Encore 2: 2018-2019 by Jax Symphony

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WELCOME! Dear Friends, Welcome to Jacoby Symphony Hall. Each week, thousands of individuals like you experience the transformative power of symphonic music. Where will the music take you? Our journey begins with one of the most loved masterpieces of all time, Mussorgsky’s Pictures at an Exhibition. Promenade through our musical gallery stopping to gaze at the artwork that inspired this Russian giant. We continue to France with Ravel’s Boléro and Dukas’ The Sorcerer’s Apprentice, made famous by Disney’s Fantasia. We meet Haydn in Austria and Beethoven in Germany before travelling north to the picturesque landscape of a frosty Scandinavia with Sibelius’ Third Symphony. Renee Parenteau

This is the time of year that we welcome the most visitors to the Symphony, as tens of thousands will attend our many holiday offerings: the season-favorite Holiday Pops, JSYO Holiday Concert, First Coast Nutcracker, Handel’s Messiah and New Year’s Eve from Vienna. We’re honored that so many choose to include the Jacksonville Symphony in their family’s holiday traditions.

Tickets: 904.354.5547 Contributions: 904.807.1016 Administration: 904.354.5479 JaxSymphony.org Encore Production Publisher – Robert Massey Editor – Sydney Schless Graphic Designer – Ken Shade Photography – Tiffany Manning, Renee Parenteau, Fran Ruchalski Program Notes – Laurie Shulman ©Jacksonville Symphony Association 300 Water Street, Suite 200 | Jacksonville, FL 32202

/jaxsymphony - @jaxsymphony - /jaxsymphony - #jaxsymphony

STEINWAY & SONS Is the official piano of the Jacksonville Symphony

Still, some of our most important work may not be known to you. These are the hundreds of concerts given in schools, libraries, places of worship, assisted living facilities, hospitals and other venues outside of the TimesUnion Center for the Performing Arts. Patrons range from students that attend free-of-charge to those who otherwise would not have access to the Symphony. We are able to serve so many in Northeast Florida – 290,000 per year – thanks to donor support. Many of you are currently considering your year-end charitable giving. While you may no longer receive a tax deduction, know that your gift is critical in providing symphonic music to our community. On behalf of our musicians, our board of directors and staff, I thank you for your financial support and your patronage. We hope your Jacksonville Symphony experience is everything you hoped it would be and more, and we look forward to welcoming you back in the future. Enjoy the performance!

Robert Massey President and CEO ENCORE 5

ENCORE

THE MAGAZIINE OF THE JACKSONVILLE SYMPHONY

2018 - 2019 SEASON

VOLUME 25 – EDITION 2

EVENTS 25

PICTURES AT AN EXHIBITION FLORIDA BLUE MASTERWORKS SERIES November 9 & 10

BIZET SYMPHONY NO. 1 RAYMOND JAMES COFFEE SERIES November 16

A FRENCH FANTASY FLORIDA BLUE MASTERWORKS SERIES November 30 / December 1 & 2

HOLIDAY POPS RAYMOND JAMES COFFEE SERIES FIDELITY NATIONAL FINANCIAL POPS SERIES December 6, 7, 8 & 9

JACKSONVILLE SYMPHONY YOUTH ORCHESTRAS HOLIDAY CONCERT YOUTH ORCHESTRA SERIES December 10

HANDEL’S MESSIAH SYMPHONY SPECIAL December 15 & 16

NEW YEAR’S EVE FROM VIENNA SYMPHONY SPECIAL December 31

BEETHOVEN, HAYDN AND SIBELIUS REGENCY CENTERS SYMPHONY IN 60 SERIES FLORIDA BLUE MASTERWORKS SERIES January 3, 4 & 5

DEPARTMENTS 3 Welcome 7 Music Director Courtney Lewis 10 Symphony Association Board 11, 60-62 Thank You, Supporters 13 About the Symphony 14-15 Jacksonville Symphony Musicians 23 Volunteer Activities and Events 55 Sound Investment Program 59 The Cadenza Society 64 Jacksonville Symphony Administration ENCORE 7

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MUSIC DIRECTOR Courtney Lewis Music Director Haskell Endowed Chair With clear artistic vision, subtle musicality and innovative programming, Courtney Lewis has established himself as one of his generation’s most talented conductors. The 2018-2019 season will mark his fourth as music director of the Jacksonville Symphony.

Renee Parenteau

In June 2018, the Kennedy Center and Washington Performing Arts announced that Lewis and the Jacksonville Symphony will be one of four orchestras invited to participate in 2020 SHIFT: A Festival of American Orchestras. SHIFT celebrates the vitality, identity and extraordinary artistry of orchestras and chamber orchestras by creating an immersive festival experience in the nation’s capital. In the summer of 2018, Courtney Lewis led the Australian Youth Orchestra alongside the 2016 Sydney International Piano Competition Winner, Audrey Gugnin, and embarked on tour with the Ulster Youth Orchestra through Vienna, Bratislava and Belfast. During the 2018-2019 season, Lewis will lead the Minnesota Opera in their returning production of Silent Night by composer Kevin Puts. Lewis’ previous seasons in Jacksonville have featured an expanded repertoire including Mahler and Sibelius cycles, Adès’ Asyla, Ligeti’s Piano Concerto, and Andres’ The Blind Banister, while raising the caliber of guest artists with performances by violinist Anthony Marwood and pianists Lang Lang, Inon Barnatan and Jonathan Biss. In addition to initiating the return of opera productions with Humperdinck’s Hänsel und Gretel in 2017, the 2017-2018 season featured Renée Fleming at the annual Gala, and Christine Brewer with Jay Hunter Morris performing selections from Wagner’s Götterdämmerung.

Since his debut in November 2008 with the Saint Louis Symphony Orchestra, Lewis has appeared with the Atlanta Symphony, Colorado Symphony, Washington National Symphony, Los Angeles Philharmonic, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Houston Symphony, Rochester Philharmonic, RTÉ National Symphony Orchestra of Ireland, Lausanne Chamber Orchestra and Ulster Orchestra, among others. As a young conductor, Courtney Lewis served as assistant conductor of the New York Philharmonic, associate conductor of the Minnesota Orchestra, and Dudamel Fellow with the Los Angeles Philharmonic. From 2008 to 2014, Lewis was the music director of Boston’s acclaimed Discovery Ensemble, a chamber orchestra dedicated not only to giving concerts of contemporary and established repertoire at the highest level of musical and technical excellence, but also bringing live music into the least privileged parts of Boston with workshops in local schools. Born in Belfast, Northern Ireland, Lewis read music at the University of Cambridge during which time he studied composition with Robin Holloway and clarinet with Dame Thea King. After completing a master’s degree with a focus on the late music of György Ligeti, he attended the Royal Northern College of Music, where his teachers included Sir Mark Elder and Clark Rundell.

