello

prOgrAM antonÍn dvoŘÁK

Symphony no. 9 in e minor, op. 95 “From the new world” Adagio - Allegro molto Largo molto vivace Allegro con fuoco

interMiSSiOn antonÍn dvoŘÁK

Silent woods for Cello and orchestra yo-yo ma, cello

antonÍn dvoŘÁK

Concerto in b minor for Cello and orchestra, op. 104 Allegro Adagio ma non troppo finale: Allegro moderato yo-yo ma, cello Yo-Yo Ma is exclusively represented by Opus 3 Artists.

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InConcert

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SpeCial event antonÍn dvorÁK Born on September 8, 1841, in the Bohemian village of Nelahozeves, just north of prague; died on may 1, 1904, in prague Symphony No. 9 in E minor, Op. 95 (“From the New World”) dvořák composed the last of his nine symphonies between January and may 1893, during his three-year sojourn in the United States. the Ninth is a testament to the composer’s experiences in the New World, and it has remained one of the most popular works of the symphonic repertory since its sensational premiere in New york.

First performance: december 16, 1893, at Carnegie hall in New york, with Anton Seidel conducting the New york philharmonic.

First nashville Symphony performance: feb.

24 & 25, 1964, with music director Willis page. estimated length: 45 minutes recommended listening and reading: paavo Järvi leads the Cincinnati Symphony Orchestra in one of the most thrilling accounts of recent years, on telarc. published by Norton, michael B. Beckerman’s New Worlds of Dvořák: Searching in America for the Composer’s Inner Life offers a fascinating account of his American years and how they affected the major works we hear on tonight’s program.

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SEptEmBER 2011

By the 1890s, Antonín Dvořák enjoyed international fame as one of the most highly regarded living composers. In 1892, despite his profound identification with Czech music and a deep-seated fear of traveling, he made the lengthy voyage to the New World for a sojourn in the United States that lasted (with one five-month interlude back home) until 1895. Like Haydn’s late-life visits to England, the journey proved to be of enormous significance.

It inspired, among other works, the Symphony No. 9 (tagged by Dvořák himself as music “From the New World”) and the Cello Concerto. Both works are among his best-loved compositions and have become cornerstones of the repertory. The Cello Concerto, in particular, holds its position at the pinnacle of the genre for that instrument.

Dvořák was lured to the United States by an invitation to direct the new National Conservatory of Music, located in New York’s Lower East Side.

The Conservatory was the brainchild of music enthusiast and patron Jeannette Thurber. With a fortune amassed through her husband’s grocery business, Thurber was able to realize her dream of founding a national musical center dedicated to fostering an authentically American art — this in a Eurocentric era when the usual course for anyone desiring a serious career in music was to head abroad for training. Thurber’s progressive ideas meant that the Conservatory welcomed women, the underprivileged, and African-Americans and other minorities as students.

Dvořák’s stay in America led to feelings of intense homesickness, but it also reaped tremendous artistic payoff for the composer and helped expand his reputation. His fortune expanded as well, thanks to the fabulously generous salary Thurber offered. Dvořák had reached a moment in his career when it proved to his advantage to have a reprieve from “certain artistic pressures in Europe,” as Michael B. Beckerman writes in his excellent book, New Worlds of Dvořák. The composer had become typecast as the successor to Brahms in creating “absolute” music — music understood to be self-contained as opposed to being allied with images and narratives outside the musical realm. Dvořák, observes Beckerman, was “ready to move in a different direction.”

Even though the Symphony No. 9 and the Cello

SpeCial event

dvorák’s stay in America led to feelings of intense homesickness, but it also reaped tremendous artistic payoff for the composer and helped expand his reputation.

Concerto represent archetypal forms of absolute music, scholars continue to ponder evidence of literary and autobiographical subtexts in both works. Dvořák’s nostalgia for Bohemia and the stimulation of his new America surroundings (musical, social, and scenic) blended together, with extraordinarily fertile results. While the “New World” Symphony is often discussed in terms of influences from Native American and African-American sources (see the sidebar on p.

25), Dvořák’s characteristic Bohemian flavors also pervade the score.

what to listen for Dvořák launches the first movement with hints of the epic breadth of the work to unfold, yet his gestures are concise and concentrated. After a brief introduction and a burst of almost Beethovenian fury, the main theme erupts from the horns. With an easily recognizable upward-downward direction, this theme will recur in each movement, and even spawns the additional themes here, including the closing one entrusted to flute, which seems to evoke a different, rustic world. Dvořák develops this small store of musical material with tremendous dramatic verve.

One particularly American angle comes into play in the two middle movements. We know that Dvořák was intrigued by Henry Wadsworth Longfellow’s epic poem of 1854, The Song of Hiawatha. He even remarked that the Largo grew from a sketch for an operatic treatment of the epic that was never realized, while the Scherzo had been inspired by a scene “where the

Indians dance.” In Beckerman’s view, a host of images from Hiawatha pervades the score, from Longfellow’s pastoral evocations of the landscape to the tragic passage of Minnehaha’s forest funeral. In any case, this is music of deeply engaging beauty, framed by magical harmonic modulations at the outset. It’s astonishing how much emotional resonance Dvořák evokes from the simple, folk-like English horn melody, clothing it in a variety of orchestral colors.

The Scherzo boils over with Dvořák’s signature rhythmic drive. He works in the first movement theme to surprising effect in the transition to the middle section, and again at the close. A rousing brass fanfare launches the finale with powerful momentum. Material from the preceding movements reappears, including the Largo tune in more-dramatic guises. Dvořák makes space for his richly melodic gift while at the same time shaping a thrilling, urgent climax. Yet in the final moments, as the main themes recombine, “victory” hardly seems to be the point. Dvořák commentator David Hurwitz describes the ending as a “tragic finale,” noting that “even that very American-sounding boogie-woogie bass line and last-minute turn to the major key can’t efface the sadness that lingers as the final chord fades slowly and gently to triple piano.” The truly American sound of the blues isn’t far off.

The Symphony No. 9 is scored for 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, cymbals and strings.

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SpeCial event Silent Woods for Cello and Orchestra, Op. 68, No. 5 Silent Woods originated from a collection of six pieces for piano four hands, titled From the Bohemian Forest, which dvořák composed in 1883. In 1891 he arranged the fifth of these for solo cello; then, in 1893, during his American sojourn, he prepared the version for solo cello and chamber orchestra that we hear tonight.

Exquisitely lyrical, Silent Woods shows dvořák experimenting, in the form of a miniature, with the possibilities of blending solo cello and orchestra, and is thus a forerunner of the Cello Concerto.

First performance: december 16, 1894, in Basel, Switzerland, with moritz Kahnt as cello soloist and Alfred volkland conducting the Allgemeine musikgesellschaft Orchestra.

First nashville Symphony performance: this is the orchestra’s first performance of Silent Woods. estimated length: 7 minutes recommended listening: yo-yo ma with Seiji Ozawa conducting the Boston Symphony on The Dvořák Album (Sony).

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When he came to America, the village-born Dvořák’s intense love of nature was one spur for the ongoing feelings of homesickness he harbored for his native Bohemia. He found the bustle and confinement of New York especially trying.

His summer vacation in the charming town of Spillville in northeast Iowa, by contrast, provided an idyllic interlude.

Pastoral images abound in Dvořák’s music (including the “New World” Symphony), though he had a difficult time coming up with poetic titles for the set of piano miniatures (From the Bohemian Woods) from which Silent Woods derives. Dvořák’s own name for this piece was Klid, a Czech word meaning calm or tranquility. His German publisher insisted on the title Waldesruhe, which literally refers to the peace or calm of the forest. The piece became popularly known in English as “Silent Woods.”

Dvořák first came to fame with the success of his Slavonic Dances in 1878, so there was an obvious demand for more works in the same format of piano four hands. Shortly before his American journey, however, the composer went on a chamber music tour featuring his Dumky Trio. Performing himself at the keyboard, he also wanted a fresh piece for cellist Hanuš Wihan (to whom he would dedicate his Cello Concerto) and so arranged Silent Woods for piano and cello.

The new versions must have confirmed for him how naturally the music suited the burnished expressivity of that instrument. It was after his summer in Spillville that he then orchestrated Silent Woods.

what to listen for Notice the transparency of Dvořák’s orchestration. Not yet certain how to cope with the cello-orchestra balance, he clearly opts for a smaller chamber ensemble, yet that doesn’t prevent him from spinning out a lush, gorgeous language of stretched-out melody and deeply affecting harmonic turns.

The piece unfolds in a simple, song-like shape, with the solo cello tracing the melody at the beginning — a rich outpouring in D-flat, with subtly blended contributions from the woodwinds. A drawn-out dialogue with the flute anticipates the Cello Concerto — as, in fact, Silent Woods as a whole looks ahead to the elegiac tone of the Concerto’s Adagio. After a turn to the minor for the contrasting middle section, the cello continues to bring new, bel canto-like treasures to light, even while it reprises and further elaborates the principal melody.

In addition to solo cello, Silent Woods is scored for flute, 2 clarinets, 2 bassoons, horn and strings.

SpeCial event dvorÁK’S aMeriCan iMpreSSionS One question that has never been decisively settled since the first performance of the “New World” Symphony is just how “American” it really is. himself a minority within the Austrohungarian Empire, the Czech dvorák was particularly sensitive to the spirit of what he considered indigenous American folk music. Soon after arriving in New york, dvorák observed that America possessed rich raw material in its own folk idioms, remarking that “the future music of this country must be founded on what are called Negro melodies.” One of his students at the Conservatory exposed him to a range of African-American spirituals, and he also encountered more spurious sources, such as Buffalo Bill’s Wild West Show.

At the same time, dvorák denied quoting actual American melodies in this score. he pointed out that he wrote “original themes” that were touched by the flavor of indigenous American elements, but treated with all the “modern” resources of symphonic writing. A telling example of how tricky the issue became occurs in the Largo: the Symphony’s best-known tune (the one first heard on English horn) sounds so much like a spiritual that one of dvorák’s students later penned lyrics to it (“Goin’ Home”), creating a version that became known on its own as a latter-day spiritual. The famous flute tune in the first movement, which seems to quote “Swing Low, Sweet Chariot,” is actually a cousin of the main theme.

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SpeCial event Concerto for Cello in B minor, Op. 104 dvořák’s Cello Concerto in B minor rounded off his stay in America and was written between November 1894 and february 1895. Back home in Bohemia, he revised the ending the following summer.

Autobiographical elements, including an implicit memorial to his beloved sister-in-law, are part of the lore of this concerto, which endows the genre with symphonic heft and proportion and remains the touchstone of the cello concerto repertory.

First performance: march 19, 1896, in London, with the composer conducting cellist Leo Stern and the London philharmonic.

First nashville Symphony performance: feb. 21, 1956, with music director Guy taylor and soloist Gregor piatigorsky. estimated length: 40 minutes recommended listening: yo-yo ma with Kurt masur conducting the New york philharmonic on The Dvořák Album (Sony).

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Dvořák’s years in America may not have sparked the kind of homegrown musical movement envisioned by Jeannette Thurber, but with his Cello Concerto, the composer single-handedly helped map out the path of the modern cello virtuoso. While violinists and pianists had long enjoyed star status as soloists, the cello was still considered less than effective as a platform for a solo career. Though Dvořák had attempted writing a cello concerto as early as 1865, he never bothered to orchestrate it, perhaps assuming there would be scant interest in a genre that still lacked familiar repertory models.

Given the status his mature Cello Concerto would acquire, it’s astounding to encounter Dvořák’s opinion that, “as a solo instrument [the cello] isn’t much good…the upper voice squeaks and the lower growls,” as one of his pupils later recalled him saying.

Whatever doubts he harbored about the cello’s soloistic possibilities, efforts such as his orchestration of Silent Woods may well have set the stage for a re-evaluation. He also had the prodding of his cellist friend Hanuš Wihan, who kept asking him to write a concerto. But the real epiphany came in the spring of 1894, when the composer, conductor and cellist Victor Herbert, one of his colleagues at the Conservatory, introduced his own Cello Concerto No. 2 in March 1894. Dvořák was bowled over by the possibilities it revealed, particularly in dealing with the issues of balance and of the cello’s high and low range. As far as Dvořák was concerned, Herbert’s piece showed how the solo cello could be used expressively and without compromise even when arrayed against a full orchestra.

But it was Dvořák who staked out a place for the cello within the grand Romantic concerto tradition, at the same time establishing a new lineage for succeeding composers. He achieved this by crafting a score epic in scope and emotionally persuasive on every level. The challenges he poses for the soloist are indeed formidable, but they never feel emptily “showy” and are integrated into the vision of the whole. In fact, he vigorously rejected some additional cadenzas that Wihan suggested adding. Dvořák carves out a Shakespeare-sized role for his soloist — not as a competitor with the orchestra, but in resounding empathy. Though the overall structure adheres, on the surface, to the conventional three-movement concerto format, Dvořák invests it with a number of intimate, personal innovations that suggest hidden programmatic elements.

what to listen for Instead of evoking a sense of American “optimism,” both the “New World” Symphony and the Cello Concerto are suffused with a deep pathos.

Dvořák’s opening movement shows him working on a large, symphonic scale, but one that can accommodate his unmistakable lyricism. As in the “New World,” he develops his ideas with remarkable economy. The entire first movement evolves from the two main themes we hear in the orchestral exposition. The first, tightly compact, sets the fundamentally elegiac tone of the Concerto and will be developed at ingenious length. Notice especially the far-reaching dialogue between cello and flute at the end of the development. The second theme, introduced in a famous passage for solo horn, echoes the spontaneity and naturalness of Dvořák’s “American” manner and is used to lead off the recapitulation. Together, both themes suggest a microcosm of the Old and New Worlds.

SpeCial event SpaniSh niGhtS

It has long been recognized that Dvořák’s powerful feelings for his sister-in-law Josefina — or, rather, memories of his feelings as a young man in love — play a central role in the Concerto, likely triggered by the news he received of her illness while composing it. She died in May 1895, soon after he had returned to Europe, and Dvořák subsequently made a significant revision to the finale. The Josefina question has led to a lot of sentimental fantasizing about Dvořák carrying a lifelong torch for her, though the exact nature of their relationship remains a matter of speculation.

Dvořák authority Michael Beckerman makes the case that the Cello Concerto as a whole represents a Requiem (and did so even before Josefina’s death) — a vehicle for “meditation on the themes of life, love and death,” with Dvořák himself “as the narrator-cello hero.”

dvorák invests the work with a number of intimate, personal innovations that suggest hidden programmatic elements.

The serene opening section of the Adagio initially conveys a pastoral mood, magically scored for woodwinds, with an intricate lyrical tapestry for the cello. An impassioned interruption rudely casts a sudden pall, setting the music on a new track. In a deeply moving turn, Dvořák introduces a haunting melodic fragment from one of his songs, which Josefina had declared to be her favorite. The elegiac return of the opening theme is overshadowed by a new sense of fragility.