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SYMPHONY ASSOCIATION BOARD OF DIRECTORS Officers

David M. Strickland, Chair Tim Cost, Vice Chair Michael Imbriani, Treasurer Elizabeth Lovett Colledge, Secretary Robert Massey, President and CEO

Board of Directors Don Baldwin,

Marketing Committee Chair

Martha Barrett Gilchrist Berg,

Vision 2020 Campaign Co-Chair

Douglas A. Booher Karen Bower J.F. Bryan, IV Rafael Caldera Katharine Caliendo, ex officio Carl Cannon, Vision 2020 Campaign Co-Chair

Chung-Hae Casler Tristan Clarke, ex officio Tyler Dann Barbara Darby Jack Dickison R. Chris Doerr Thomas M. Galvin, Jr. Fausto Gardini, ex officio Margaret Gomez Katheryn Hancock, ex officio Randolph R. Johnson, Development Committee Chair

Charles S. Joseph Kiki Karpen Allison Keller Ross Krueger Anne Lufrano Matt S. McAfee Elizabeth McAlhany Sheila McLenaghan Ronald Rettner W. Ross Singletary II John Surface Randall C. Tinnin,

Programming Committee Chair

Timothy A. Woodward Douglas Worth Gwendolyn “Gwen” Yates,

Governance Committee Chair

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Foundation Board

Margaret Gomez, Chair Gilchrist Berg Jeffrey E. Bernardo R. Chris Doerr Peter Karpen

Honorary Directors Ruth Conley David W. Foerster Preston H. Haskell Anne H. Hopkins Robert E. Jacoby Frances Bartlett Kinne Mary Carr Patton Robert T. Shircliff Mary Ellen Smith Jay Stein James Van Vleck James H. Winston †

Multicultural Advisory Council African-American Council Mark Chapman Betty Collier Barbara Darby Helen Jackson Pamela Prier Willetta Richie Henry L. Rivers Patricia Sams Veronica Tutt Felicia Wilcox Reverend Barry Wright Hispanic-American Council Alicia Burst Rafael Caldera Gil Colon Victor Cora Barbara Darby Wilfredo Gonzalez Maribel Hernandez Ed Perez Betzy Santiago

PRESIDENT’S COUNCIL $100,000+

Amy and Gilchrist B. Berg BRASS Ruth Conley in memory of Paul Conley City of Jacksonville Cultural Council of Greater Jacksonville Fidelity National Financial Mrs. Josephine Flaherty Florida Blue Florida State College of Jacksonville ∆ Monica and Bob Jacoby PRI Productions ∆

$50,000 - $99,999

Anonymous gift in honor of the City Rescue Mission Staff bestbet Pete and Lory Doolittle DuBow Family Foundation Florida Times-Union ∆ Jacksonville Aviation Authority Δ Jennifer Johnson Duke and Joe Duke Mary Carr Patton State of Florida, Division of Cultural Affairs Mrs. C. Herman Terry

$25,000 - $49,999

Anonymous Len Allen Mr. and Mrs. John D. Baker, II Mr. and Mrs. J. F. Bryan, IV Tim and Stephanie Cost Robert D. and Isabelle T. Davis Endowment Fund Stephen and Suzanne Day Deutsche Bank Jane and Jack Dickison Chris and Stephanie Doerr Mr. William G. Gingrich Haskell Jacksonville Symphony Guild Jessie Ball duPont Fund Valdemar Joost Kroier Endowment Fund

Drs. Anne and Robert Lufrano Roger L. and Rochelle S. Main Charitable Trust Mayo Clinic Donald C. McGraw Foundation Mr. and Mrs. Russell B. Newton Jr. Omni Hotels and Resorts Δ PGA TOUR Raymond James & Associates, Inc. Regency Centers, Inc. Ronald and Karen Rettner VyStar Credit Union J. Wayne and Delores Barr Weaver Music Education Endowment Dr. Eugene and Brenda Wolchok

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Tiffany Manning

ABOUT THE JACKSONVILLE SYMPHONY

As Music Director Courtney Lewis begins his fourth season on the conductor’s podium, the Jacksonville Symphony celebrates an expanded 2018-2019 Season that promises more weeks of music reaching more people than ever before. In the 2017-2018 season, the Symphony reached more than 290,000 individuals through 235 performances. The Jacksonville Symphony is one of Northeast Florida’s most important cultural institutions. Founded in 1949, the Symphony is ranked among the nation’s top regional orchestras. The Symphony’s home, Robert E. Jacoby Symphony Hall, is considered to be an acoustic gem. Each year thousands enjoy the Symphony’s performances both at Jacoby Symphony Hall in the Times-Union Center for the Performing Arts and at venues located throughout the state of Florida. The Symphony is also the community’s leader in music education for children, serving four county

school districts. In addition to offering free tickets to children under the age of 18 for selected Masterworks concerts, and other special youth pricing, there are several programs to foster music education. In June, the Jacksonville Symphony Youth Orchestras embarked on its first national tour as one of only three student orchestras invited to perform in the Los Angeles International Music Festival at Walt Disney Concert Hall. Over the years, the Jacksonville Symphony has hosted some of the most renowned artists of the music world including Isaac Stern, Benny Goodman, Duke Ellington, Marilyn Horne, Luciano Pavarotti, Itzhak Perlman, Kathleen Battle, Mstislav Rostopovich, Audra McDonald, Joshua Bell, Lang Lang and Renée Fleming. For more information about the Jacksonville Symphony, please visit JaxSymphony.org, like us on Facebook at Jacksonville Symphony, follow us on Twitter @JaxSymphony, and on Instagram at JaxSymphony.

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THE ORCHESTRA

Anthony Anurca SECOND/CONTRA BASSOON

Katharine Caliendo SECOND HORN

Tristan Clarke

Melissa Barrett

Christopher Bassett

Patrick Bilanchone

Aaron Brask

Rhonda Cassano

Kevin Casseday

Laurie Casseday

Christopher Chappell

Conrad Cornelison

Clinton Dewing

ASSOCIATE CONCERTMASTER

Dr. Hugh A Carithers Endowed Chair

SECOND FLUTE

Kacy Clopton

PRINCIPAL TRUMPET

ASSOCIATE PRINCIPAL CELLO

Kenneth Every

Betsy Federman

PRINCIPAL TIMPANI

Patrick Graham

SECOND CLARINET

CELLO

Michael Harper

SECOND TRUMPET

BASS TROMBONE

BASS

PRINCIPAL BASSOON

BASS

CELLO

THIRD HORN

Andrew Bruck VIOLIN

DJ Cheek

ASSOCIATE PRINCIPAL SECOND VIOLIN

PRINCIPAL VIOLA

Aurelia Duca

Patrice Evans

VIOLIN

PRINCIPAL SECOND VIOLIN

VIOLIN

PRINCIPAL KEYBOARD

SECTION PERCUSSION

Kevin Garry

Anna Genest VIOLIN

SECOND TROMBONE

Annie Hertler

Jiayi Huang

Max Huls

Vernon Humbert

Ileana Fernandez

The George V. Grune Endowed Chair

VIOLIN

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VIOLA

VIOLIN

Chris Graham

CELLO

THE ORCHESTRA

Kayo Ishimaru-Fleisher PRINCIPAL HARP

Mark Knowles FOURTH HORN

VIOLA

Jorge A. PeÃ±a Portillo

Ran Kampel

PRINCIPAL TUBA

Jennifer Glock Endowed Chair

Jonathan Kuo

Jason Lindsay

VIOLIN

Ellen Caruso Olson

VIOLA

James Jenkins

Eric Olson

PRINCIPAL OBOE

Kevin Reid

PRINCIPAL CLARINET

BASS

Brian Osborne THIRD/UTILITY TRUMPET

VIOLA

Todd Lockwood

ASSOCIATE PRINCIPAL BASS

Colin Kiely VIOLA

Brian Magnus CELLO

Steve Merrill

PRINCIPAL PERCUSSION

VIOLA

PRINCIPAL TROMBONE

Paul Strasshofer

PRINCIPAL FLUTE

Les Roettges

Alexei Romanenko

Piotr Szewczyk

Carol Whitman

John Wieland

Yuping Zhou

The Musicians of the Jacksonville Symphony are proudly represented by the American Federation of Musicians, Local 444.

VIOLIN

Susan Pardue

SECOND OBOE/ENGLISH HORN

VIOLIN

Ilana Kimel

Joel Panian

SECTION PERCUSSION

PRINCIPAL HORN

VIOLIN

Daniel Rios

Cynthia Kempf

PRINCIPAL BASS

PRINCIPAL CELLO

Jeffrey Peterson

BASS

VIOLIN

Backstage Employees are proudly represented by the International Alliance of Theatrical Stage Employees (I.A.T.S.E.) Local 115, Saul Lucio, Business Agent.

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FIRST TIME AT THE SYMPHONY? GET CUED IN!

Welcome to the Jacksonville Symphony! Whether it’s your first or fiftieth time with us, we care a lot about every single person in the beautiful Jacoby Symphony Hall. The orchestra rehearses for hours each week, but the magic doesn’t happen until you’re here to enjoy it with us. So, if there is anything we can do to make you feel welcome, please feel free to speak with an usher or staff member. You can also tell us about your experience online at jaxsymphony.org/about/contact-us/.

Here’s what to expect: 1. First Things First The concertmaster enters the stage – they are the principal, or leader, of the string section and sit to the left of the conductor. The string section includes – from smallest to largest – two sections of violins (the highest pitched strings), violas, cellos and basses. 2. Tuning Note The concertmaster cues a note from the principal oboe for the woodwinds (flutes, clarinets, oboes and bassoons) and brass (trumpets, trombones,

French horns and tubas). The only percussion instrument (the drums and keyboards in the back) that is tuned is the timpani – spot the timpanist putting his ear close to the head of the drum as he tunes. 3. Conductor Enters A conductor’s most basic job is to use a baton to keep time and make sure the orchestra starts and stops together, but the magic is in their gestures, which give the musicians cues as to how they should play the notes as a unit to express the music. 4. Time for the Music! The best way to enjoy the music is to just listen and see where it takes you. It is perfectly natural for your mind to wonder, so don’t be discouraged or anxious about listening a certain way. This moment is for you. Here are a few insider tricks to make the most of it: • If you’re here for a Masterworks series concert, read the program notes (located after the program page) before the concert begins. • See if you can pick out which instrument holds the melody (the part you can sing along with). • Close your eyes and imagine the memories, colors, movie scenes, images or moods the music brings to mind. • Listen for patterns in rhythm, sound or melody and notice how they change.

Tiffany Manning

• You might hear a composer winking at you – many of them have a great sense of humor!

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FIRST TIME AT THE SYMPHONY? GET CUED IN! 5. Clapping There are two reasons to applaud at a Jacksonville Symphony concert: as a greeting, and to show appreciation! Before the concert begins, the Symphony members will all be seated on the stage, except for the concertmaster. You can applaud to greet the concertmaster, conductor and any soloists who will be performing. It is customary to not applaud again until the very end of each piece of music (even if there are multiple movements with pauses in between). The program will list the movements in each piece, so you will know how many there are. If unsure, wait for everyone else! The conductor recognizes players who performed special parts on their own. Loved it? Yell Bravo! Sometimes, if you clap enough, you’ll get a special “encore” from a featured soloist who comes out to play by him or herself. 6. Intermission Usually 20 minutes, intermission is a break for your mind, and a chance to prepare for more awe-inspiring music.

Five things to try: 1. Meet the people in the seats nearby. 2. Take a selfie with the Bryan Concert Organ and check into the #jaxsymphony on Facebook or Instagram. 3. Take in Jacksonville’s best view of the St. Johns River in the Uible Lobby. 4. Not sure about which instrument is which? Try using the musicians’ roster to match faces to instruments. 5. Spot our librarian, Bart, when he switches the conductor’s music on the podium. 7. Afterward A Jacksonville Symphony concert is always amazing, but never the same, so pick your next concert and make sure you’re on our email list to receive a special offer. Check out the program page for our suggestions!

Tiffany Manning

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CORPORATE CONDUCTOR’S CLUB ENGAGE I ENTERTAIN | CONNECT $3,000 – SILVER EXPAND your brand and CREATE exposure for your business, while fostering a reputation for corporate citizenship. CONNECT to potential clients, high-impact businesses and individuals. ENGAGE in unique opportunities to entertain clients and employees.

BE A CATALYST FOR MUSIC

CONCERT EXPERIENCES 16 Flexible concert tickets Complimentary Intermission INTERMISSION Reception Vouchers RECEPTIONS COMPLIMENTARY VALET PARKING YEAR-LONG RECOGNITION ADVERTISING DISCOUNTS SPECIAL EVENTS EARLY ACCESS TO THE ANNUAL GALA

Not Available

12-month recognition as “Corporate Silver” in Encore

$5,000 – GOLD 32 Flexible concert tickets Complimentary Intermission Reception Vouchers Up to 8 complimentary parking passes 12-month recognition as “Corporate Gold” in Encore and listing in Symphony Season Guide

Discount on season advertisement in Encore

Invitations to exclusive member events

Exclusive discount on Gala table purchase Ability to reserve a table before tickets go on sale

Corporate contributions empower the Jacksonville Symphony to share the magic of great music. Ticket sales only account for 40% of revenue needed to sustain season-long programming. The Jacksonville Symphony creates experiences that build a more joyful, connected, cultured and economically-thriving Jacksonville. Corporate Conductor’s Club members make that happen.

Connect your company to the Symphony by joining today. 904.354.7779 – Corporate@JaxSymphony.org – JaxSymphony.org/Corporate

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GET INVOLVED – VOLUNTEER WITH THE SYMPHONY The Jacksonville Symphony loves its volunteers. There are many ways to support the Symphony – you can give a gift, join an auxiliary group, serve as an usher or sing in the chorus. Read about the many opportunities to support our mission.