Animated and dance-like, the theme of the rondo finale seems destined to lead, after its various contrasting episodes, to a predictably applause-begging cadenza. Instead, in one of the most poetic passages of any concerto, Dvořák slows down to reintroduce the elegiac glow of the Adagio, now completing the quotation of Josefina’s song and fusing it with the tragic theme from the opening movement. The music gradually diminishes, as the composer wrote, “like a sigh, with reminiscences of the first and second movements.” But in the final bars, the orchestra swells with almost frighteningly intense jubilation to end both this reverie and the Concerto.

In addition to solo cello, the Cello Concerto calls for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle and strings.

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

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SpeCial event

About the soloist yo-yo Ma, cello Yo-Yo Ma’s career is a testament to his search for new ways to communicate with audiences, and to his personal desire for artistic growth. Ma draws inspiration from a wide circle of collaborators such as Emanuel Ax, Mark Morris, Riccardo Muti, Wu Man and David Zinman. In 1998, Ma established the Silk Road Project to promote the study of the cultural traditions along the ancient trade route that stretched from the Mediterranean Sea to the Pacific Ocean. The Project’s performance-based initiatives include professional workshops co-produced with the Tanglewood Music Center, the Boston In 1998, ma established the Silk Road Symphony Orchestra and Carnegie Hall. Over project to promote the study of the the life of the Project, more than 60 works have cultural traditions along the ancient been commissioned specifically for the Silk trade route that stretched from the Road Ensemble, which tours annually.

Throughout his career, Yo-Yo Ma has sought mediterranean Sea to the pacific Ocean. to expand the cello repertoire, performing lesserknown music of the 20th century, as well as new concertos and recital pieces. He has premiered works by a diverse group of composers, among them Stephen Albert, Chen Yi, Leon Kirchner, Peter Lieberson, Bright Sheng, Tan Dun and Dmitry Yanov-Yanovsky.

Ma’s discography of over 75 albums, including more than 15 GRAMMY® Award winners, reflects his wide-ranging interests. His successful genre-crossing recordings include Hush with Bobby McFerrin and Appalachia Waltz with Mark O’Connor and Edgar Meyer. Ma recently recorded Paris: La Belle Époque with pianist Kathryn Stott, and New Impossibilities, a live album featuring the Silk Road Ensemble and the Chicago Symphony Orchestra.

Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello at age 4 and spent most of his formative years in New York. His principal teacher was Leonard Rose at The Juilliard School, and he graduated from Harvard University in 1976. He has received numerous awards, including the Avery Fisher Prize (1978), the Glenn Gould Prize (1999), the National Medal of the Arts (2001) and the Presidential Medal of Freedom (2010).

Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius.

For additional information, see yo-yoma.com and silkroadproject.com.

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Let us…

orchestrate your next event if you’re planning a special occasion, look no further than Schermerhorn Symphony Center.

Whether you’re hosting a wedding, a corporate gathering, a group outing or an elegant gala, the Nashville Symphony’s world-class concert hall is perfectly suited to your needs.

Our building contains 11 different venues and meeting rooms, from the sophisticated, wood• 11 venues paneled Allen Walter Watson, • Catering & Event planning Sr. Founders Hall to the • On-site production team versatile Curb Family Music Education Hall. Our Catering and Events Team will do all the work to help you plan and execute a first-rate gathering, and our on-site production team will take care of all your audiovisual needs. Host your event on a concert evening, and you can treat your guests to an amazing musical experience!

For more information about hosting your event at the Schermerhorn: visit SchermerhornCenter.com Call 615.687.6602 InConcert

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popS SerieS

pops series

thursday, September 15, at 7 p.m. friday & Saturday, September 16 & 17, at 8 p.m.

WYnOnnA nashville Symphony Albert-George Schram, conductor Wynonna, vocals

PROGRAM heCtor berlioz

overture to Béatrice et Bénédict

lÉo delibeS

Swanilda’s waltz from Coppelia

Claude debuSSy trans. André Caplet

Golliwogg’s Cakewalk from Children’s Corner

JaCQueS oFFenbaCh arr. manuel Rosenthal

excerpts from Gaité Parisienne Allegro Brilliante polka Allegro valse lente vivo

CaMille Saint-SaËnS

Finale from Symphony no. 3 in C minor “organ Symphony”

INTERMISSION wynonna

wynonna, vocals Bruce dailey, musical director, keyboards don potter, acoustic guitar/bandleader James foy, bass mike maple, drums palmetto State Quartet, background vocals Kisha mitchell, background vocals Selections to be announced from the stage

concert sponsors:

media sponsors:

The Official Vehicle of the Nashville Symphony: The Official Airline of the Nashville Symphony:

The Martin Foundation InConcert

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popS SerieS

About the progrAm The Symphony will start off the program with the overture from Hector Berlioz’s comic opera, Béatrice et Bénédict. Berlioz, who wrote the libretto based on Shakespeare’s Much Ado About Nothing, described the opera as “a caprice written with the point of a needle” — a characterization that is borne out in the popular overture, a sparkling composition that features an almost giddy interplay of strings and woodwinds. The next selection on the program, “Swanilda’s Waltz,” is a fanciful interlude from the 1870 ballet Coppélia.

The music by Leo Délibes is often compared to Tchaikovsky’s great ballet scores for its fluid energy and its effective use of leitmotif.

In 1908, Claude Debussy composed Children’s Corner, a piano suite dedicated to his 3-year-old daughter Claude-Emma. Though the six pieces that make up the suite are designed to evoke the innocence and simple delights of childhood, they are technically demandOfficial Chauffeured Transportation of the Nashville Symphony ing and contain sly references to great classical works. The Symphony will perform one piece from the suite, “Golliwogg’s Cakewalk” — a ragtime-inspired number that has a quote from Wagner’s Tristan und Isolde nestled within its strutting rhythms. More dance music is on the bill with excerpts from Gaîté Parisienne, a 1938 ballet score drawn from the works of 19thcentury French composer Jacques Offenbach.

Orchestrated and arranged by Manuel Rosenthal, Gaîté Parisienne includes some of Offenbach’s best-loved themes from Orphée aux Enfers and Tales of Hoffman.

TM

The Symphony evokes a more triumphant mood with its last selection, the finale of Camille Saint-Saëns’s 1886 Symphony No. 3 in C Minor, popularly known as the “Organ Symphony” because of its featured use of the pipe organ.

The finale begins with the organ accompanied by a delicate flourish of strings and piano, but these eventually give way to dramatic brass, woodwinds, cymbals and timpani, and the music builds to a stirring conclusion.

The second half of the program belongs to Wynonna, who will treat the audience to her powerful yet nuanced vocal style in stirring ballads like “Love Can Build a Bridge” and “I Can Only Imagine,” and in her soulful cover of “I Want to Know What Love Is.” She’ll explore the full range of her wide repertoire, from the soft romance of “I’m in the Mood for Love” to the driving rock rhythms of “Burnin’ Love.” Of course, she’ll also sing selections from her own songbook of hits, including “No One Else on Earth.” Her tremendous talent and larger-thanlife stage presence guarantee a memorable, moving show.

— Nashville-based freelance writer Maria Browning is pops program annotator for the Nashville Symphony.

About the Artist Country music superstar Wynonna’s career has always revolved around telling stories in song, whether performing with her mother as The Judds, or solo on her own mega-successful path. Her rich, commanding voice has produced over 30 million albums sold worldwide, countless charting singles and over 60 industry awards, including 5 GRAMMY® Awards.

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—executive Chef roger Keenan

dining at the

Schermerhorn a night out at the Schermerhorn is special, and you can make your evening even more extraordinary with dinner at our restaurant Arpeggio! This interactive four-course gourmet meal includes appetizers, a soup station, your choice of entrée and dessert.

Make reservations for arpeggio by calling 615.687.6400

If you’re looking for a quick bite, try the Symphony Café, located in the West Lobby. The bistro-style menu includes soups, artisan sandwiches and fresh salads, in addition to pastries, cookies and Seattle’s Best coffee and espresso. In addition to serving patrons on concert evenings, the Symphony Café is open weekdays for breakfast and lunch from 8 a.m.-2 p.m.

For more information or to view menus, visit nashvilleSymphony.org/dining.

Symphony Store your source for music, books, apparel, jewelry and much more!

During intermission or after the concert, be sure to stop by the Symphony Store, located in the West Lobby. We carry one of the largest selections of classical CDs in town — from John Adams to Anton Weber — and we have a diverse selection of music DVDs as well! You can find all of the Nashville Symphony’s recordings here, and if you can’t find what you’re looking for, we’ll be happy to order it for you. This month, we’re especially pleased to feature the orchestra’s brand-new release, Joseph Schwantner’s Chasing Light..., which was recorded in part at Schermerhorn Symphony Center.

You’ll also find much more at the Symphony Store — including a tasteful selection of books, apparel, jewelry, accessories, toys and items with the Nashville Symphony logo.

Stop in today or visit the store online at nashvilleSymphony.org/store.

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*United Way of Metropolitan Nashville at Work Here.

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

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

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

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BéLA FLeCk’S

clAssicAl series

BAnjO COnCertO nashville Symphony Giancarlo Guerrero, conductor Béla Fleck, banjo

PROGRAM aaron Copland

Suite from Appalachian Spring

bÉla FleCK

Concerto for banjo and orchestra = 122

= 70

= 150 Béla fleck, banjo WORLd pREmIERE pERfORmANCES, commissioned by the Nashville Symphony

INTERMISSION piotr ilyiCh tChaiKovSKy

concert sponsor:

Symphony no. 4 in F minor, op. 36 Andante sostenuto Andantino in modo di canzona Scherzo: pizzicato ostinato finale: Allegro con fuoco

media sponsors:

The Official Vehicle of the Nashville Symphony: The Official Airline of the Nashville Symphony:

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thursday, September 22, at 7 p.m. friday & Saturday, September 23 & 24, at 8 p.m.

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Copland composed Appalachian Spring as a ballet for martha Graham’s company in 1943-44. In 1945, he arranged and re-orchestrated the score into the familiar concert suite. the epitome of Copland’s “American sound,” Appalachian Spring marked an important turning point in the composer’s career and in the history of American music, and it has retained its bracing freshness despite over a half-century of familiarity.

aaron Copland Born on November 14, 1900, in Brooklyn, New york; died on december 2, 1990, in North tarrytown, New york Appalachian Spring

First performance: The ballet was first performed on October 30, 1944, at the Library of Congress in Washington, d.C., with a chamber ensemble conducted by Louis horst. the orchestral suite premiered on October 4, 1945, in New york, with Arthur Rodzinski conducting the New york philharmonic.

First nashville Symphony performance: January 17 & 18, 1966, with music director Willis page. estimated length: 25 minutes recommended listening: Leonard Bernstein’s account with the New york philharmonic, including several other orchestral classics

by Copland, remains the standard (Sony).

Aaron Copland’s iconic status makes it easy to forget that he had to develop, through his own musical journey, the direct, simple style that we take for granted. Copland has long been a part of America’s cultural pantheon, his music conveying an unselfconscious beauty, as if he were merely transcribing something already there. Yet when he arrived at what he termed “a home-spun musical idiom” in such works as Appalachian Spring, Copland deemed it “a kind of musical naturalness that we have badly needed.”

Appalachian Spring is the work that has come to epitomize not only its composer, but the “American voice” in classical music. One of Aaron Copland’s most remarkable achievements was to give the impression of tapping into a spontaneous source waiting to be channeled. As it happens, Copland — the son of Russian-Jewish immigrants — explored several styles before deciding to cultivate a populist language. He had previously spent time studying in Paris and developed a unique brand of modernism that he never entirely discarded. (Indeed, Copland would access this side of his muse late in life when he adapted the decidedly anti-populist techniques of atonality for his final compositions.) But the Great Depression sharpened Copland’s desire to communicate

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with a wider audience, and he began to gain greater prominence during the 1930s through his music for ballet, theater and film. In 1943, he was commissioned by the eminent art patron Elizabeth Sprague Coolidge to create a ballet on American themes for choreographer and dancer Martha Graham (1894-1991), a trailblazer in modern dance. Copland’s working title was “Ballet for Martha” (now the subtitle), and he composed the music without any particular notions of Appalachia. It was Graham who chose the title from a section in Hart Crane’s poetic epic The Bridge. Ironically, Copland composed this undiluted, classic evocation of a simple, folk-like America in Hollywood and Mexico.

Copland originally scored the ballet for a small chamber ensemble of 13 instruments. For the concert suite that we hear on this program, he cut out some of the original material, reducing the story to eight numbers. (See the sidebar on facing page.) At the same time, Copland rescored the music for a fuller orchestra. “The larger palette,” observes biographer Howard Pollack, “provided a new grandeur and brilliance to the work,” while “some of the episodes…acquired a whole new richness with full strings and brass.”

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Appalachian Spring is the work that has come to epitomize not only its composer, but the “American voice” in classical music.

the story of ‘Appalachian Spring’

The ballet’s scenario centers around a straightforward evocation of a young pioneer couple as they enter into a life together in a rural setting, with perhaps a hint of the down-to-earth tone of Thornton Wilder’s Our Town, which had appeared in 1938. (Copland supplied the score to the 1940 film version.) The unnamed characters — the Bride and her Husbandman — are both elated and full of anxiety as they anticipate their life together. Intervening episodes involve a Revivalist Preacher and his Followers. At the end, we are left with the young couple “quiet and strong in their new house.” Howard Pollack suggests that the characters are “symbolic archetypes, including the Pioneer Woman as the noble American dream, and the Revivalist and his Followers as an ascetic, resolute puritanism.”

what to listen for Copland immediately establishes the pastoral scene in his idyllic, dreamy opening, expanding a simple three-note idea. (A more assertive variant of this theme appears in the contemporaneous Fanfare for the Common Man.) That simplicity, though, is deceptive, and Copland unfurls a striking range of emotions from his basic material. As each of the characters is introduced, the music layers into bright, warm chords, like a dawn mist that slowly evaporates. The promise here of a fresh beginning is as luminous as the sunny textures of a Georgia O’Keeffe canvas.

The action then begins with a sudden charge of energy. Copland indicates that “a sentiment

both elated and religious gives the keynote to this scene.” A gentle duo dance for the Bride and her Groom follows, and the tempo then quickens — with “suggestions of square dances and country fiddlers” — for the scene with the Revivalist preacher and his flock. The Bride’s solo introduces even faster music and exciting rhythmic accents to reflect the “extremes of joy and fear and wonder” as she thinks of future motherhood.

A brief transition recalling the introductory music leads to the ballet’s best-known sequence: a set of five variations on a Shaker melody that had been published in a mid-19th-century collection under the title “Simple Gifts.”

Interestingly, this tune Official Chauffeured Transportation of the Nashville Symphony — first heard on solo clarinet, with decorative comments from the woodwinds — is the only preexisting folk melody used in the score. Other sections of the music that mimic a folkloric tone only emphasize the composer’s skill in fashioning an aura of spontaneity through his music. The ballet concludes with a moving coda beginning with muted strings. The music of the opening is now rendered as a quiet, inward hymn. Copland distills his material to a lucid simplicity that is indeed, in his words, “quiet and strong.”

TM

Appalachian Spring is scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, percussion, piano, harp and strings.

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Fleck describes his new Concerto as “a liberating experience for my efforts as a composer and hopefully the banjo as well.”