The Guild of the Jacksonville Symphony

The Eleanor H. King Scholarship Fund, administered by The Guild of the Jacksonville Symphony, is named for Eleanor Haight King (1914-2016).The fund was established on her 95th birthday in 2009. Eleanor served on the first board of the Jacksonville Symphony in 1949 and was a member of the Guild for over half a century, heading the Guild’s Education Committee for many years. All children accepted into the Jacksonville Symphony Youth Orchestras (JSYO) are eligible to apply for tuition assistance. Since the 2012-2013 season the EHK Fund has provided tuition assistance to over 300 young JSYO members. The Fund also contributes to the annual Young Artist Competition Scholarships awarded by the Guild. The Guild is proud of several of its past scholarship recipients who are now pursuing successful professional careers in symphonic orchestras throughout the United States. For Guild membership information or to learn more about the Eleanor H. King Scholarship Fund, contact: Fausto Gardini, GUILD president, FGardini50@gmail.com On Facebook, visit:/www.facebook.com/JaxGuild/

ARIAS Continues Its Support of Nassau County Music Education

ARIAS, Amelia Residents in Action for the Symphony, continues its primary mission as a provider of music education for the elementary grades of Nassau County schools. At the 4th grade level, we continue our wildly successful Instrument Zoo program, allowing children to handle and make sounds from the four families of symphonic instruments. We are continuing our financial support of Suzuki violin lesson sessions under the auspices of Arts Alive Nassau, moving up to the 4th grade level. In 5th grade, all students are exposed to marvelous melodies of a selection of Symphony ensembles right in their school. We extend our educational theme to adults as well by providing discounted bus transportation to a variety of Masterworks, Pops and Special concerts, allowing a broad spectrum of county residents to enjoy our local musical gem! For membership information, please call Jack Dickison, ARIAS president, 904.277.0572.

BRASS Beaches Residents Actively Supporting the Symphony

NOW ANNOUNCING! BRASS will be hosting a bus from Ponte Vedra to the Times-Union Center for the Performing Arts on select dates during the 2018-2019 season. To reserve your seat and for more information, please email info@BRASSonline.org. SAVE THE DATE! BRASS will be presenting the ever-popular Wines for Music event on Sunday, February 10, 2019 at Marsh Landing Country Club. Don’t miss this special performance by a Jacksonville Symphony ensemble and a special wine auction. Additionally, BRASS will be sponsoring five Jacksonville Symphony events this season and presenting the Annual BRASS Gala on Sunday, May 5, 2019. BRASS was thrilled to present a check for $100,000 to the Jacksonville Symphony in May 2018, after an incredible year of volunteer work and three beautiful special events hosted by the Board and members of BRASS. To join BRASS today, or to renew your membership, please go to www.BRASSonline.org or email info@BRASSonline.org ENCORE 25

Did You Know?

Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem

G E T I N V O LV E D www.americansforthearts.org/public_awareness

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MASTERWORKS SERIES Friday and Saturday, November 9 & 10, 2018 | 8 pm “Insight” one hour prior to each Masterworks concert Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

Thank you for joining us!

If this is your first time here, welcome and feel free to flip to the newcomers guide on page 18. We hope to see you again.

PICTURES AT AN EXHIBITION Nathan Aspinall, conductor Cameron Carpenter, organ Richard WAGNER

Overture & Venusberg Music from Tannhäuser

Francis Organ Concerto in G minor POULENC Andante

Allegro giocoso Subito andante moderato Tempo allegro; Molto agitato Très calme; Lent Tempo de l’allegro initial Tempo introduction; Largo

INTERMISSION Modest Pictures at an Exhibition MUSSORGSKY Promenade orchestrated by RAVEL Gnomus

Promenade The Old Castle Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle Limoges Catacombs Cum mortuis in lingua mortua The Hut on Fowl’s Legs The Great Gate of Kiev

This program runs approximately 1 hour 50 minutes.

Presented by Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.

Fun Facts

Tickets: 904.354.5547 JaxSymphony.org

Did you know?

Composer Fact: Ravel became one of the most famous orchestrators of all time by carefully studying every musical instrument to determine their possibilities. His famous orchestration of Mussorgsky’s Pictures at an Exhibition brought Ravel substantial income. Composer Fact: Astonishingly, Wagner showed little aptitude or enthusiasm for music as a child, and so was the only one of his siblings to not receive piano lessons. When he was just 13, though, he wrote a play entitled ‘Leubald’ that he insisted should be set to music - which is when he started music lessons.

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PROGRAM NOTES by Laurie Shulman Richard Wagner (1813-1883) Overture and Venusberg Music from Tannhäuser 21 minutes

More than any other opera he composed, Tannhäuser caused Richard Wagner ongoing dissatisfaction and frustration. The original production took place in Dresden in 1845. Wagner revised it several times, notably for a disastrous staging in Paris in 1861. As late as 1883, the year of his death, he told his wife Cosima that he still “owed the world a Tannhäuser.” Wagner’s musical vocabulary changed considerably over the years. The overture to Tannhäuser is an unusual case of stylistic cross-pollination. The original version of the Venusberg music was actually the first music that Wagner composed for this opera. Consequently, themes associated with the sultry goddess pepper the overture. Listeners familiar with the overture as an independent concert piece will be hard pressed to discern differences, for its revised version with Venusberg music is virtually identical for almost 300 measures. A slow introduction opens the overture with the dark, mysterious sound of woodwinds. Strings join in, and Wagner expands gradually to a large and sonorous orchestra. Once we arrive at the Allegro section, a march rhythm figures prominently. Wagner leaves us with a perception of swelling enormity: an orchestral tidal wave. The Venusberg music is drawn from a ballet sequence in the opera’s Paris version. It depicts the sensuous and bacchanalian atmosphere of Venus’s court, which Tannhäuser abandons at the conclusion of the opera’s first act. Frankly erotic, the luscious harmonies and voluptuous melodies paint a vivid picture of a self-indulgent pleasure palace. The transition from overture to first operatic scene triggers a major change in atmosphere. We sense the intoxicating presence of nymphs and naiads, satyrs and bacchantes, reveling in their enchanted paradise. Presently Wagner makes us aware of the tension that will arise between Tannhäuser and

Venus when she attempts to dissuade her lover from departing. One of the unusual aspects of this orchestral excerpt is that it ends quietly. The music achieves its impact without the need for dramatic flourishes and climactic fortissimos.

Francis Poulenc (1899-1963) Organ Concerto in G minor 24 minutes

In this country, Francis Poulenc is best known for his Gloria and the opera Dialogues of the Carmelites. He was one of the 20th century’s wittiest composers and, paradoxically, one of the most profound. The Organ Concerto represents the latter side of his personality; in letters, he referred to it as “a serious and austere concerto,” one that reflected “a Poulenc who is on his way to the cloister, a 15th-century Poulenc, if you like.” The arts patron Princess Edmond de Polignac commissioned Poulenc to write the concerto in 1937. Composer and organist Maurice Duruflé played the first performances. Poulenc was not an experienced composer for organ, and his principal model for this work was clearly Bach. He drew heavily on Duruflé’s expertise, especially for registration. The concerto consists of seven sections that vary widely in tempo, volume, and mood. Poulenc’s sectional form relates the concerto to the Baroque organ fantasias of Dietrich Buxtehude, who also served as a model for Bach.

Modest Mussorgsky (1839-1881) Orchestrated by Maurice Ravel (1875-1937) Pictures at an Exhibition 35 minutes

The trumpet solo that opens Pictures at an Exhibition is one of the most recognizable melodies in all classical music. It is also one of the most personal: a self-portrait of the composer, who casts himself in the principal role of the visitor wandering through the exhibition of the title. The other principal character, who appears vicariously through his paintings, is Victor Hartmann, a prominent Russian artist and close friend of the composer’s. When Hartmann died in 1873 at the age

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of 39, Mussorgsky was shattered, for the two young men had shared artistic ideals and ambitions as well as friendship. The following year, an exhibition of Hartmann’s paintings, watercolors, and architectural drawings was organized in St. Petersburg by Vladimir Stassov, Director of Fine Arts at the Imperial Library. In an attempt to illustrate some of the paintings in music and pay tribute to his friend, Mussorgsky commenced work on a set of piano pieces. The resulting composition, Pictures at an Exhibition, remains a cornerstone of the virtuoso keyboard repertoire, but is far less well known than its version orchestrated by Maurice Ravel. Pictures is ingenious in both its piano and orchestral incarnations. Structurally it is a suite of ten miniatures connected by a recurring interlude that is slightly varied each time it returns. Mussorgsky composed best in the first flush of inspiration. Writing to Vladimir Stassov (the eventual dedicatee of the piano pieces) in June 1874, Mussorgsky exclaimed: Hartmann is bubbling over, just as [my opera Boris Godunov] did. Ideas, melodies come to me of their own accord, like the roast pigeons in the story — I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough. The immediacy of Mussorgsky’s impressions keeps them as fresh and vivid as the colors of Hartmann’s paintings. His incisive portraits of human nature are some of the finest in all music: women haggling over market prices at Limoges in search of a daily bargain; children squabbling at play in the gardens of the Tuileries; and perhaps the most of trenchant of all, the caricature of ponderous Samuel Goldenberg, the rich Jew, conversing with the poor obsequious chatterer Schmuyle. Mussorgsky himself was especially fond of the several Promenades, and they remain the closest we have to a musical self-portrait of this elusive Russian composer. Ravel orchestrated Mussorgsky’s Pictures in 1922. He was commissioned to do so by the celebrated Russian-born conductor Serge Koussevitzky, who was based in Paris from 1920 to 1924. Koussevitzky owned the exclusive rights to the orchestral version for many years. Laurie Shulman ©2018

Cameron Carpenter, organ Cameron Carpenter is having a ball smashing the stereotypes of organists and organ music, and all the while generating international acclaim and controversy unprecedented in his field. Carpenter’s repertoire – from the complete works of J. S. Bach to film scores, his original compositions and hundreds of transcriptions and arrangements – is probably the largest and most diverse of any organist. He is the first ‘concert organist’ in history to prefer the digital organ to the pipe organ, and to champion it as the future of the instrument. In 2014, Carpenter launched his International Touring Organ – a monumental cross-genre digital organ built by Marshall & Ogletree to his own design – in extensive tours in Europe and the USA. His Sony Music debut album If You Could Read My Mind entered Billboard’s Traditional Classical chart at No. 1 on its U.S. release. A former child prodigy, Carpenter trained at the American Boychoir School, the North Carolina School of the Arts and has two degrees from The Juilliard School. He holds the 2012 Leonard Bernstein Award, is the first solo organist ever nominated for a GRAMMY® Award for a solo album, and has appeared with many of the great orchestras around the world; he has spoken and debated at think tanks and conferences including TED, IdeaCity, The Entertainment Gathering and many more.

Nathan Aspinall, conductor

Tiffany Manning

Nathan Aspinall is currently the associate conductor of the Jacksonville Symphony. Recent performances in this position have included Handel’s Messiah, Prokofiev’s complete ballet Cinderella, and a highly-acclaimed masterworks subscription week and tour featuring pianist Bezhod Abduraminov performing Rachmaninoff’s Third Piano Concerto along with Shostakovich’s Fifth Symphony. Kevin Wilt of the Palm Beach Daily News noted, “In recent years, the Kravis Center has heard performances by the Chicago Symphony, the Royal Philharmonic, the Philadelphia Orchestra and more. This one was just as polished as any of those.” Formerly, Aspinall held the position of young conductor with the Queensland Symphony Orchestra where he assisted Chief Conductor Johannes Fritzsch and visiting guest conductors, and conducted concerts for the education series. He studied French horn and Conducting at the University of Queensland and upon graduation was awarded the Hugh Brandon Prize. In 2012 he attended the Aspen Music Festival studying with Robert Spano and Hugh Wolff. He was awarded the Robert J. Harth Conducting Prize, inviting him to return to Aspen in 2013. Aspinall has conducted the Atlanta, Sydney, Adelaide, Queensland and Tasmanian Symphony Orchestras, the Queensland Conservatorium Chamber Orchestra and has acted as assistant conductor for Opera Queensland. Festival master classes and appearances have included the Cabrillo Festival of Contemporary Music, Oregon Bach Festival and the Tanglewood Music Center Conducting Seminar. During the 2018-2019 season, Aspinall will lead the Jacksonville Symphony in his third masterworks subscription appearance and return with the orchestra and organist Cameron Carpenter to the Kravis Center in West Palm Beach, Florida. Aspinall studied Orchestral Conducting with Hugh Wolff at New England Conservatory in Boston.

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COFFEE SERIES Friday, November 16, 2018 | 11 am Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

BIZET SYMPHONY NO. 1

Thank you for joining us!

If this is your first time here, welcome and feel free to flip to the newcomers guide on page 18. We hope to see you again at a future Coffee Series concert!

Nathan Aspinall, conductor Johannes BRAHMS

Variations on a Theme of Joseph Haydn, Op. 56a

Maurice RAVEL

Pavane for a Dead Princess

Chorale St. Antoni: Andante Variation I: Poco più animato Variation II: Più vivace Variation III: Con moto Variation IV: Andante con moto Variation V: Vivace Variation VI: Vivace Variation VII: Grazioso Variation VIII: Presto non troppo Finale: Andante

Georges Symphony No. 1 in C major BIZET Allegro vivo

Adagio Allegro vivace Allegro vivace

This program runs approximately 57 minutes.

This concert is dedicated in honor of Mary Godley for her support of the Jacksonville Symphony. The Coffee Concert is hosted by the Jacksonville Symphony Guild. Coffee and tea are generously provided by Martin Coffee Company, Inc. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.

Tickets: 904.354.5547 JaxSymphony.org Johannes Brahms (1833-1897)

Variations on a Theme of Joseph Haydn • Brahms wrote this piece in 1873 while he was in Bavaria. • It is also known as Saint Anthony Variations.

Maurice Ravel (1875-1937)

Pavane for a Dead Princess • The works was originally written for solo piano in 1899. • A “pavane” is a slow, processional dance. • Ravel described this work as “an evocation of a pavane that a little princess might, in former times, have danced in a Spanish court.”

Georges Bizet (1838-1875)

Symphony No. 1 in C major • Bizet wrote this symphony in 1855 when he was only 17. • Although not performed for many years after its creation, it was later hailed as “a youthful masterpiece on par with Mendelssohn’s overture to A Midsummer Night’s Dream.”