It wasn’t until 1973, while he was a teenager, that Béla Anton Leoš Fleck received his first banjo, but in less than a decade he had recorded his first solo album, Crossing the Tracks (1979), and was well on his way to reclaiming the instrument for a new era. With a unique combination of virtuosity, imagination and insatiable curiosity, Fleck has devoted his career to exploring and revealing the hidden potential of the banjo. The iconic style of Earl Scruggs, to whom the Concerto for Banjo is dedicated, was a formative influence, yet one that Fleck characteristically fuses with those of jazz legends Chick Corea and Charlie Parker. In the new Concerto, we also hear the stimulus of voices from classical tradition — particularly Bach and Beethoven — filtered through a new perspective.

Fleck’s innovative approach extends across an astounding spectrum of achievements, from his early work in progressive bluegrass with the New Grass Revival (which led him to settle in Nashville three decades ago) to the “blu-bop” blend of jazz and bluegrass he continues to pioneer with his group Béla Fleck and the Flecktones. The African origins of the banjo have provided yet another area of exploration for Fleck in recent years, leading to such world music collaborations as Throw Down Your Heart (2009).

On a parallel track, Fleck continues to enrich the expressive language of the banjo by forging unprecedented connections with the realm of classical music (see sidebar on facing page), a world introduced to him during childhood by his stepfather, a cellist. Fleck was named after no fewer than three great composers (Bartók, Webern and Janáček, respectively), making the classical past literally part of his identity. He credits Edgar Meyer, the bassist with whom he has collaborated on numerous projects since the early 1980s, with reawakening his mature interest in classical music.

Meyer also helped instill in him the desire to undertake a classically based composition of his own, following two previous collaborative efforts.

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bÉla FleCK Born on July 10, 1958, in New york City; currently resides in Nashville Concerto for Banjo and Orchestra Béla fleck composed his Concerto for Banjo in 2010-11 on a commission from the Nashville Symphony. he dedicates the work to Earl Scruggs, whose innovative three-finger style set bluegrass music on fire in the 1940s, and whose continued contributions have ensured a great future for this American instrument. While the Concerto marks a new departure as Fleck’s first large-scale composition for classical forces, it continues his work as a pioneer of the banjo’s expressive dimensions.

First performance: these concerts are the Concerto’s world premiere. estimated length: 33 minutes recommended listening: Béla fleck has an extensive discography. the latest album from his flecktones, Rocket Science, was released this past may, while the triple concerto he co-wrote for the opening of Schermerhorn Center is available on The Melody of Rhythm (Koch).

what to listen for During initial rehearsals with the Nashville Symphony, Fleck recalls Maestro Guerrero observing that “the banjo doesn’t sound like a banjo at the beginning” but becomes emphatically banjo-like by the end. The remark suddenly shed light on a scenario that runs through the threemovement score, though Fleck points out that this was the creative work of his “subconscious” rather than a deliberate plan: “The banjo is the hero in this play and is trying to avoid the truth of who he is, but in the end cannot avoid it.”

Fleck notes that the musical arc could be likened to the pattern by which “when you’re young, you try every possible idea, but as you become wiser, sometimes the obvious is not such a terrible thing. So in the first movement, especially with its cadenzas, the banjo is at its most ‘classical,’ even

though I wasn’t trying to emulate any particular composer. But you can hear an evolution in my own writing of the piece as it goes on. As it continues, I become more comfortable with the idea that this can be whatever I want it to be, and it ends by returning to my roots in bluegrass and Earl Scruggs.”

At the same time, to establish this identity, Fleck had to make the ending sound like the “inevitable outcome” of the preceding music rather than an arbitrary change of tack. “I needed to make the concluding section, where I rip into this style, reflect the sound of the banjo as a bluegrass instrument, while also combining it with the orchestra.”

a ClaSSiCal Side oF banJo With the multiple-GRAmmy® Awardwinning perpetual motion (2001), Béla Fleck made his first sustained foray into introducing the world of classical music to the banjo’s repertory. his engaging sequence of banjo arrangements breathed new life into such familiar pieces as Chopin mazurkas, Bach inventions and Beethoven’s moonlight Sonata. fleck subsequently teamed with bassist Edgar meyer to write the double Concerto for Banjo and Bass, which the Nashville Symphony premiered in 2003. that effort proved so successful that the NSO commissioned a triple concerto, which was co-written by fleck, meyer and tabla player Zakir hussain. titled the melody of Rhythm, the concerto was premiered at the concert that inaugurated Schermerhorn Symphony Center in 2006.

In addition to solo banjo, the Concerto for Banjo is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion and strings.

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The Concerto for Banjo marks a significant new departure for Fleck, which he describes as “a liberating experience for my efforts as a composer and hopefully for the banjo as well.” No familiar models for such a piece exist. Fleck mentions just three previous examples, which include a concerto written for Pete Seeger in the 1960s, one by Swiss banjo player Jens Kruger and a farcical send-up by the parodist P.D.Q. Bach.

With his own banjo concerto, Fleck has crafted a large-scale composition requiring intricate organization, and he has taken on his first experience of writing for a hefty orchestra. The challenge, he recalls, led him to evoke “different sounds on my banjo than I was used to doing.”

Fleck observes that, unlike a traditional string concerto, where the solo instrument is already mirrored in the larger ensemble, the banjo possesses “a voice that is not present in the orchestra” and that is resonant enough to play effectively with it. The specific instrument for which Fleck wrote the Concerto is a vintage 1937 Gibson Mastertone banjo made of mahogany — a prized possession he calls the “holy grail” of banjos, much as a violinist might treasure an instrument made in the workshops of Stradivarius.

ClaSSiCal SerieS pyotr ilyiCh tChaiKovSKy Born on may 7, 1840, in votkinsk, Russia; died on November 6, 1893, in St. petersburg, Russia Symphony no. 4 in F minor, Op. 36 tchaikovsky composed his Symphony No. 4 between the end of 1876 and January 1878, dedicating the work to “my best friend,” Nadezhda von meck. Often associated with the composer’s preoccupation with the inescapable power of fate, the fourth reveals a creative new approach in which tchaikovsky reanimated symphonic form with an innovative sense of drama and orchestral color.

First performance: february 22, 1878, in moscow, with Nikolai Rubinstein conducting the moscow Conservatory Orchestra.

First nashville Symphony performance: Nov. 25, 1947, with music director William Strickland. estimated length: 42 minutes recommended listening: daniele Gatti conducts the Royal philharmonic Orchestra in a vivid contemporary performance on the harmonia mundi label.

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From the start, the Fourth Symphony came coated with a heavy layer of extra-musical associations.

At the end of 1876, Tchaikovsky was introduced — by way of a mediator — to Nadezhda von Meck, a wealthy widow. Their entire relationship was conducted via correspondence. Commentators usually portray Mme. Von Meck, who provided the composer financial as well as intellectual and spiritual support, as a positive female counterpart to the young woman he married (and soon fled) the following year in an unhappy bid to satisfy social appearances. However, it might be argued that it was both intensified emotional pressure and material patronage that helped make this period such a creatively productive one for Tchaikovsky.

The Fourth Symphony represents Tchaikovsky’s first large-scale work after engaging Mme. von Meck’s interest and support. He responded to her curiosity about the music that was consuming him with a famously detailed explication of the role of fate, represented at the outset by the fanfare motto of horns and brass. This, he wrote, is “the decisive force which prevents our hopes of happiness from being realized, which watches jealously to see that our bliss and peace are not complete and unclouded….”

Indeed, the idea of a dark, inescapable fate — as both a kind of dramatis persona and a musical presence — has often been observed to play an obsessive role in the last three of Tchaikovsky’s numbered symphonies, as well as in the wonderful but underrated Manfred Symphony.

Tchaikovsky’s Fourth and Fifth Symphonies both open with motifs routinely described as representations of fate. These recur at significant moments to reinforce the overall structural coherence of both works, yet Tchaikovsky’s actual musical images are extraordinarily varied. In the case of the Fifth, the motif is quietly brooding and circular, while it peals out like the announcement of Judgment Day at the start of the Fourth. Tchaikovsky was well aware of the absurdity of reducing his inherently musical thoughts to schematic, one-size-fits-all scenarios or biographical commentaries.

what to listen for Tchaikovsky forges a highly original structure in the Fourth, planning the first movement — the most complex of the four — on an epic scale.

Following the opening unison blast from horns and trumpets, the extensive main theme steals in quietly on strings. It wheels in a dotted rhythm that Tchaikovsky exploits in fascinating ways, often disguising it as a ghostly waltz. In place of German-style development of pithy motifs, Tchaikovsky turns to the looser, almost cinematic processes of association familiar from the tone poem to maximize a sense of dramatic conflict. In this way he juxtaposes his various thematic ideas, though the movement as a whole articulates the skeleton of classical (first movement) sonata form. Along with its theatrical role, the introductory fate motto recurs as a structural cue for these basic components.

Listen for the composer’s theatrical mood swings, from festive, thrillingly high-speed scales and cymbal crashes to flashes of angst and looming tragedy.

After the exhaustive emotional journey of this remarkable opening movement, the next two have the character of dreamlike interludes, each quite distinct in character. The Andantino’s main melody, first given to oboe, is notable for the melodic invention Tchaikovsky sustains using nothing but eighth notes. His woodwind counterpoints are reminiscent of the sensitive orchestration of the first movement, while unison strings introduce an archaic atmosphere flavored by memories of Old Russia. The Scherzo is a tour de force of Tchaikovsky’s imaginative orchestration. The acoustic possibilities of the string band playing pizzicato are just one element he explores here. The movement includes colorful contrasts of balletic blocks of chirping woodwinds and staccato brass chords.

In one of the great surprises of the symphonic literature, the finale crashes on the scene with an exuberant outburst, yet Tchaikovsky has in fact surreptitiously prepared for this surprise. The descending scalar pattern of its theme is foreshadowed in the Scherzo, which likewise shifts the key from minor to major. The simplicity of the folk tune on which the finale is based makes it easily manipulated. Listen for the composer’s theatrical mood swings, from festive, thrillingly high-speed scales and cymbal crashes to flashes of angst and looming tragedy. For the first time since the end of the opening movement, the fate motto recurs at full force; then, without a care, the orchestra simply sets it aside as a non-sequitur and carries on in a bacchanal of cheerful spirits.

Tchaikovsky scores the Symphony No. 4 for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, cymbals, bass drum and strings.

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

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As to the latter, it should be noted that he had already sketched out the first movement — the darkest part of the Fourth Symphony — months before his marital disaster in 1877. Precisely this point comes through in a letter to fellow composer Sergei Taneyev: “This program is such that it cannot be formulated in words,” he wrote.

“Should not [a symphony] express everything for which there are no words, but which the soul wishes to express, and which requires to be expressed?” Tchaikovsky goes on to suggest a parallel musical program. The Fourth, he says, “rests on a foundation that is nearly the same” as that of Beethoven’s Fifth Symphony, itself a work widely regarded throughout the 19th century as an expression of the struggle with fate.

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Béla fleck fell in love with the banjo one day while watching Earl Scruggs on The Beverly Hillbillies.

About the soloist bela FleCK, banjo Born and raised in New York City, Béla Fleck fell in love with the banjo one day while watching Earl Scruggs on The Beverly Hillbillies. Fleck entered the Fiorello La Guardia High School of Music and Art but sought his banjo lessons elsewhere, since the instrument wasn’t on the school’s curriculum.

Erik Darling, Marc Horowitz and renowned banjo innovator Tony Trischka became his teachers.

In 1981, Fleck was invited to move to Nashville to join the progressive bluegrass band New Grass Revival. During the nine years Fleck spent with NGR, he continued to record a series of solo albums for Rounder, including the groundbreaking 1988 album Drive. He also collaborated with Sam Bush, Jerry Douglas, Edgar Meyer and Mark O’Connor in an acoustic supergroup called Strength in Numbers.

In the mid 1980s, Béla joined with harmonicist and keyboard player Howard Levy, bassist Victor Lemonte Wooten and drummer Future Man to form the ensemble that became Béla Fleck and the Flecktones. Their self-titled recording was released by Warner Brothers in 1990, and the band has continued to perform and record to great acclaim. The group released Rocket Science in 2011, and they are currently on tour through 2012.

In 2001, Fleck collaborated with Edgar Meyer to make Perpetual Motion, which won a GRAMMY® for Best Classical Crossover Album.

The two have since worked together on numerous classical projects, and they collaborated with tabla player Zakir Hussain on the triple concerto commissioned by the Nashville Symphony for the opening of Schermerhorn Symphony Center.

Fleck confides that writing these classical pieces with Meyer set the stage for the idea of writing a banjo concerto on his own.

In addition to his solo projects and his work with Meyer and the Flecktones, Fleck has toured extensively with Stanley Clarke and Jean Luc Ponty, and led a bluegrass trio that included Bryan Sutton and Casey Driessen. In 2008, he recorded The Enchantment with Chick Corea, which won a Latin GRAMMY®.

Since receiving his first GRAMMY® Award in 1998, Fleck has garnered a total of 14 GRAMMY®s and 30 nominations. He has been nominated in more categories than anyone in GRAMMY® history.

Introducing the Nashville Symphony

Gift Card!

nashville Symphony gift cards can be redeemed for anything at Schermerhorn Symphony Center. Including concert tickets; pre-concert dining at Arpeggio restaurant or Symphony; drinks at any of our seven bars; and shopping in the Symphony Store!

Ft Gi rd Ca

purchase your gift card Call 615.687.6400 visit Schermerhorn Symphony Center Box Office: 10 a.m.-6 p.m. Mon.- Fri. 10 a.m.-2 p.m. Sat.

During the holiday season, Nashville Symphony will also have a kiosk at the Mall at Green Hills where patrons can purchase tickets, gift cards and music-themed gifts. Stay tuned for more information!

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2011/12 seAson cAlendAr

SiNgle ticketS Now oN Sale!

U P C O M I N G

E VE N T S

Call 615.687.6400 or visit NashvilleSymphony.org Suntrust Classical Series September 22, 23 & 24, 2011 October 6, 7 & 8, 2011 November 3, 4 & 5, 2011 November 17, 18 & 19, 2011 December 1, 2 & 3, 2011 January 5, 6 & 7, 2012 January 26, 27 & 28, 2012 February 9, 10 & 11, 2012 February 23, 24 & 25, 2012 March 8, 9 & 10, 2012 March 29, 30 & 31, 2012 April 19, 20 & 21, 2012 May 3, 4 & 5, 2012 May 31, June 1 & 2, 2012

BÉla Fleck’S BaNJo coNcerto ax playS BeetHoveN tcHaikovSky’S violiN coNcerto MaHler’S FourtH BraHMS’S FirSt tiaNwa yaNg returNS oHlSSoN playS cHopiN Dr. atoMic & Mr. HayDN Mozart & coplaND ruSSiaN MaSterS racHMaNiNoFF’S rHapSoDy BraHMS & Sierra’S SiNFoNía tracy SilverMaN preMiereS terry riley carMiNa BuraNa

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wyNoNNa cHriStopHer croSS Mike elDreD —tHe very BeSt oF JoHN DeNver wickeD DivaS MarviN HaMliScH katHy Mattea aN iNtiMate eveNiNg witH Steve wariNer Featuring a tribute to chet atkins May 17, 18, 19, 2012 cHriS Botti

Jazz Series September 30, 2011 larry carltoN January 20, 2012 BraNForD MarSaliS March 2, 2012 caSSaNDra wilSoN

the Ann & monroe Carell family trust pied piper Series October 29, 2011 tHe coMpoSer iS DeaD, two performances: one in english and one in Spanish!

December 17, 2011 tHe HoliDay MuSic iNStruMeNt workSHop Special events February 18, 2012 MuSic, NoiSe & SileNce April 14, 2012 pieD piper FaNtaSy

Special events September 9, 2011 yo-yo Ma opening Night champagne celebration October 14, 2011 SoNNy rolliNS October 31, 2011 HalloweeN Movie NigHt Featuring Phantom of the Opera with organist tom trenney November 8, 2011 DruMliNe December 8, 2011 HoMe For tHe HoliDayS Featuring leann rimes December 15, 16 & 17, 2011 HaNDel’S MeSSiaH

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Special events continued December 18, 2011 orgaN recital with iSaBelle DeMerS December 20, 2011 aSleep at tHe wHeel: Santa loves to Boogie December 22, 2011 ricky SkaggS FaMily cHriStMaS January 21, 2012 keNNy rogerS with Nashville Symphony February 14, 2012 valeNtiNe’S with JoHNNy MatHiS February 18, 2012 Bruce HorNSBy February 21, 2012 orgaN recital with JaMeS o’DoNNell March 4, 2012 voiceS oF SpriNg featuring NaSHville SyMpHoNy cHoruS March 12, 2012 tao: tHe way oF tHe DruM March 16, 2012 SteveN wrigHt March 19, 2012 clevelaND orcHeStra April 1, 2012 orgaN recital with DaviD HiggS April 9, 2012 preServatioN Hall Jazz BaND with Del Mccoury Band April 14, 2012 lily toMliN April 24, 2012 orpHeuS cHaMBer orcHeStra

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Jazz SerieS

About the Artist larry Carlton, guitar Born in Southern California on March 2, 1948, Larry Carlton picked up his first guitar when he was only 6 years old. After being introduced to the music of jazz superstars such as Barney Kessel, Wes Montgomery and John Coltrane in junior high school, Larry was hooked. He established himself with his very first recording in 1968, With a Little Help From My Friends (Uni), which showcased his trademark “sweet” sound for the first time.

Since then, Carlton has received four GRAMMY®s, 19 GRAMMY® nominations and numerous other prestigious awards. His most recent GRAMMY® came in 2011 in the Best Pop Instrumental Carlton was presented Album category, for his collaboration with Japanese rock icon Tak Matsumoto on Take Your Pick. His studio with the Lifetime credits include recordings by Steely Dan, Joni Mitchell, Achievement Award from Michael Jackson, Sammy Davis Jr., Herb Alpert, Quincy guitar Player magazine.

Jones, Bobby Bland, Dolly Parton, Linda Ronstadt and dozens of others. He has played on over 3,000 sessions, for recordings that have collectively sold over 150 million copies. He has performed with the Crusaders and with the multi-platinum jazz supergroup Fourplay. With television themes, film soundtracks and 30 albums to his credit, and having performed on over 100 albums that have gone Gold or Platinum, Carlton has set a standard for artistry that spans three decades.

Carlton was awarded the George Benson Lifetime Achievement award at the Canadian Official Chauffeured Transportation Smooth Jazz Awards in April 2011. In 2008, he of the Nashville Symphony was presented with the Lifetime Achievement Award from Guitar Player magazine at the historic Ryman Auditorium, and he earned the “Titan of Tone” award from Premier Guitar magazine at the Rock and Roll Hall of Fame.

After conversing about the limits of the already established record industry, Carlton, along with manager Robert Williams, founded 335 Records. With 335 Records, Carlton and Williams continue to live out their dream of creating and delivering music to their fans, their way.

Please visit LarryCarlton.com for more information.

TM

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conductors

MUSIC DIrECTOr

GIANCArLO GUErrErO

A fervent advocate of new music and contemporary composers, Guerrero has collaborated with and championed the works of several of America’s most respected composers, including John Adams, John Corigliano, Osvaldo Golijov, Jennifer higdon, Aaron Jay Kernis, michael daugherty and Roberto Sierra.

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

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

In 2011/12, Guerrero will debut several world premieres with the Nashville Symphony, including a new work by Richard Danielpour, a banjo concerto by Béla Fleck and a concerto for electric violin by Terry Riley, which the NSO will bring to Carnegie Hall as part of the Spring for Music festival. With The Cleveland Orchestra, where Guerrero first appeared in May 2006, he will conduct subscription concerts in both Severance Hall and for Miami Residency performances at the Arsht Center, as well as plan and engage in education and community programs in the Miami-Dade area. Also this season, he returns to the Cincinnati Symphony Orchestra and makes his debut with the Pacific Symphony.

photo by Jackson deparis

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

In summer 2011, Guerrero again led the Philadelphia Orchestra in concert at Mann Center, and in addition conducted the orchestra in their summer residencies at Vail and Saratoga. This followed a busy 2010/11 season that included guest-conducting engagements in five continents: Europe, Asia, Australia, North America and South America. He now returns annually to Caracas, Venezuela, to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s much-lauded El Sistema music education program.

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

In June 2004, Guerrero was awarded the Helen M. Thompson Award by the American Symphony Orchestra League, which recognizes outstanding achievement among young conductors nationwide. He holds degrees from Baylor and Northwestern universities.

Guerrero was formerly the music director of the Eugene Symphony (2001-2008), associate conductor of the Minnesota Orchestra (1999-2004) and music director of the Táchira Symphony Orchestra in Venezuela.

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conductors

resident conductor

Albert-george schrAm

photo by Amy dickerson

Schram is primarily responsible for the Nashville Symphony’s Bank of America pops Series.

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

Schram’s longest tenure has been with the Columbus Symphony Orchestra, where he has worked in a variety of capacities since 1979.

He is an audience favorite for all series he conducts there, including Pops and the CSO’s summer season. As a regular guest conductor of the Charlotte Symphony Orchestra, Schram in 2002 opened the orchestra’s new permanent summer home, Symphony Park. He has regularly conducted the Charlotte Symphony since then.

From 1990 to 1996, Schram served as resident conductor of the Louisville Orchestra. Under his artistic guidance of three of the orchestra’s four subscription series, these series enjoyed exceptional growth. The former Florida Philharmonic Orchestra appointed Schram as resident conductor beginning with the 2002/03 season.

His conducting duties encompass participation in all of the FPO’s series from Miami to Palm Beach.

In 2008 Schram was invited to conduct the Orquesta Sinfónica Nacional of Bolivia in La Paz and the Orquesta Sinfónica Universidad Nacional de Cuyo 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 the majority of his initial training at the Conservatory of The Hague in the Netherlands.

He later moved to Canada to undertake studies at the universities of Calgary and Victoria. His training was completed at the University of Washington.

AssociAte conductor

kelly corcorAn Kelly serves as the primary conductor for the orchestra’s education and community engagement concerts.

photo by Bill Steber & pat Casey daley

The 2011/12 season marks Associate Conductor Kelly Corcoran’s fifth season with the Nashville Symphony. During this time, she has conducted a variety of programs, including the Symphony’s SunTrust Classical Series and Bank of America Pops Series, and has served as the primary conductor for the orchestra’s education and community engagement concerts. She also conducted the Nashville Symphony’s CD collaboration with Riders In The Sky, ‘Lassoed Live’ at the Schermerhorn.

Corcoran has conducted major orchestras throughout the country, including the Colorado, Houston and Utah Symphonies and the Louisville Orchestra. She has had return engagements with the Charlotte, Detroit, Memphis, Milwaukee and National Symphonies and the Naples (FL) Philharmonic. In 2009, she made her successful South American debut as a guest conductor with the Orquesta Sinfónica UNCuyo in Mendoza, Argentina, and returned for multiple subscription programs in 2011. She has developed a reputation for exciting, energized performances.

The Tennessean hailed her work on the podium as “lively” and “fresh,” while Green Bay PressGazette noted that “her smooth conducting style flashed dynamism.”

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 her position in 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 Clevelandarea Heights Chamber Orchestra. Corcoran has competed in the VIII Cadaqués Orchestra International Conducting Competition in Spain, worked with the Cleveland Opera and attended the Lucerne Festival’s master class in conducting, focusing on contemporary orchestral literature with Pierre Boulez.

In 2004, Corcoran participated in the selective National Conducting Institute, where she studied with her mentor, Leonard Slatkin. She has held past posts as assistant music director of the Nashville Opera, founder/music director of the Nashville Philharmonic Orchestra and fellow with the New World Symphony, where she worked with Michael Tilson Thomas.

Originally from Massachusetts and a member of the Tanglewood Festival Chorus for more than 10 years, Corcoran received her Bachelor of Music in vocal performance from The Boston Conservatory, and she received her Master of Music in instrumental conducting from Indiana University. She currently serves on the conducting faculty at the New York Summer Music Festival and Tennessee State University.

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conductors

chrorus director And conductor

george mAbry

George Mabry has directed the Nashville Symphony Chorus since 1998 and is professor emeritus of music at Austin Peay State University in Clarksville, Tennessee. He served as director of the school’s Center for the Creative Arts and director of choral activities at the university until his retirement in 2003.

While at Austin Peay, Mabry’s choirs performed for national and regional conventions of the Music Educators National Conference and the American Choral Directors Association.

A native Tennessean, he holds a bachelor’s degree from Florida State University and master of music and doctor of philosophy degrees from George Peabody College for Teachers at Vanderbilt University. Mabry is active as a choral clinician and festival adjudicator. He has conducted All-State choirs in Kentucky and Virginia.

Mabry is a published composer and arranger. In addition to his choral and instrumental compositions, he has written and produced musical shows for entertainment parks around the country. He was formerly director of entertainment for Opryland U.S.A. in Nashville. While at Opryland, his musical shows toured the Soviet Union under the auspices of the U.S. State Department and were performed three times for the President of the United States at the White House.

In 1983, Mabry was honored as the first Austin Peay faculty member to receive both the Distinguished Professor Award and the Richard M. Hawkins Award for Scholarly and Creative Achievement. In 2003, he received the Governor’s Award in the Arts for Arts Leadership in Tennessee and the Spirit of Tennessee Award from the Tennessee Arts Academy.

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2011/12 NAShvILLE SymphONy ORChEStRA giaNcarlo guerrero Music Director alBert-george ScHraM Resident Conductor kelly corcoraN Associate Conductor george l. MaBry Chorus Director

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

celloS* Christopher Stenstrom Keith Nicholas Xiao-Fan Zhang

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

piccolo Norma Grobman Rogers

violaS* Daniel Reinker, Principal Shu-Zheng Yang, Assistant Principal Judith Ablon Hari Bernstein Bruce Christensen Michelle Lackey Collins Christopher Farrell Mary Helen Law Melinda Whitley Clare Yang celloS* Anthony LaMarchina, Principal Julia Tanner, Assistant Principal James Victor Miller Chair Bradley Mansell Lynn Marie Peithman Stephen Drake Michael Samis Matthew Walker

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

oBoeS James Button, Principal Ellen Menking, Acting Co-Principal Roger Wiesmeyer, Acting Co-Principal eNgliSH HorN Roger Wiesmeyer clariNetS James Zimmermann, Principal Cassandra Lee, Assistant Principal Daniel Lochrie e-Flat clariNet Cassandra Lee BaSS clariNet Daniel Lochrie BaSSooNS Cynthia Estill, Principal Dawn Hartley, Assistant Principal Gil Perel coNtra BaSSooN Gil Perel HorNS Leslie Norton, Principal Beth Beeson

HorNS Kelly Cornell, Associate Principal/3rd Horn Hunter Sholar Radu V. Rusu, Assistant 1st Horn truMpetS Jeffrey Bailey, Principal Patrick Kunkee, Co-Principal Gary Armstrong, Assistant Principal troMBoNeS Lawrence L. Borden+, Principal Susan K. Smith, Assistant Principal Prentiss Hobbs, Acting Assistant Principal BaSS troMBoNe Steven Brown tuBa Gilbert Long, Principal tiMpaNi William G. Wiggins, Principal percuSSioN Sam Bacco, Principal Richard Graber, Assistant Principal Trent Leasure Harp Licia Jaskunas, Principal keyBoarD Robert Marler, Principal liBrariaNS D. Wilson Ochoa, Principal Jennifer Goldberg, Librarian orcHeStra perSoNNel MaNagerS Anne Dickson Rogers Carrie Marcantonio, Assistant *Section seating revolves +Leave of Absence

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rosters ROSTERS

2011/12 BOARD OF DIRECTORS OFFICERS

DIRECTORS

James C. Gooch Board Chair

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

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

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

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

2011/12 NASHVILLE SYMPHONY STAFF EXECUTIVE Alan D. Valentine, President and CEO Karen Fairbend, Executive Assistant to the President and CEO Mark A. Blakeman, V.P. of Orchestra and Building Operations and General Manager Sarah Jones, Assistant to the V.P. of Orchestra and Building Operations Andrea Dillenburg, V.P. of External Affairs Polly Rembert, Assistant to the V.P. of External Affairs Michael Kirby, V.P. of Finance and Administration and CFO Jim Mancuso, V.P. of Artistic Administration Jonathan Norris, SPHR, V.P. of Human Resources

DEVELOPMENT Erin Wenzel, Sr. Director of Development Susan D. Williams, CFRE, CVA, Sr. Director of Endowment Giving Hayden Pruett, Major Gifts Officer Maribeth Stahl, Director of Corporate Relations and Grants Holly Noble, Grants Manager Charles Stewart, Director of Individual Giving Kristy Reuter, Benefit Fulfillment Coordinator

HUMAN RESOURCES Ashley Skinner, PHR Human Resources Manager Kathleen McCracken, Volunteer Manager Martha Bryant, Receptionist and Human Resources Assistant

EDUCATION Blair Bodine, Director of Education and Community Engagement Andy Campbell, Education and Community Engagement Program Manager

ARTISTIC ADMINISTRATION Emma Smyth, Manager of Artistic Administration Valerie Nelson, Manager of Pops & Special Programs Andrew Risinger, Organ Curator

FINANCE Karen Warren, Controller Mildred Payne, Accounts Payable and Payroll Manager Sheri Switzer, Senior Accountant Steven McNeal, Staff Accountant Debra Hollenbeck, Buyer/Retail Manager

MARKETING Ronda Combs Helton, Sr. Director of Marketing Misty Cochran, Director of Advertising and Promotions Sarah Vickery, Sales Manager Meredith Benning, Promotions & Sales Coordinator Susana Galarza, Graphic Designer Ashley May, Graphic Design Associate

BOX OFFICE/TICKETING Kimberly Darlington, Director of Ticket Services Emily Shannon, Box Office Manager Tina Messer, Ticket Services Specialist Missy Hubner, Ticket Services Assistant COMMUNICATIONS Jonathan Marx, Director of Communications Jared Morrison, Social Media and Website Manager Laurie Davis, Publicist DATA STANDARDS Kent Henderson, Director of Data Standards Sheila Wilson, Sr. Database Associate