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MASTERWORKS SERIES Friday and Saturday, November 30 & December 1, 2018 | 8 pm Sunday, December 2, 2018 | 3 pm “Insight” one hour prior to each Masterworks concert Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

Thank you for joining us!

If this is your first time here, welcome and feel free to flip to the newcomers guide on page 18. We hope to see you again.

A FRENCH FANTASY Gemma New, conductor Kayo Ishimaru-Fleisher, harp Paul DUKAS

The Sorcerer’s Apprentice

Camille SAINT-SAËNS

Morceau de concert, Op. 154

Maurice RAVEL

Alborada del gracioso INTERMISSION

Claude Nocturnes DEBUSSY Nuages (Clouds)

Maurice RAVEL

Fêtes (Festivals) Sirènes (Sirens)

Boléro This program runs approximately 1 hour 40 minutes.

Fun Facts

Did you know?

Musician Fact: In her free time, Symphony flutist Rhonda Cassano loves Latin dancing! Composer Fact: Igor Stravinsky described Ravel’s attention to detail as “the work of a Swiss watchmaker.”

Tickets: 904.354.5547 JaxSymphony.org

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PROGRAM NOTES by Laurie Shulman Paul Dukas (1865-1935) The Sorcerer’s Apprentice 12 minutes

The Sorcerer’s Apprentice is inextricably associated with the image of Mickey Mouse, frantically sloshing buckets of water in an ineffectual attempt to prevent flooding in his master’s workshop. The scene is immortalized in Walt Disney’s film classic, Fantasia. Dukas’ symphonic scherzo actually has its origins in Germany’s greatest literary figure: Johann Wolfgang von Goethe, whose ballad Der Zauberlehrling (1796) was the inspiration for this programmatic piece. A master of orchestration, Dukas matched the finest achievements of the entire nineteenth century in this 12-minute work. Every detail of Goethe’s poem is present, artfully illustrated in brilliant orchestral color. With careful manipulation of a basic variation form, he uses odd, three-measure phrase lengths and mysterious, magical sound effects to bring the tale to life, instilling a child’s delight in all of us. When the piece was premiered in May 1897, it was an instant success.

Camille Saint-Saëns (1835-1921) Morceau de concert, Op. 154 16 minutes

There’s a lot more to Saint-Saëns than Carnival of the Animals. The Morceau de concert [Concert Piece] we hear is one of three rarely heard works with that title: one for violin, French horn and harp. The term is a sort of catch-all for a piece for soloist and orchestra, but not a traditional concerto. This one consists of a ravishing introduction, followed by a recurring Russian-flavored theme that SaintSaëns treats initially as variations. It then becomes a free rondo, alternating episodes between the harp and the orchestral ensemble. Contrast results from instrumental color rather than development. Restraint in the orchestra allows the delicate timbre of the harp to remain in the foreground. The movement concludes with a brilliant coda that the soloist shares with the orchestra.

Saint-Saëns composed this work in 1918 with a dedication to Nicole Anckier, who had won a prize at the Paris Conservatoire and asked him for a new piece. The date of the premiere is undocumented.

Maurice Ravel (1875-1937) Alborada del gracioso 8 minutes

Alborada del gracioso, which has been translated both as ‘Morning Song of the Jester’ and ‘The Fool’s Aubade,’ refers to a facetious stock character in Spanish comedy. Listeners would grasp the unmistakable Spanish character of Ravel’s glorious music even without knowing that background. Like many of Ravel’s orchestral works, this one originated for solo piano, as part of the piano suite Miroirs. Ravel’s orchestral version capitalizes on the flashy elements, particularly in his use of percussion. Its opening measures feature full strings playing pizzicato, making a giant guitar out of the orchestra. The central section is a plaintive love lament, with the bassoon as soloist. Rapid repeated notes enhance the rhythmic impetus and unmistakable Spanish flavor; trombone glissandi add to the atmosphere. Cameo solos for woodwind and brass principal players dish up luscious melodies rich with the flavor of paella and tapas; castanets evoke the mystery of flamenco. Alborada del gracioso is a magnificent showpiece for orchestra.

Claude Debussy (1862-1918) Nocturnes 25 minutes

Nocturnes is one of Debussy’s earliest orchestral compositions to secure a niche in the repertoire. Composed in the late 1890s, it dates from a turbulent and financially trying period in the young composer’s life, before he had established himself as a major figure in French music. The piece owes its genesis to the Belgian violinist Eugène Ysaÿe. Debussy’s original intent was to compose a work for violin and orchestra, with Ysaÿe as soloist. By 1897 he had

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abandoned that concept in favor of a purely orchestral composition. He completed Nocturnes in 1899. The first complete performance took place in 1901. In private correspondence with friends, Debussy revealed more about the origin of the three mysterious, irresistible movements of Nocturnes. He told his friend Henri Lerolle that walks in the Bois de Boulogne, where he witnessed the Republican Guard pass by with all its fanfare, had been the impetus for Fêtes. Not one generally to subscribe to extramusical influences for his works, Debussy nevertheless published an explanation of his new orchestral work that links it strongly to the impressionist movement in art. The title Nocturnes… designates all the various impressions and the special effects of light that the word suggests. Nuages renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. Fêtes gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession… which passes through the festive scene and becomes merged in it. But the background remains persistently the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. Sirènes depicts the sea and its countless rhythms and presently, among the waves silvered by the moonlight, is heard the mysterious song of the Sirens as they laugh and pass on. Nuages is music of contemplation, introspection, deep thought. The mood is passive, and private. In contrast, Fêtes is public, active music, implying involvement and participation in the unidentified, universal celebration. The last movement, Sirènes, returns to the private sector. The Sirens were seductresses, and Debussy’s ravishing music lifts us effortlessly into an intoxicated state of complete surrender. The wordless women’s chorus is eerie in its offstage presence, there but not there, exercising power with no need to flex muscles. All three movements end quietly. A master of effective understatement, Debussy understood that dramatic power did not necessarily require fanfare and volume.

Maurice Ravel (1875-1937) Boléro 13 minutes

Even before Blake Edwards’ film “10 ” (1979) assured it a permanent place in every pop record collection, Boléro was one of the most frequently performed compositions in any concert hall, readily recognized by non-musicians. Something about its insistent, understated (and deceptively simple) rhythm and magnificent, controlled crescendo to the ultimate orchestra climax has captured audience imaginations for six decades. With Boléro, Ravel secured an enviable spot in the permanent repertoire.

Ravel began work on Boléro upon returning from a four-month tour in the United States and Canada early in 1928. Prior to his departure he had agreed to compose a ballet for his friend Ida Rubinstein, a former dancer with Diaghilev’s ballets russes who had formed her own troupe. He originally called the new composition Fandango, then altered the title to Boléro. The ballet was premiered in November 1928. For most audience members, the music of Ravel’s Boléro is so familiar as to not require comment. What may enhance the experience is concentration on the intricacy of the melody, whose rhythmic nuances and sinuous wanderings are vastly more complex than one initially

thinks. (Try singing the melody on your own, without a recording in the background to help you along!) Also, Ravel’s incomparable orchestration technique reaches a pinnacle in this work. His masterly tour through the orchestra gives virtually every melodic instrument its chance to shed some new light on the theme. He escalates both dynamic level and tension while sustaining a steady pulse and a virtually static harmonic rhythm. The success of his “exercise” has given Western music one of its most treasured orchestral works. Laurie Shulman ©2018

Gemma New, conductor Sought after for her insightful interpretations and dynamic presence, New Zealandborn conductor Gemma New is currently Music Director of the Hamilton Philharmonic Orchestra in Ontario, Canada and Resident Conductor of the St. Louis Symphony Orchestra.

Roy Cox

In the 2018-19 Season, New enjoys guest engagements with Los Angeles Chamber Orchestra, CMI Chamber Orchestra of San Antonio, and Santa Fe Pro Musica, as well as the Philharmonic Orchestras of Calgary, Louisiana, New York and Rochester, the Symphony Orchestras of Charlotte, Detroit, Drummondville, Jacksonville, San Diego, Toronto, Tucson, and Winnipeg, the Florida Orchestra and the Brandenburgisches Staatsorchester in Germany. Ms. New is a Conducting Fellow at Tanglewood Music Center in the summer of 2018. Previously, she has been Dudamel Conducting Fellow at the Los Angeles Philharmonic, a Conducting Fellow at the Aspen Music Festival, an Ansbacher Fellow at the Salzburger Festspiele, and a Felix Mendelssohn-Bartholdy Fellow with the Leipziger Symphonieorchester.

Kayo Ishimaru-Fleisher, harp Kayo Ishimaru-Fleisher is enjoying her 31st season as principal harpist with the Jacksonville Symphony. A native of Osaka, Japan, Ishimaru-Fleisher began her musical studies on piano at age 3, and transferred to harp at age 10. She continued her formal study at Tokyo National University of Fine Arts and Music. With a scholarship from the French government, she studied at the renowned Paris Conservatory, where she was awarded the coveted Premier Prix. As well as being the harp instructor at Jacksonville University and University of North Florida, IshimaruFleisher serves as principal harpist with Chicago’s Grant Park Symphony Orchestra, a position she has held since 1991. She has performed with many orchestras in the United States, Japan, France and Mexico, including the St. Louis Symphony, Rotterdam Philharmonic, NHK Symphony Orchestra and The Tokyo Philharmonic. She has appeared in concertos and solo recitals in France, Italy, Japan and the United States. Ishimaru-Fleisher has written extensive duo harp arrangements with her husband, harpist Richard Fleisher and together they gave recitals in U.S. Europe and Japan. They also enjoy collecting harps, one of which is a prized harp that belonged to Harpo Marx and was featured in his movies.

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POPS SERIES COFFEE SERIES Pops Series: Thursday, December 6, 2018 | 7:30 pm Friday, December 7, 2018 | 8 pm Saturday, December 8, 2018 | 3 pm & 8 pm Sunday, December 9, 2018 | 3 pm & 7 pm

Thank you for joining us!

If this is your first time here, welcome and feel free to flip to the newcomers guide on page 18. We hope to see you again.

Coffee Series: Friday, December 7, 2018 | 11 am Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

HOLIDAY POPS Nathan Aspinall, conductor

Calvin and Ellen Hudson Charitable Endowed Chair

Ben Gulley, tenor Jacksonville Symphony Chorus Douglas Anderson School of the Arts Dancers TRADITIONAL arranged by HARRIS

Joy to the World

John RUTTER

Shepherd’s Pipe Carol

Alan SILVESTRI arranged by BALLARD & BRUBAKER

Suite from The Polar Express *

Irving BERLIN arranged by RINGWALL

White Christmas *

Frederick DELIUS

Sleigh Ride

TRADITIONAL

Audience Sing Along *

Adolphe ADAM

O Holy Night *

TRADITIONAL arranged by HARRIS

The First Noel

Johnny MARKS arranged by RUTTER

Rudolph the Red-Nosed Reindeer *

John WILLIAMS

Holiday Songs from Home Alone

INTERMISSION

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Tickets: 904.354.5547 JaxSymphony.org

POPS SERIES COFFEE SERIES Alan SILVESTRI arranged by BALLARD

God Bless Us, Everyone

Calvin CUSTER

Chanukah Festival Overture *

TRADITIONAL arranged by BLOESCH

Ding Dong! Merrily on High

Irving BERLIN arranged by HERMANN

Winter Wonderland *

Hugh MARTIN arranged by GULLEY

Have Yourself a Merry Little Christmas *

Leroy ANDERSON

Sleigh Ride *

Ben Gulley, tenor

TRADITIONAL Kickin’ Kringle * arranged by HANKEWICH

Ben Gulley, operatic tenor and cultural entrepreneur, has won awards and competitions throughout the nation for his singular blend of talents (Metropolitan Opera’s National Council District & Regional Competition, Richard Tucker Foundation, Gerda Lissner Foundation) and been featured with symphonies, theaters and opera companies around the globe.

TRADITIONAL Christmas Festival * arranged by ANDERSON * Performed on Coffee Series concert This program runs approximately 2 hours.

Sponsored in part by The Jess & Brewster J. Durkee Foundation

Coffee Concert presented by

The Coffee Concert is hosted by the Jacksonville Symphony Guild. Coffee and tea are generously provided by Martin Coffee Company, Inc. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.

Fun Facts

Did you know?

Musician Fact: When not performing, practicing or exploring Jacksonville restaurants, second trumpet Michael Harper loves to be outdoors, especially on the water. Program Fact: The Jacksonville Symphony began this beloved holiday tradition in the late 1980s that’s almost 40 years of Holiday performances!

This 2018-2019 season will see Gulley’s return to Opera San Luis Obispo as Tamino in Die Zauberflöte and Sarasota Opera as Ismaele in Verdi’s Nabucco, his debut as Doctor Marianus in Mahler’s Eighth Symphony with South Dakota Symphony. This season will also see Gulley’s debut at Oper Leipzig as the Duke in Rigoletto as well as recitals for Sarasota Opera, Lyric Opera of Kansas City, Steve Hackman’s Stereo Hideout and headlining his next American National Recital Tour presented by Live On Stage. Recent performances include his Carnegie Hall debut with The American Symphony, Rodolfo in La bohème at Opera Orlando, Eisenstein in Die Fledermaus with Opera Idaho, Énée in Les Troyens with Maestro Kent Nagano at Staatsoper Hamburg and Pedro in Tiefland at Sarasota Opera. Gulley has appeared in concerts with David Foster, Opera Steamboat, Grand Rapids Symphony, Orlando Philharmonic and Florida Symphony Youth Orchestra, amongst others. ENCORE 37

In addition to his career in classical forms, Gulley is equally at home in musical theater and as a singer/songwriter. He has released his debut solo album of original pop music, IN BETWEEN and helped compose/develop two new musicals with Rocky Mountain Repertory Theater and the Kansas City Repertory Theater. He is a founding board member of Kansas City’s premier opera company, Opera 180, and a sitting member on the University of Missouri-Kansas City’s Alumni Board. Follow him on Facebook, Twitter and Instagram @bengulleythinks and bengulley.com.