FOOD, BEVERAGE AND EVENTS Steve Perdue, Director of Food, Beverage and Events Roger Keenan, Executive Chef David Bolton, Sous Chef Bruce Pittman, Sales Manager Lori Scholl, Catering and Events Manager Kayanne Jones, Catering and Events Manager Lacy Lusebrink, Food and Beverage Manager Angela Gutheridge, Food and Beverage Supervisor Sherman Hughes, Banquet Captain Anderson S. Barns, Beverage Manager Jody Sweet, Beverage Manager

I.T. Dan Sanders, Director of Information Technology Trenton Leach, Software Applications Developer Chris Beckner, Desktop Support Specialist

PRODUCTION AND ORCHESTRA OPERATIONS Tim Lynch, Sr. Director of Operations Anne Dickson Rogers, Orchestra Personnel Manager Carrie Marcantonio, Assistant Orchestra Personnel Manager D. Wilson Ochoa, Principal Librarian Jennifer Goldberg, Librarian John Sanders, Chief Technical Engineer Brian Doane, Production Manager Mitch Hansen, Lighting Director Gary Call, Audio Engineer Mark Dahlen, Audio Engineer W. Paul Holt, Stage Manager Josh Walliser, Stage and Production Assistant

PATRON SERVICES Kristen Oliver, Director of Patron Services Darlene Boswell, Patron Services Specialist Aaron Coleman, Patron Services Specialist Ben Graves, Patron Services Specialist Sara Hanahan, Patron Services Specialist Daniel Tonelson, Patron Services Specialist Judith Wall, Patron Services Specialist Jackie Knox, Manager of Marketing Associates Andrea Flowers, Assistant Manager of Marketing Associates Linda Booth, Marketing Associate James Calvin Davidson, Marketing Associate Gina Haining, Marketing Associate Mark Haining, Marketing Associate Lloyd Harper, Marketing Associate Rick Katz, Marketing Associate Deborah King, Marketing Associate Cassie Nowels, Marketing Associate VENUE MANAGEMENT Eric Swartz, Associate V.P. of Venue Management Craig Colunga, Director of Security Danny Covington, Chief Engineer Raay Creech, Facility Maintenance Technician Kenneth Dillehay, Facility Maintenance Technician Wade Johnson, Housekeeping Manager Kevin Butler, Housekeeper Veronica Morales, Housekeeper Ellen Kasperek, House Manager

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Preparing students for College, Life, and Eternity

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

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

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in tune i thAnk you to our sponsors

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rJ young is a proud supporter of the nashville Symphony. the company believes in providing great customer service, taking care of its employees and investing in the community by vsupporting the arts and many philanthropic endeavors.

RJ young is the largest independent digital office equipment provider in the Southeast, offering solutions to manage your copiers, printers and documents. the company has been providing innovative document solutions for more than 56 years. RJ young is headquartered in Nashville, tennessee, and has 350 employees throughout five states and 16 locations. For a complete range of products and services, visit rjyoung.com.

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V I S U A L

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A DIVINE LIgHT:

Northern Renaissance Paintings from the Bob Jones University Museum & gallery September 9, 2011–February 5, 2012

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Nurturing the Spirit

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Ian L. Craig, Head of School 170 Windsor Drive Nashville, TN 37205 (615) 356-5510 www.harding academy.org

Inspiring the Mind

• • • • •

16 National Merit Finalists in 2011 Seven members of statewide choirs Science Olympiad State Champions 2010-11 State championships in Cross Country, Rifle, and Tennis 24 representatives in the Tennessee Art show.

Provides $150,000 in annual grants for academic and community excellence to be used for college tuition 8 to 1 student-teacher ratio, Average Class Size: 14 2008 One-Act Play State Champions 22% of students receive need-based financial aid 100% of graduates are college-bound International exchanges and language programs to five continents

Admission Preview Day Sunday, October 30 @ 4 p.m.

4001 Harding rOad • naSHville, Tn 37205 www.mOnTgOmerybell.edu 615-369-5311

in tune i thAnk you to our funders

Support the arts: bolt them to your Car!

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

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

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

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

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

if you’d like to order a specialty license plate, you can visit your local County Clerk’s Office, or you can order one online at www.tennessee.gov/revenue/vehicle/ licenseplates/specialty.htm. the Nashville Symphony thanks you for your support of the arts! Arts organizations can’t succeed in their missions without funds from local, state and national government agencies.

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AnnuAl fund

individualS

the nashville symphony is deeply grateful to the following individuals who support its concert season and its services to the community through their generous contributions to the Annual fund. donors as of August 3, 2011.

virtuoSo Society Gifts of $10,000+ Anonymous (2) Judy & Joe Barker David & Diane Black Mr. James B. Boles Richard & Judith Bracken Mr.* & Mrs. J. C. Bradford Jr. Mr. & Mrs. John Chadwick Janine & Ben Cundiff

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Mr. & Mrs. Brownlee O. Currey Jr. Mr. & Mrs. Frank A. Daniels III Mr. & Mrs. Charles Anthony Elcan Jennifer & Billy Frist James C. Gooch & Jennie P. Smith Giancarlo & Shirley Guerrero

Patricia & H. Rodes Hart Mr. & Mrs. J. Michael Hayes Mr. & Mrs. Spencer Hays Mrs. Martha R. Ingram Dr. & Mrs. Howard Kirshner Mr. & Mrs. Fred W. Lazenby LifeWorks Foundation The Martin Foundation Ellen Harrison Martin

The Melkus Family Foundation Mr. & Mrs. Cano Ozgener CW Pinson, M.D., MBA Mr. & Mrs. Ben R. Rechter Anne & Joe Russell Mr. & Mrs. James C. Seabury III Margaret & Cal Turner Mr. & Mrs. Steve Turner Mr. & Mrs. Ted H. Welch

StraDivariuS Society Gifts of $5,000+ Anonymous (1) Mr. & Mrs. James Ayers J. B. & Carylon Baker Mr. & Mrs. Lee A. Beaman Mr. & Mrs. Jack O. Bovender Jr. Mr. & Mrs. Richard W. Carlton Pamela & Michael Carter Kelly & Bill Christie Mr. & Mrs. Tom F. Cone Hilton & Sallie Dean Mr. & Mrs. Robert J. Dennis Marty & Betty Dickens Dee & Jerald Doochin Mr. & Mrs. John W. Eakin Jr. Jere & Linda Ervin The Jane & Richard Eskind & Family Foundation Marilyn Ezell

Allis Dale & John Gillmor Mrs. Harold Hassenfeld Mr. & Mrs. Billy Ray Hearn Helen & Neil Hemphill Mrs. V. Davis Hunt Mr. & Mrs. David B. Ingram Lee Ann & Orrin Ingram Gordon & Shaun Inman Keith & Nancy Johnson Elliott Warner Jones & Marilyn Lee Jones Christine Konradi & Stephan Heckers Ralph & Donna Korpman Karen & Jim Lewis Mr. Zachary B. Liff Robert Straus Lipman Mrs. Jack Carroll Massey

Mr. & Mrs. Robert A. McCabe Jr. Sheila & Richard McCarty Dr. Ron McDow The Honorable Gilbert S. Merritt Christopher & Patricia Mixon Mr. & Mrs. Sam Z. Moore Gregg & Cathy Morton Anne & Peter Neff Dr. Harrell Odom II & Mr. Barry W. Cook Mr. & Mrs. Bond E. Oman Burton Jablin & Barron Patterson Hal & Peggy Pennington Mr. & Mrs. Philip M. Pfeffer Mr. & Mrs. Charles R. Pruett Carol & John T. Rochford Marvin J. Rosenblum, MD Dorothy & Joe Scarlett

Mr. & Mrs. Nelson Severinghaus Ronald & Diane Shafer Nelson & Sheila Shields Mr. & Mrs. Irvin Small Linda & Gibbs Smith Barbara & Les Speyer Michael & Grace Sposato The Roros Foundation Bruce & Elaine Sullivan Mr. & Mrs. Earl S. Swensson Mr. & Mrs. Louis B. Todd Jr. Alan D. & Connie F. Valentine Peggy & John Warner David & Gail Williams Mr. & Mrs. William M. Wilson Mr. & Mrs. Julian Zander Jr. Mr. Nicholas S. Zeppos & Ms. Lydia A. Howarth

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golDeN BatoN Society Gifts of $2,500+ Anonymous (1) Clint & Kali Adams Mrs. R. Benton Adkins Jr. Shelley Alexander Dr. & Mrs. Elbert Baker Jr. Russell W. Bates Allison & John Beasley Wendy & Thomas W. Beasley Dr. & Mrs. Robert O. Begtrup Julie & Dr. Frank Boehm Dr. & Mrs. H. Victor Braren Mr.* & Mrs. Arthur H. Buhl III Mrs. Patricia B. Buzzell Mr. & Mrs. Terry W. Chandler James H. Cheek III Mrs. Nancy B. Cooke Richard & Kathy Cooper

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Charles & Andrea Cope Mr. & Mrs. James H. Costner Mr. & Mrs. Justin Dell Crosslin Barbara & Willie K. Davis John & Natasha Deane Andrea Dillenburg & Ted Kraus Dr. & Mrs. Jeffrey B. Eskind John & Carole Ferguson Bob & Judy Fisher Amy Grant & Vince Gill Kate R. W. Grayken Carl & Connie Haley Suzy Heer Mr. & Mrs. Robert C. Hilton Ms. Cornelia B. Holland Mr. & Mrs. Donald J. Israel Mr. & Mrs. John F. Jacques

Anne Knauff Mr. & Mrs. Michael A. Koban Jr. Mitchell Korn Kevin P. & May Lavender Gina & Dick Lodge Dr. Arthur M. Mellor F. Max & Mary A. Merrell Edward D. & Linda F. Miles Mr. & Mrs. Joseph K. Presley Dr. Terryl A. Propper Eric Raefsky, M.D. & Ms. Victoria Heil Mr. & Mrs. Gerald A. Risk Mr. & Mrs. John A. Roberts Ms. Sylvia Roberts Anne & Charles Roos Dr. & Mrs. A. G. Schram

Mr. & Mrs. J. Ronald Scott Mr. & Mrs. Rusty Siebert Dr. Michael & Tracy Stadnick Pamela & Steven Taylor Dr. John B. Thomison The Vandewater Family Foundation Drs. Pilar Vargas & Sten H. Vermund Mr. & Mrs. Jeffery C. & Dayna L. Walraven Carroll Van West & Mary Hoffschwelle Mr. & Mrs. Herbert Wiesmeyer Dr. & Mrs. Artmas L. Worthy

coNDuctor’S circle

Gifts of $1,500+

Anonymous (6) James & Glyna Aderhold Dr. Alice & Mr. Richard C. Arnemann Jon K. & Colleen Atwood James M. Bailey Jr. Barbara & Mike Barton Betty C. Bellamy Mr. & Mrs. Jeffrey K. Belser Barbara Bennett Frank M. Berklacich, MD Mr.* & Mrs. Harold S. Bernard Mark & Sarah Blakeman Dennis & Tammy Boehms Mr. & Mrs. Robert Boyd Bogle III Mr. Jamey Bowen & Mr. Norman Wells Mr. & Mrs. William H. Braddy III Dan & Mindy Brodbeck Mr. & Mrs. Paul J. Buijsman Ann & Frank Bumstead Betty & Lonnie Burnett Chuck & Sandra Cagle Michael & Jane Ann Cain Mr. & Mrs. Gerald G. Calhoun Brenda & Edward Callis Mr. & Mrs. William H. Cammack Jan & Jim Carell Ann & Sykes Cargile Anita & Larry Cash Barbara & Eric Chazen Mr. & Mrs. John J. Chiaramonte Jr. Catherine Chitwood M. Wayne Chomik Mr. & Mrs. Sam E. Christopher Drs. Keith & Leslie Churchwell Dorit & Don Cochron Esther & Roger Cohn Ed & Pat Cole Chase Cole Marjorie & Allen* Collins Mr. & Mrs. Charles W. Cook Jr. Mr. & Mrs. Roy J. Covert Mr. & Mrs. Donald S. A. Cowan James L. & Sharon H. Cox Kimberly L. Darlington The Rev. & Mrs. Fred Dettwiller DJMD Philanthropic Fund Mr. & Mrs. Glenn Eaden E.B.S. Foundation Dr. & Mrs. E. Mac Edington Robert D. Eisenstein David Ellis & Barry Wilker Dr. Meredith A. Ezell T. Aldrich Finegan John David & Mary Dale Trabue Fitzgerald John & Cindy Watson Ford Tom & Judy Foster Danna & Bill Francis Ann D. Frisch

Tommy & Julie Frist Cathey & Wilford Fuqua Carlene Hunt & Marshall Gaskins John & Lorelee Gawaluck Harris A. Gilbert Mr. & Mrs. Roy J. Gilleland III Frank Ginanni Ed & Nancy Goodrich Tony & Teri Gosse Francis S. Guess Kathleen & Harvey Guion Mr. Rick Guthrie Mr. & Mrs. Arthur S. Hancock Dr. Edward Hantel Janet & Jim Hasson Mr. & Mrs. John Burton Hayes Philip & Amber Hertik Lucia & Don Hillenmeyer Mr. & Mrs. Jeffrey N. Hinson Judith Hodges Ken & Pam Hoffman Mr. & Mrs. Dan W. Hogan Mr. & Mrs. Henry W. Hooker Mr. & Mrs. Thomas W. Hulme Dr. & Mrs. Stephen P. Humphrey Judith & Jim Humphreys Marsha & Keel Hunt Mr. & Mrs. Charles L. Irby Sr. Rodney Irvin Family Donald L. Jackson Ellen & Kenneth Jacobs Mr. & Mrs. Adam W. James Louis Johnson M.D. George & Shirley Johnston Mary Evelyn & Clark Jones Dr. & Mrs. David S. Jones Jan Jones & Steve Williams Drs. Spyros Kalams & Lisa Mendes Ray & Rosemarie Kalil Mr. & Mrs. Bill G. Kilpatrick Mr. & Mrs. Michael R. Kirby Tom & Darlene Klaritch Mr. Richard B. Kloete William C. & Deborah Patterson Koch Mr. & Mrs. Gene C. Koonce Mr. & Mrs. Edward J. Kovach Heloise Werthan Kuhn Mr. & Mrs. Randolph M. LaGasse Bob & Mary LaGrone Robert & Carol Lampe Martha & Larry Larkin Sandi & Tom Lawless Jon & Elaine Levine Sally M. Levine John T. Lewis Margaret & Bill Lindberg Dr. & Mrs. Nicholas Lippolis Robert A. Livingston Jim & Elizabeth Mancuso Shari & Red Martin Rhonda A. Martocci & William S. Blaylock

Scott & Jennifer McClellan Tommy & Cat McEwen Mr. & Mrs. Martin F. McNamara III Mr. & Mrs. Robert McNeilly Jr. Mr. & Mrs. Robert E. McNeilly III Mr. & Mrs. Richard D. McRae III Mr. & Mrs. William T. Minkoff Jr. Ms. Lucy H. Morgan Matt & Rhonda Mulroy James & Patricia Munro Leonard Murray & Jacqueline Marschak Lannie W. Neal Pat & John W. Nelley Jr. Ms. Agatha L. Nolen Jonathan Norris & Jennifer Carlat Representative & Mrs. Gary L. Odom Drs. Mark & Nancy Peacock Ms. Mary E. Pinkston David & Adrienne Piston Susan & Bob Plageman Charles H. Potter Jr. Dr. Neil Price & Nancy M. Falls Dr. Gipsie B. Ranney Charles H. & Eleanor L. Raths Sharon Hels & Brad Reed Dr. Jesse B. Register Drs. Jeff & Kellye Rice Drs. Wayne & Charlene Riley Mr. & Mrs. Doyle R. Rippee Mr. & Mrs. Kenneth L. Roberts Margaret Ann & Walter Robinson Foundation Ms. Sara L. Rosson & Ms. Nancy Menke James & Patricia Russell Mr. & Mrs. John J. Sangervasi Dr. Norm Scarborough & Ms. Kimberly Hewell Mr. Paul H. Scarbrough Mrs. Wendy F. Sensing Dr. & Mrs. R. Bruce Shack Allen Spears* & Colleen Sheppard Mr. & Mrs. Martin E. Simmons Tom & Sylvia Singleton William & Cynthia Sites Joanne & Gary Slaughter Drs. Louise Hanson & Walter Smalley Suzanne & Grant Smothers K. C. & Mary Smythe Jack & Louise Spann Mickey M. & Kathleen Sparkman Dan & Cynthia Spengler Stuart & Shirley Speyer Mr. & Mrs. Hans Stabell Christopher & Maribeth Stahl Mr. & Mrs. James G. Stranch III Ann & Bob Street

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Fridolin & Johanna Sulser Andrew Keith & Donna Dame Summar Mr. & Mrs. Brett Sweet Dr. & Mrs. John Tapp Dr. Steve A. Hyman & Mr. Mark Lee Taylor Rev. & Mrs. Tim Taylor Ann M. Teaff & Donald McPherson III Scott & Julie Thomas Candy Toler Mr. & Mrs. Marshall Trammell Christi & Jay Turner Kris & G. G. Waggoner Dr. & Mrs. Robert W. Wahl Deborah & Mark Wait Mr. & Mrs. Martin H. Warren Mr. & Mrs. Thomas G. B. Wheelock Charles Hampton White Mr. & Mrs. Jimmie D. White Stacy Widelitz Craig P. Williams & Kimberly Schenck Mr. Donald E. Williams Jim & Sadhna Williams Shane & Laura Willmon Mr. & Mrs. Ridley Wills III Ms. Marilyn Shields-Wiltsie & Dr. Theodore E. Wiltsie Dr. & Mrs. Lawrence K. Wolfe eNcore circle

Gifts of $1,000+

Anonymous (7) Jeff & Tina Adams Mark & Niki Antonini Ms. Peggy Mayo Bailey Mr. & Mrs. H. Lee Barfield II Mrs. Brenda Bass Mr. & Mrs. James Beckner Dr. Eric & Elaine Berg Mr. & Mrs. Raymond P. Bills Bob & Marion Bogen Mr. Michael F. Brewer Jean & David Buchanan Sharon Lee Butcher John E. Cain III Dr. Elizabeth Cato Erica & Doug Chappell Mrs. John H. Cheek Jr. Joe C. Cook III Mr. & Mrs. Joe C. Cook Jr. Roger & Barbara Cottrell Greg & Collie Daily Mr. & Mrs. Julian de la Guardia Sandra & Daryl Demonbreun Kimberly & Stephen Drake Mr. & Mrs. Mike Dye Mr. & Mrs. Thomas S. Edmondson Sr. Dr. & Mrs. William H. Edwards Sr. Drs. James & Rena Ellzy Robert & Cassandra Estes Mr. & Mrs. DeWitt Ezell 80

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Ms. Paula Fairchild Mr. William C. Farris Drs. Robert & Sharron Francis Dr. & Mrs. Robert A. Frist Dr. & Mrs. John R. Furman Mr. & Mrs. Troy L. Gentry Ted M. George Mr. & Mrs. Andrew Giacobone Dr. Fred & Martha Goldner Mr. & Mrs. J. Michael Gould Mr. & Mrs. Tom Harrington Mrs. Charles Hawkins III Keith & Kelly Herron Mr.* & Mrs. John B. Hickox Carrie & Damon Hininger Mr. & Mrs. Ephriam H. Hoover III Ray Houston Hudson Family Foundation Donna & Ronn Huff Bud Ireland Mr. & Mrs. Toshinari Ishii Mr. & Mrs. Clay T. Jackson Peter & Marion Katz Rachel & John Kuchtey Dr. & Mrs. David G. Lalka Richard & Diane Larsen Dr. & Mrs. John W. Lea IV Dr. & Mrs. T. A. Lincoln Dr. & Mrs. Christopher Lind Mr. & Mrs. Lawrence Lipman Mr. & Mrs. William D. Lockett Drs. Amy & George Lynch Tim Lynch Dr. & Mrs. Joe MacCurdy Mr. & Mrs. Stephen S. Mathews Lynn & Jack May Jim & Judi McCaslin Emily & Jonathan McDevitt Mr. & Mrs. W. P. Morelli Mr. & Mrs. Frank E. Neal Robert Ness Mr. & Mrs. Marvin Nischan Dr. Casey Noble Ann & Denis O’Day Mr. & Mrs. Douglas Odom Jr. Mr. Garrick O. Ohlsson Mr. & Mrs. William C. O’Neil Jr. Mr. & Mrs. James E. Orgain Alex S. Palmer David & Pamela Palmer Don & Chris Portell Mr. & Mrs. Paul E. Prill Mr. Edwin B. Raskin Susan B. Ridley Mr. & Mrs. David L. Rollins Georgianna W. Russell David Sampsell Paula & Kent Sandidge Max & Michelle Shaff Nita & Mike Shea Bill & Sharon Sheriff Dr. & Mrs. Andrew Shinar Susan & Luke Simons Matt & Kristen Slocum

Mr. & Mrs. Brian S. Smallwood Julie & George Stadler Jane Lawrence Stone Hope & Howard Stringer James B. & Patricia B. Swan William & Rebecca Taylor Joe & Ellen Torrence Dr. & Mrs. Alexander Townes Thomas L. & Judith A. Turk Mike & Elaine Walker Jonathan & Janet Weaver Ms. Rachel L. Wendell Mr. & Mrs. William G. Wiggins Judy S. Williams Mr. & Mrs. Mark A. Williams Jane Yount Shirley Zeitlin

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Gifts of $500+

Anonymous (15) Jerry Adams Don & Judi Arnold Jeremy & Rebecca Atack Don & Beverly Atwood Mr. & Mrs. James E. Auer Mr. & Mrs. Brian C. Austin Jeff & Carrie Bailey Sallie & John Bailey Mr. & Mrs. Thomas N. Bainbridge Mr. & Mrs. Richard W. Baker Mr. & Mrs. Edwin Barton Mr. & Mrs. Thomas E. Bateman Ms. Katrin Bean Scott & Dawn Becker Marti Bellingrath Bernice Amanda Belue Mike & Kathy Benson Dr. & Mrs. Ben J. Birdwell Ralph & Jane Black Randolph & Elaine Blake Mr. & Mrs. Bill Blevins Dr. & Mrs. Marion G. Bolin Irma Bolster Dr. & Mrs. T. B. Boyd III Mr. & Mrs. William E. Boyte Jeff & Jeanne Bradford Keith & Lisa Brent Berry & Connie Brooks Mr. & Mrs. Martin S. Brown Jr. Dr. & Mrs. Robert Burcham Mr. & Mrs. Richard Burks Drs. Rodney & Janice Burt Gene & Jamie Burton John & LuAnnette Butler James Button Virginia Byrn Mr. & Mrs. Cabot J. & Angelia Cameron Janet C. Camp Mr. Thomas R. Campion Michael & Linda Carlson Mr. & Mrs. William F. Carpenter III

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Mary & Joseph Cavarra Mr. & Mrs. John L. Chambers Dr. & Mrs. Robert H. Christenberry Jay & Ellen Clayton Sallylou & David Cloyd Dr. & Mrs. Alan G. Cohen Charles J. Conrick III Paul & Alyce Cooke Marion Pickering Couch Richard & Marcia Cowan Ms. Susannah C. Culbertson MariaGabriella Giro & Jeff Davidson Dr. & Mrs. Ben Davis Mr. & Mrs. Charles E. Davis Mark & Barbara Dentz Suzanne Day Devine Mr. & Mrs. Arthur DeVooght Mr. & Mrs. Kenton Dickerson Wally & Lee Lee Dietz Tere & David Dowland Laura L. Dunbar Dr. Jane Easdown & Dr. James Booth Emily & Mark Eberle Dr.* & Mrs. Lloyd C. Elam Dr. Christopher & Wendy Ellis Dr. & Mrs. Alan Ericksen Laurie & Steven Eskind Carolyn Evertson Dr. John & Janet Exton Bill & Dian S. Ezell Ms. Marilyn Falcone Francisco P. Ferraraccio Dr. Arthur C. Fleischer & Family Art & Charlotte Fogel Randy & Melanie Ford Patrick & Kimberly Forrest Ms. Deborah F. Turner & Ms. Beth A. Fortune Mr. & Mrs. David B. Foutch Ms. Elizabeth A. Franks Robert & Peggy Frye Suzanne J. Fuller John & Eva Gebhart Dr. & Mrs. Harold L. Gentry Mr. & Mrs. H. Steven George Bryan D. Graves Richard & Randi Green Mr. & Mrs. C. David Griffin R. Dale & Nancy G. Grimes Mr. Gary L. Groot Mr. & Mrs. Elden Hale Jr. Scott, Kathy & Kate Hall Jay & Stephanie Hardcastle Kent & Becky Harrell Dr. & Mrs. Jason Haslam Ronda & Hank Helton Kent & Melinda Henderson John Reginald Hill Dr. Anne L. Hillegas & Mr. Donald Hill

Mr. & Mrs. Jim Hitt Mr. & Mrs. Richard Holton Ken & Beverly Horner Allen, Lucy & Paul Hovious Margie & Nick* Hunter Ms. Sherry J. Hunter Mr. & Mrs. David Huseman Sandra & Joe Hutts James R. & Helen H. James Robert C. Jamieson MD Lee & Pat Jennings Bob & Virginia Johnson Ruth E. Johnson Mary Loventhal Jones Mrs. Robert N. Joyner Dr. Barbara F. Kaczmarska Dr. & Mrs. Michael Kaminski Mr. & Mrs. Michael Kane Thomas Keenan Mr. & Mrs. James Kelso Mrs. Edward C. Kennedy John & Eleanor Kennedy Jane Kersten Ms. Linda R. Koon Patricia Lee & Orville Kronk Dr. Kristine L. LaLonde Betty S. Lamar Mr. & Mrs. Thomas W. Land Mr. & Mrs. Samuel W. Lavender Ted & Anne Lenz Mr. & Mrs. Irving Levy Mr. & Mrs. Don R. Liedtke Mr. & Mrs. John Lillie Drs. Walt & Shannon Little The Howard Littlejohn Family Carolyn & Fred Loeffel Mr. & Mrs. Denis Lovell Samuel C. Loventhal Drs. George & Sharon Mabry William R. & Maria T. MacKay Donald M. & Kala W. MacLeod James & Gene Manning Mr. & Mrs. Michael R. Manno Steve & Carrie Marcantonio & Family Lee Marsden James & Patricia Martineau Mimsye & Leon May Robert P. Maynard Mrs. Joanne Wallace McCall Joey & Beth McDuffee Mary G. McGrath Dr. & Mrs. Alexander C. McLeod Catherine & Brian McMurray Ed & Tracy McNally Patty Meeks Herbert & Sharon Meltzer Linda & Ray Meneely Dr. & Mrs. Berry Middleton Mr. & Mrs. Rich Miles Drs. Randolph & Linda Miller Dr. & Mrs. Kent B. Millspaugh Dr. Jere Mitchum Diana & Jeff Mobley

Dr. & Mrs. Charles L. Moffatt Ms. Gay Moon Cynthia & Richard Morin Steve & Laura Morris Lynn Morrow Margaret & David Moss Dick & Mary Jo Murphy Lucille C. Nabors Larry & Marsha Nager Mr. & Mrs. Joseph L. Nave Jr. Jane K. Norris Chris & Leslie Norton Virginia O’Brien D. Wilson Ochoa Mr. & Mrs. Russell Oldfield Jr. Philip & Marilyn Ollila Patricia J. Olsen Dan & Helen Owens Frank & Pamela Owsley Dr. & Mrs. Harry L. Page Mr. Steven C. Page Mr. & Mrs. M. Forrest Parmley John W. & Mary Patterson Drs. Teresa & Phillip Patterson Theresa G. Payne Dr. & Mrs. Joel Q. Peavyhouse Steve A. Perdue Linda & Carter Philips Drs. Sherre & Daniel Phillips Mr. Edward B. Phillips Faris & Bob Phillips Mr. John Pope Dr. & Mrs. James L. Potts Mr. & Mrs. John Prine George & Joyce Pust Mr. & Mrs. Hugh M. Queener Dr. James Quiggins Nancy & Harry Ransom France & Cynthia Recchia Candace Mason Revelette Martha & Buist Richardson Dr. & Mrs. Jorge Rojas Margaret H. Rollins Laura Ross Mr. & Mrs. Dick Sammer John R. Sanders Jr. Samuel L. & Barbara Sanders Geoffrey & Sandra Sanderson Philip & Jane Sanderson Samuel A. Santoro & Mary M. Zutter Mr. & Mrs. Charles R. Schlacter Cooper* & Helen Schley Pam & Roland Schneller Dr. & Mrs. Timothy P. Schoettle Drs. Carl & Wendy Schofield Dr. Kenneth E. Schriver & Dr. Anna W. Roe Peggy C. Sciotto Dolores & John Seigenthaler Odessa L. Settles Patrick & Judy Sharbel Joan Blum Shayne Allen Shoffner

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Crea & Alan Sielbeck Dr. & Mrs. Nicholas A. Sieveking Sr. Betty B. Sisk Pamela Sixfin David & Robin Small Smith Family Foundation Mr. & Mrs. Kevin Scott Smith Richard & Molly Dale Smith Dr. Robert Smith & Barbara Ramsey Mr. & Mrs. S. Douglas Smith Mr. & Mrs. Robert Smyth Mr. & Mrs. James H. Spalding Ms. Maggie P. Speight Dr. & Mrs. Anderson Spickard Jr. Mr. & Mrs. Joe N. Steakley Dr. & Mrs. Robert Stein Gloria & Paul Sternberg Elizabeth Stewart & James Grosjean Dr. & Mrs. William R. Stewart Jean Stumpf Mr. & Mrs. James E. Summar Sr. Craig & Dianne Sussman Mr. & Mrs. Kirk R. Sykes Dr. & Mrs. J. D. Taylor Lorraine Ware & Reid Thompson Norman & Marilyn Tolk Martha J. Trammell Karl & Ann VanDevender Larry & Brenda Vickers Dr. & Mrs. John J. Warner Bill & Ruth Wassynger Talmage M. Watts Mrs. William C. Weaver III Mr. & Mrs. James Webb III Dr. Medford S. Webster Beth & Arville Wheeler Mr. & Mrs. Fred Wheeler Harvey & Joyce White Alyson Wideman Adam & Laura Wilczek Vicki Gardine Williams Mr. & Mrs. Ridley Wills II Gary & Cathy Wilson Mr. & Mrs. Stephen F. Wood Sr. Mr. & Mrs. D. Randall Wright Shu-Zheng Yang & Li Li Roy & Ambra Zent FirSt cHair Gifts of $250+ Anonymous (40) Judith Ablon The Rev. Dr. & Mrs. W. Robert Abstein Ben & Nancy Adams Elizabeth Adams & David Scott Chip Alford Dr. & Mrs. John Algren Carol M. Allen 82

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Dr. Joseph H. Allen Newton & Burkley Allen Adrienne Ames Mark Amonett William J. & Margery Amonette Ken & Jan Anderson Newell Anderson & Lynne McFarland Ms. Teresa Broyles-Aplin Mr. & Mrs. Carlyle D. Apple Mr. & Mrs. James Armstrong Mr. & Mrs. Joseph B. Armstrong III Mr. & Mrs. John S. Atkins Dr. Philip Autry Mr. & Mrs. Gerald Averbuch Janet B. Baggett Mr. & Mrs.* F. Clay Bailey Jr. Ms. Susie M. Baird Dr. & Mrs. Billy R. Ballard Susan F. & Paul J. Ballard Mr. & Mrs. J. Oriol Barenys Dr. Beth S. Barnett Dr.* & Mrs. Thomas C. Barr Mr. & Mrs. William Beach Dr. & Mrs. R. Daniel Beauchamp Susan O. Belcher Mark H. Bell Mr. & Mrs. W. Todd Bender Cynthia Bennett & Bill Grundy Mr. & Mrs. Earl Bentz Mr. & Mrs. Richard M. Berry Mr. & Mrs. W. Irvin Berry Mr. & Mrs. A. C. Best Cherry & Richard Bird William W. Bivins Ms. Helen R. Blackburn-White William & Betty Blackford Joan Bledsoe David L. Bone David Bordenkircher Jerry & Donna Boswell Robert E. Bosworth Mr. Brian Boxer Don & Deborah Boyd Mr. & Mrs. Douglas G. Bradbury III Mr. & Mrs. James F. Brandenburg Mr. Jere T. Brassell Robert & Barbara Braswell Mary Lawrence Breinig Phil & Pat Bressman Jamie A. Brewer Miss Sandra J. Brien Betty & Bob Brodie Kathy & Bill Brosius Mr. & Mrs. Charles H. Brown Dr. & Mrs. Edward W. Browne Jr. Mr. S. Mark Brumbelow Burnece Walker Brunson

Dr. & Mrs. Glenn Buckspan Linda & Jack Burch Mr. & Mrs. David G. Buttrick Geraldine & Wilson Butts Dr. & Mrs. Robert Byrd Drs. Robert & Mirna Caldwell Mrs. Julia C. Callaway Claire Ann Calongne Mrs. Bratschi Campbell Mr. Gary Canaday Dori & Byron Canaday Karen Carr Ronald & Nellrena Carr Mr. & Mrs. Edwin Carter Valleau & Robert M. Caruthers Bill & Chris Carver Kent Cathcart Martin & Mitzi Cerjan Mr. & Mrs. John P. Chaballa Evelyn LeNoir Chandler Dean & Sandy Chase Mrs. Robert L. Chickey Ms. Dorothy H. Chitwood Bette & Mark Christofersen Neil Christy & Emily Freeman Dr. AndrĂŠ & Ms. Doreatha H. Churchwell Mr. Daryl Claggett Councilman & Mrs. Phil Claiborne Drs. Walter & Deborah Clair Bishop Roy C. Clark Steven & Donna Clark Mr. & Mrs. Roy Claverie Sr. Mr. & Mrs. Neely B. Coble III Misty Cochran & Josh Swann Cheryl M. Coffin & Ralph E. Topham Ms. Peggy B. Colson The Honorable & Mrs. Lewis H. Conner William & Margaret Connor Laura & Kyle Cooksey Arlene & Charley Cooper Dr. Jackie Corbin & Jan Gressman Elizabeth Cormier Mr. & Mrs. George Crawford Jr. Dr. & Mrs. Jeff Creasy Mr. & Mrs. Rob Crichton Mary & Jim Crossman R. Barry & Kathy Cullen Julie & Peter Damp Katherine C. Daniel Kim & Roy Dano Andrew Daughety & Jennifer Reinganum Mr. & Mrs. Edgar Davenport Janet Keese Davies Adelaide S. Davis Ellen & Jim Davis Mr. Karl Dean & Ms. Anne Davis Mrs. Edwin DeMoss Wade & Jeanine Denney Mr. & Mrs. J. William Denny

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Ann Deol Dr. Joseph & Ambassador Rachel Diggs Ms. Shirley J. Dodge Peter & Kathleen Donofrio Michael Doochin & Linda Kartoz-Doochin James & Ramsey Doran Kristen & David Drake Elizabeth Tannenbaum & Carl Dreifuss Clark & Peggy Druesedow Mr. & Mrs. Carl Duffield Mr. & Mrs. Bradley Dugger Kathleen & Stephen Dummer Mr & Mrs. Mike Dungan Bob & Nancy Dunkerley Ms. Margaret R. Dunn Michael & Beverly Dunn Kathryn & Webb Earthman Patricia & Larry Eastwood The Rev. Dr. Donna Scott & Dr. John Eley Dan & Zita Elrod Mr. Owen T. Embry Dr. & Mrs. Ronald B. Emeson Mr.* & Mrs.* Thomas E. Epperson Dr. & Mrs. James Ettien Ms. Claire Evans Dr. Ann Evers & Dr. Gary Smith David Ewing & Alice Randall Drs. Charles & Evelyn Fancher Kathryn Beasley & Chris Farrell Laurie & Ron Farris Michael & Rosemary Fedele Jill Denmark & William Fialkowski MD Janie & Richard Finch Mr. & Mrs. Andrew & Mary Foxworth Sr. Scott & Anita Freistat Emily & Randy Frey Ms. Bettie D. Fuller Ms. Johnnie L. Fulton Dr. David & Kimberly Furse Tom & Jennifer Furtsch Dr. Henry Fusner Lois & Peter Fyfe Bill & Ginny Gable Jim & Michiko Gaittens Dr. & Mrs. Ronald E. Galbraith Mr. & Mrs. George C. Garden Mr. & Mrs. Jerry Garrett Alan & Jeannie Gaus Em J. Ghianni Dr. & Mrs. John Gibson Mr. & Mrs. Stewart J. Gilchrist Ms. Dianne R. Gillespie William & Helen Gleason Linda & Joel Gluck Carol A. Gnyp Mr. & Mrs. William M. Gracey Tom & Carol Ann Graham Antonio M. Granda M.D.

Roger & Sherri Gray Mr. Joseph F. Green Mr. & Mrs. Luke Gregory John F. Gregory III Mary Beth & Raul Guzman Dr. & Mrs. John D. Hainsworth Byron & Antoinette Haitas Ms. Leigh Ann Hale Cathey & Doug Hall John & Freda Hall RenĂŠe & Tony Halterlein Walter H. White III & Dr. Susan Hammonds-White Mr. & Mrs. Richard W. Hanselman Patty & Bill Harbison Mr. & Mrs. Robert E. Hardison Jr. Joel T. Hargrove Frank & Liana Harrell Mrs. Edith Harris Dickie & Joyce Harris Mr. & Mrs. Jay Hartley Mr. James S. Hartman Mr. & Mrs. Ira Hartman Dr. Morel Enoch & Mr. E. Howard Harvey Robert & Nora Harvey Kay & Karl* Haury David & Judith Slayden Hayes Bob & Judy Haynes Judy & Fred Helfer Doug & Becky Hellerson Ms. Doris Ann Hendrix Ernest & Nancy Henegar Dr. Casilda I. Hermo Gregory Hersh Dr. & Mrs. George A. Hill Mr. David Hilley Mr. & Mrs. Robert C. Hilmer Samuel & Melanie Hirt Anna Lisa Hoepfinger Mr. & Mrs. Donald Hofe Sean Hogan Aurelia L. Holden Dr. Nancy D. Holland James & Christa Holleman William Hollings Dale A. Holmer Paul Holt Drs. Richard T. & Paula C. Hoos Dr. Cherry L. Houston Samuel H. Howard Louis & Lyn Hoyt Dr. Jason R. Hubbard Dr. & Mrs. Louis C. Huesmann II Mr. & Mrs. William E. Hughes Mr. & Mrs. Robert Huljak The Hunt Family Foundation Desda Passarella & Jim Hutchins Dr. & Mrs. Roger Ireson Dr. Anna M. Jackson Frances C. Jackson Dr. & Mrs. G. Whit James Mr. & Mrs. Alan R. Javorcky

Carl Johnson & Mine Yoshizawa Joyce E. Johnson Mary & Doug Johnston Donald & Catherine Joiner Pat & David Jones Frank & Audrey Jones Sarah Rose Jones Jeffrey & Layle Kenyon Edward & Eunice Kern Robert Kerns Ms. Corinne B. Kidd Bill & Becca Killebrew David & Katy Killion Jacqueline & Bill King Marilyn & Wayne King Jane & Frank Kirchner Louise & Joe Kitchell Edward & Rosemary Knish Mr. & Mrs. Rick Koelz David & Judy Kolzow Sanford & Sandra Krantz Jennifer Kraus & family Ms. Geri Kristof Tim Kyne Anthony La Marchina Mr. Daniel L. LaFevor Nancy & Edd Lancaster Don & Melanie Larson Mr. & Mrs. William Lassiter Mr. & Mrs. Joseph A. Lawrence Ms. Ellen C. Lawson Mrs. Douglas E. Leach Trenton & Shellie Leach Rob & Julia Ledyard Dr. & Mrs. George R. Lee J. Mark Lee Richard & Deborah Lehrer Martin & Eileen Leinwand Dorothy & Jim Lesch Ralph G. Leverett Michael & Ellen Levitt John & Marge Lewis Rick & Shirley Lievanos Marty & Ronald S. Ligon Mr. & Mrs. Mack S. Linebaugh Joanne L. Linn, M.D. Mr. & Mrs. Michael Linton Keltner W. & Debra S. Locke Jean & Steve Locke Kim & Mike Lomis Kim & Bob Looney Frances & Eugene Lotochinski Mr. & Mrs. David L. Loucky Thomas H. Loventhal J. Edgar Lowe Mr. & Mrs. Jay Lowenthal Mr. & Mrs. Ed Lowery Mr. & Mrs. James C. Lundy Jr. George & Cathy Lynch Jeffrey C. Lynch Patrick & Betty Lynch Sharron Lyon Ms. Francine K. Maas Mr. John Maddux

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AnnuAl fund

Anne & Joe Maddux Dr. Mark A. Magnuson & Ms. Lucile Houseworth Mr. & Mrs. David J. Mahanes III Mr. & Mrs. Robert A. Maier Mr. Mikal Malik Beverly Darnall Mansfield David & Leah Marcus Robert & Debra Marler Jean W. Martin Abraham, Lesley & Jonathan Marx Dr. & Mrs. Ralph Massie Frank & Laura Mastrapasqua Sue & Herb Mather Lynn & Paul Matrisian Ralph & Lucia Maxson Drs. Ricardo Fonseca & Ingrid Mayer Mr. & Mrs. John D. McAlister Mr. & Mrs. Joseph P. McAllister Chris & John McCarthy Mr. & Mrs. Charles R. McCarty Kathleen McCracken Roy Wunsch & Mary Ann McCready Mr. & Mrs. Edwin A. McDougle Mr.* & Mrs. William Thomas McHugh Michael McKinley Mr. Brian L. McKinney Malcolm & Jamesina McLeod Dr. & Mrs. Timothy E. McNutt Sr. Sam & Sandra McSeveney Mr. & Mrs. Michael R. McWherter Mr. & Mrs. Martin L. Medley Ms. Virginia J. Meece Ronald S. Meers Janis Meinert Manfred & Susan Menking Sara Meredith Bruce & Bonnie Meriwether Dr. Mark & Mrs. Theresa Messenger Dr. & Mrs. Philip G. Miller Dr. Ron V. Miller Jim & Glenda Milliken Dr. Fernando Miranda & Dr. Patricia Bihl-Miranda Dr. Ken Moffat Mr. & Mrs. Steven Moll Dr. & Mrs. Anthony Montemuro Mr. James Elliott Moore Dr. Kelly L. Moore Mr. & Mrs. Steve Moore Mr. David K. Morgan Mr. & Mrs. Jonathan Morphett Lee & Ingeborg Mountcastle Dr. J. Philip Moyers Mr. & Mrs. Charles Murchison Mr. & Mrs. Dwayne Murray Mr. & Mrs. J. William Myers Allen & Janice Naftilan Valerie Nelson Dr. & Mrs. Harold Nevels

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Dr. John Newman & Ms. Rebecca Lyford Leslie & Scott Newman Barbara & Stephen Nichol John & Judy Nichols William & Kathryn Nicholson Al Nisley Mr. & Mrs. Lee F. Noel Mrs. Caroline T. Nolen Judy M. Norton Hunt & Debbye Oliver Frank & Nancy Orr Philip & Carolyn Orr Dr. & Mrs. Ronald E. Overfield Judy Oxford & Grant Benedict Dr. & Mrs. James Pace Nancy & Gary Pack Mrs. Kimberly Williams Paisley Terry & Wanda Palus Mr. & Mrs. Chris Panagopoulos Doria Panvini Lisa & Doug Pasto-Crosby Grant & Janet Patterson John & Lori Pearce Anne & Neiland Pennington Ms. Rosetta Miller Perry Claude Petrie Jr. Mary & Joe Rea Phillips Charles & Mary Phy Mr. & Mrs. James R. Pickel Jr. David & Teresa Pitzer Viv & Don Pocek Rick & Diane Poen Phil & Dot Ponder Stanley D. Poole Mr. & Mrs. Thomas Priesmeyer Ann Pushin Mr. & Mrs. John E. Ragan Edria & David Ragosin Mr. & Mrs. Ross Rainwater Mr. & Mrs. Randall A. Rawlings Nancy Ward Ray Mr. & Mrs. David R. Reeves Ms. Sandra L. Reeves Polly & Mark Rembert Allen Reynolds S. D. & Carole Reynolds Al & Laura Rhodes Barbara Richards Don & Connie Richardson Ann Richmond & Darrell Smith Mrs. Jane H. Richmond Mary Riddle Mrs. Paul E. Ridge Margaret Riegel Janice Rinker Ms. Margot A. Riser Mr. & Mrs. Stephen Riven Ms. Stacie Robbins Mrs. Roscoe R. Robinson Albert & Donna Rodewald Fran C. Rogers Bruce & Norma Rogers Mr. & Mrs. David C. Roland Rodney & Lynne Rosenblum

Edgar & Susan Rothschild Jan & Ed Routon Lauren & Christopher Rowe Ms. Jean W. Russell Dr. & Mrs. Don Russo Michael Samis & Christopher Stenstrom Robert & Karen Sams Ron & Lynn Samuels James & Susan Sandlin Jack & Diane Sasson Mr. Donald D. Savoy Mr.* & Mrs. Thomas W. Schlater III Jack Schuett Dr. & Mrs. Stephen J. Schultenover Gary & Becky Scott Mr. & Mrs. Robert Scott Gina & Stephen Scott Drs. Fernando F. & Elena O. Segovia Gene A. & Linda M. Shade Richard & Marilyn Shadinger Caroline & Danny Shaw Mrs. Jack W. Shepherd Russ Sims & Sophia Lee Dr. & Mrs. Manuel Sir Alice Sisk Donny & Charles Sissom Miss Ashley N. Skinner Dr. & Mrs. David Slosky Charles R. & Vernita Hood-Smith Dallas & Jo Ann Smith Mrs. Myrtis F. Smith Joy & Richard Smith Mrs. Susan K. Smith & Mr. Joe Stegemann Mr. & Mrs. Brian Smokler Mr. & Mrs. Douglas C. Snyder Marc & Lorna Soble Dan & Siri Speegle Nan E. Speller Thomas F. Spiggle Mr. M. Clark Spoden Mrs. Randolph C. St. John Caroline Stark & Lane Denson Mr. & Mrs. Lemuel Stevens Jr. Richard & Jennifer Stevens CAPT & Mrs. Charles E. Stewart Jr. Mr. & Mrs. Charles V Stewart III Mr. & Mrs. David B. Stewart Mr. J. Cyril Stewart Bob & Tammy Stewart Lois & Larry Stone Tom & Gayle Stroud Jane & Sam Stumpf Jr. Gayle Sullivan Mrs. T. C. Summers Thomas & Sarah Summers Frank Sutherland & Natilee Duning

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Mr. & Mrs. Herbert Svennevik Dr. Esther & Mr. Jeff Swink Ms. Camille Terranova Dr. Paul E. Teschan Dr. & Mrs. Edward L. Thackston Mr. & Mrs. Richard Theiss Dr. & Mrs. William Thetford Mrs. Lillian D. Thomas* Mr. & Mrs. Bob F. Thompson David & Kathryn Thompson Mr. & Mrs. Wendol R. Thorpe Richard & Shirley Thrall Mr. & Mrs. Robert W. Thurman Mr. & Mrs. William J. Tichi Mr. & Mrs. William D. Tidwell Scott & Nesrin Tift Leon Tonelson Mr. Michael P. Tortora Mila & Bill Truan Richard, Kimiko, Jennifer & Lindsey Tucker Jay & Peggy Turman Alan & Catherine Umstead Dr. Jan Van Eys Kimberly Dawn Vincent Crystal Walker Kay & Larry Wallace Ms. Leslie P. Ware Mr. & Mrs. Robert J. Warner Jr.

Lawrence & Karen Washington Carolyn M. Wasleski Gayle & David Watson Shirley Marie Watts Frank & Jane Wcislo H. Martin & Joyce Weingartner Mr. Kevin L. Welsh J. Jason Wendel M.D. Joni Werthan George & Julie West Ms. Jo H. West Linda C. West Franklin & Helen Westbrook J Peter R. Westerholm Dr. & Mrs. Mark B. Whaley Ms. Harriett C. Whitaker Linda & Raymond White Mr. Michael T. Whitler & Mr. Mark Weber Jerrie Barnett-Whitlow Jonna & Doug Whitman Ms. Eleanor D. Whitworth Ms. Judith B. Wiens Roger M. Wiesmeyer Marie Holman Wiggins Mr. Robert S. Wilkinson Frank & Marcy Williams Jeremy S. Williams John & Anne Williams

Dr. Pamela C. Williams Susan & Fred Williams Carol Ann & Tommy Wilson The Rev. & Mrs. H. David Wilson The Wing Family Scott & Ellen Wolfe Ms. Marilyn V. Wolven Edward & Mary E. Womack Dr. Bob & Marilyn Wood Mr. Michael T. Woods Patricia A. Wozniak Mr. & Mrs. Matthew W. Wright Gary & Marlys Wulfsberg Kay & Randall Wyatt Pam & Tom Wylly Richard A. & Vivian R. Wynn Patrick & Phaedra Yachimski Dr. Mary Yarbrough Emmett & Lee Yeiser Mr. & Mrs. Mark Young Dr. Michael Zanolli & Julie K. Sandine Mr. & Mrs. Bruce Zeitlin Mr. & Mrs. Michael A. Zibart James & Candice Zimmermann

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*denotes donors who are deceased

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AnnuAl fund

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 August 3, 2011.

SeaSoN preSeNterS Gifts of $100,000+

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The Martin Foundation

preSiDeNt’S couNcil Gifts of $75,000+

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DirectorS’ aSSociateS Gifts of $50,000+

priNcipal playerS Gifts of $25,000+ Mike Curb Family Foundation

Los Angeles Philharmonic Association

goverNMeNt

Metropolitan Government of Nashville and Davidson County

metropolitan nashville Arts commission

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SEptEmBER 2011

Mayor Karl F. Dean

Metropolitan Council

orcHeStra partNerS Gifts of $10,000+ Akustiks, LLC American Commercial Industrial Electric (ACIE) American Constructors, Inc. AT&T Blevins, Inc. Bradley Arant Boult Cummings LLP CapWealth Advisors LLC Caterpillar Financial Services Coca-Cola Bottling Company Consolidated The Cockayne Fund Inc. Frost Specialty, LLC Gaylord Entertainment Foundation GBT Realty Corporation Harwell Howard Hyne Gabbert & Manner Hastings Architecture Associates, LLC The HCA Foundation The Hermitage Hotel KraftCPAs PLLC Lee Company Neal & Harwell Publix Super Markets Charities Mary C. Ragland Foundation David M. Schwarz Architect Charitable Foundation Earl Swensson Associates, Inc. (ESa) I.C. Thomasson Associates Inc. VSA – The International Organization on Arts and Disability/ MetLife Foundation Wells Fargo

In fact, we require it. Lipscomb was presidential lecture earns rave reviews the first university in the U.S. to require for the arts influencers it brings to the its music majors to sit for Britain’s community. Experience it yourself. acclaimed Associated Board of the Royal There are very few times when there Schools of Music exams. And that’s just is not an arts event on campus, open one of our musical accomplishments in to the public and enjoyed at little or no the arts. In theater, Lipscomb’s director charge. Go to events.lipscomb.edu was named one of Nashville’s top ten to see what’s happening. We’d like directors in 2010. And in visual arts, our to treat you royally as well.

We give music students the royal treatment.

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ou artiStic uNDerwriterS Gifts of $5,000+

Academy of Country Music Lifting Lives Aladdin Industries, LLC Anchor Trailways & Tours BDO CapStar Bank Clarcor Inc. Clinical Research Associates Inc. Chet Atkins Music Education Fund of the Community Foundation Of Middle Tennessee Corrections Corporation of America Cracker Barrel Foundation Dan McGuinness Irish Pub Ford Motor Company Ann Hardeman and Combs L. Fort Foundation Ann and Gordon Getty Foundation

events.lipscomb.edu

AnnuAl fund

Landis B. Gullett Charitable Lead Annuity Trust Heidtke & Company, Inc. Hi Fi Buys Interior Design Services, Inc. Lexus of Nashville Monell’s Restaurants OSHi Flowers Pinnacle Financial Partners Inc. The Elizabeth Craig Weaver Proctor Charitable Foundation Tennessee Christian Medical Foundation Waller Lansden Dortch & Davis, LLP

BuSiNeSS aSSociateS Gifts of $500+ APEX & Robert E. Lee Moving & Storage, Inc. Barge, Cauthen & Associates Black Box Network Services BMW-MINI of Nashville R. H. Boyd Publishing Corporation Broadcast Music, Inc. Buford Lewis Co. Capitol Records CedarStone Bank The Celebration Chaffin’s Barn Dinner Theatre D.F. Chase, Inc. Cornerstone Commercial Real Estate Services Country Music Association Fabricators CAD Service, Inc. Gould Turner Group, P.C. Haber Corporation KSI/Structural Engineers Pam Lewis & PLA Media Loews Vanderbilt Hotel Northgate Gallery, Inc. PICA Group RD Plastics Co., Inc. SESAC, Inc. Sigma Alpha Iota – Vanderbilt Chapter Stansell Electric Co., Inc. Sysco Nashville WBUZ Buzz 102.9 / WPRT Party 102.5

Prime Properties, Inc. David L. Battis / Edwin B. Raskin Company Riley Warnock & Jacobson Servitech Industries, Inc. Trickett Honda Monte Turner/Turner and Associates Realty, Inc. Volunteer Barge & Transport, Inc. Walker Lumber & Hardware Company

than tha BuSiNeSS partNer Gifts of $2,500+ American General Life & Accident Insurance Company AmSurg Corp City of Brentwood Dave Nemo Entertainment Delta Dental of Tennessee First Baptist Nashville Lewis, King, Krieg & Waldrop P.C. Nashville Symphony Chorus VOGUE Washington Foundation

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

you yo BuSiNeSS couNcil Gifts of $1,500+ BlueCross BlueShield of Tennessee Community Trust BioVentures, Inc. The Glover Group H. G. Hill Realty Company, LLC The Hendrix Foundation J. Alexander’s Corporation True Line Coring & Cutting WASCO, Inc.

BuSiNeSS leaDer Gifts of $1,000+ Anonymous (1) Barge Waggoner Sumner & Cannon, Inc. Barrett Johnston Bryan Symphony Orchestra at TTU Cage Drywall, Inc. Carter-Haston Holdings, LLC Marylee Chaski Charitable Corporation Neely Coble Company Consolidated Pipe & Supply Co., Inc. Direct Solutions DZL Management Economy Pencil Co. J&J’s Market & Cafe Kaatz, Binkley, Jones & Morris Architects, Inc. Purity Dairies, Inc. Smith Seckman Reid, Inc. Trades Unlimited, LLC William Morris Endeavor Entertainment

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SEptEmBER 2011

BuSiNeSS FrieND Gifts of $300+ A-1 Appliance Company V. Alexander & Co., Inc. Alpha Delta Omega Foundation Altissimo Entertainment Batten & Shaw, Inc. Bloom Electric Supply Bradshaw Collision Repair Centers Case Selects Wine and Spirits CB Richard Ellis, Inc. Cooper Steel Courtyard by Marriott Downtown Dancy’s, Nancy June Brandon DataMarketing Network, Inc. DBS & Associates Engineering, Inc. Demos’ Steak & Spaghetti House Freeman Webb Company Realtors, Inc. Hoge Motor Company Hunter Marine IBIS Communications, Inc. INDUSCO integrity events, inc.

J & J Interiors, Inc. Jack Cawthon/Jack’s Bar B Que Robert’s Western World National Toxicology Specialists Inc. Nitetrain Coach

HoNorary In honor of Lin Andrews In honor of Fredric Blumberg’s 80th Birthday In honor of Barbara Chazen In honor of Eric Chazen’s 80th birthday In honor of Marion P. Couch In honor of Laurie Davis & Meredith Benning In honor of Gov. Winfield C. Dunn In honor of Bob Eisenstein’s 95th birthday In honor of Richard Eskind In honor of Giancarlo Guerrero In honor of Mr. & Mrs. Billy Ray Hearn In honor of Martha R. Ingram In honor of Mitchell Korn In honor of Robert Ness In honor of J. Kirby Pate M.D.

In honor of James Robinson & Andrea Hatcher In honor of Steve & Judy Turner for their civic leadership In honor of Jerry L. Warren

nK anK MeMorial In memory of Carole Slate Adams In memory of Carol Ainsworth In memory of Jessica Bloom In memory of Elizabeth Carré-Pirtle In memory of Beverly Newman Creel In memory of Gerry Daniel In memory of Allen Eskind In memory of Keith Peter Fosbinder In memory of Eva R. Garfinkle In memory of John Barker Hickox In memory of T. Earl Hinton & Nora Gardner Smith Hinton (2) In memory of Davis Hunt In memory of Rodney Irvin (2) In memory of Edna B. Kurzynske In memory of Mark Alan Lewis In memory of Claude N. O’Donnell In memory of Mildred J. Oonk In memory of Ron Portell In memory of Edward S. Pride In memory of Lisa Renegar In memory of Lillie Hollabaugh Rhame In memory of Betty Richards (5) In memory of Lenore S. Schermerhorn In memory of Samuel Terranova In memory of Stanley Udell In memory of Sandra Whipple In memory of Barbara Wiles

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

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

Call 615 259 2000 for Reservations

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

endowment cAmpAing

A tImE fOR GREAtNESS CAmpAIGN

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

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SEptEmBER 2011

fOUNdERS Gifts of $1,000,000+

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

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

estAte plAnning

NAShvILLE SymphONy LEGACy SOCIEty leAving A legAcy, building A future

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

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

To find out more about planned giving opportunities, please visit: nashvilleSymphony.org/plannedgiving.

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

thANK yOU

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

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

*deceased

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guest informAtion

dINING At thE SChERmERhORN

Arpeggio

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

symphony cAfÉ

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

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

vIStING thE SChERmERhORN restrooms & wAter fountAins

cAmerAs, cell phones & other devices

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

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

coAt check

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

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SEptEmBER 2011

lAte seAting

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

hOW mAy WE ASSISt yOU?

pARKING & tRANSpORtAtION

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

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

services for guests with disAbilities

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.

concert concierge

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. emergency messAges

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

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

pArking At the pinnAcle

vAlet

chAuffeured trAnsportAtion

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

tICKEt SALES the box office is on the fourth Avenue side of the building closest to symphony place. tickets may be purchased with mastercard, visA, American express, discover, cash or local personal checks. limited 15-minute parking is available on fourth Avenue just outside the box office. regular hours: 10 a.m.-6 p.m. monday-friday 10 a.m.-2 p.m. saturday hours on Concert days: 10 a.m. to intermission monday-saturday call for hours on sunday tickets are also available by visiting nashvillesymphony.org or by phoning the box office at 615.687.6400. cAn’t mAke A concert?

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

InConcert

93

building mAp

orchestrA level low 1st floor

Concert Concierge

east atrium

west atrium

box Office

bar

Symphony Store

bar

Symphony Cafe

Security

94

SEptEmBER 2011

bar

west lobby

loge hall loge boxes

arpeggio laura turner Concert hall

loge hall loge boxes

Martha rivers ingram Courtyard

east lobby

founders level 2nd floor

reStrooMS

exit west Grand Staircase

east Grand Staircase

StairS

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

elevator

Founders boxes

board room

laura turner Concert hall

Founders boxes

Founders hall

bar

bar

Founders Circle

Coat CheCK

Food

orchestra view

wiFi aCCeSS

Curb room

ConCert ConCierGe InConcert

95

Sonny rollinS Friday, oCtober 14 at 8 p.M.

Sonny rollinS Your chance to see a living legend in his first Nashville Saxophone appearance in nearly two decades. Sonny rollins is known as the “Saxophone Colossus,” and with good reason. His groundbreaking work on the tenor sax helped define the sound of jazz in the 1950s and ’60s, and he remains its most exacting, exhilarating and inspiring practitioner. A spellbinding evening.

buy tiCKetS at nashvilleSymphony.org 615.687.6400