Donald McCullough Director, Jacksonville Symphony Chorus Tom Zimmerman Endowed Chair

Hailed by the Washington Post for his “dazzling expertise” on the podium, Donald McCullough is considered one of America’s pre-eminent choral conductors. He became the Director of the Jacksonville Symphony Chorus in 2012. In November 2014 he led the Jacksonville Symphony Chorus on its first appearance in Carnegie Hall. Previously, he was the director of the Master Chorale of Washington in the John F. Kennedy Center Concert Hall for more than a decade, developing a reputation for creating choruses that sang “with an innate sense of lyricism and musical poise” and “sensitive, scrupulous and heartfelt” (Washington Post). During his tenure with the Master Chorale, the 120-member symphonic chorus performed 16 world premieres, produced three nationally distributed CDs, and toured twice throughout Central Europe. The Chorale earned The Margaret Hillis Achievement Award for Choral Excellence in North America. McCullough is also a composer whose works have been critically acclaimed throughout North America and Europe. Routinely sought after for commissions, his works have been described as “powerful and heart-wrenching,” “mystically beautiful” and “remarkably inspirational.” Previously, McCullough was the founder and music director of two Norfolk-based choruses: the Virginia Chorale and the Virginia Symphony Orchestra Chorus. He holds bachelor’s degrees in organ and vocal performance from Stetson University and master’s degrees in sacred music and vocal performance from Southern Methodist University. A native of Jacksonville, FL, he recently moved to Atlantic Beach, FL, to focus on his expanding composing career.

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Jacksonville Symphony Chorus The Jacksonville Symphony Chorus, under the direction of Donald McCullough, is an all-volunteer group of individuals from all walks of life who have a love of singing choral music. The 140 members must audition to participate. “The Symphony chorus is designed to sing over the Symphony,” said McCullough. “I look for voices that have focus and ring to them and that are sizeable enough to add to the sound we are trying to achieve.” Some of the voice factors that go into selecting a choral member include their ability to sing in tune, which must be impeccable; their flexibility; range; diction; and innate sense of musicality. The Chorus is celebrating its 34th season this year and was founded by past Music Director Roger Nierenberg. In 2014, the Chorus traveled to New York City for perform under McCullough’s direction in the Lincoln Center premiere of his cantata In the Shadow of the Holocaust. This season the chorus will participate in several performances including Handel’s Messiah, Holiday Pops and the highly anticipated performance of Verdi’s Messa da requirm. Choral singing is the most popular form of participation in the performing arts according to a recent study by Chorus America. Over 18% of American households report one or more adults participate in a chorus.

William Adams David Avery Wayne Bailey Deborah Baker Jerrye B. Baker Susan M. Baker Stan Ballenger Carole Vanderhoef Banks Ann Barrow Alla Bartosh Samantha Basso Noah Battle, Sr. El Battle Paula Boyd Elizabeth Bricknell Louise Brooks Dorothy Jean Bush Rita Cannon Charles Carroll Kenneth Chin Estelle Chisholm Dale Choate Melody E. Choate Sandy Clarke Ellen R. Clayton Susan Connors Nancy Crookshank Julie K. Cross Katherine Crowell Marley Curtis Jane Daugherty Julie Brooke Davis Tracy Davis Alyce Decker Stephanie Doerr Jeff Elledge Gregory Fisher, Jr. Jennifer Flagge Kate Flint Brian Ganan Veronica Gibson Bonnie Goldsmith

Michele Hale Deborrah Hoag Dennis Holt Kathy Hunt Kiki Karpen Ken Kutch Alwynne Lamp Ginger Lindberg Mark Macco Linda MacLeod Jim Maher C. Walter Mattingly Liz McAlhany Marianne McAlhany-Murray James McGuffin Kate Medill Osvaldo Medina Patricia Medlock Bill Meisel Janet B. Metcalf Barbara H. Miller Molly Miller Kenneth Mixon Libby Montgomery Meredith Mormann John Morrow Joseph C. Murray Sanami Nakayama Tom Nesbitt Christina Ng Ben Norman Katie Obi Sally Offen Jane Palmer R. Hugh Patterson Rosina Paul Anne Petersen John Petersen David L. Pierson Deborah Pierson Laura Jane Pittman Jessica Poole

Caroline Price Vickie Prince John Pugh Nancy Purcell Amy Quinn Paulina Ragunas Mark Reasoner Nancy Redfern Wynn Redmon Caitlin Regan Patti Robertson Mark Robinson Karl Rogers Kim Rowland Anne Julie Ruvane John Ruvane Jen Schlechte Jeffrey Schroer Keith Schroyer Jennifer Serotta Ima Singer Jai Smith Janet Snell Sharon Snow Katie Steele Richard Sykes Hugh Tobias Lora Toney Sheri Van Orden Mark Walter Eileen Ward Billy Ware Jerri Lea Ware Emily Susan Wasek Jill Weisblatt John Weitzel Cindy Wohl Peter Wynkoop Sam Young Gideon Zoeller

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YOUTH ORCHESTRA SERIES Monday, December 10, 2018 | 7 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

JSYO HOLIDAY CONCERT Deanna Tham, Principal JSYO Conductor Winston Family Endowed Chair

Jump Start Strings Benjamin HANBY arranged by SONG

Pre-Concert Lobby Performance David Song, conductor Jolly Old Saint Nick

John WADE arranged by SONG

O Come, All Ye Faithful

James PIERPONT arranged by SONG

Jingle Bells

Foundation Strings George SWEET

Concert Program Rose Francis, conductor Sparkle City

TRADITIONAL arranged by GRUSELLE

Go Tell It on the Mountain

Brian BALMAGES

A Celtic Christmas Fantasy

Encore Strings Helen Morin, conductor TRADITIONAL A Christmas Symphony arranged by DEL BORGO TRADITIONAL arranged by GRUSELLE

Ding Dong Merrily on High

Lauren BERNOFSKY

Fantasy on “O Chanukah”

Richard ROGERS Oscar HAMMERSTEIN II arranged by CONLEY

My Favorite Things

Walter ROLLINS arranged by CHASE Premier Strings Piotr Ilych TCHAIKOVSKY arranged by LANE

About the Jacksonville Symphony Youth Orchestras The Jacksonville Symphony Youth Orchestras (JSYO) are Northeast Florida’s premier developmental orchestral ensembles. Last season, the JSYO served almost 400 young musicians ages 7-21, who were admitted through competitive auditions. Through the indepth study of classical repertoire, each orchestra improves its musical skills and understanding at both the individual student level and the ensemble level. In all, there are six ensembles which rehearse and perform under the direction of JSYO Principal Conductor and Symphony Assistant Conductor, Deanna Tham and her team of music educators. These professional conductors, along with Jacksonville Symphony musicians, nationally recognized soloists, and other professional educators in the community, enable the JSYO to serve the needs of each young musician with individualized, ability-level specific instruction. JSYO members are afforded unique musical experiences, in addition to the exposure to and performance of orchestral masterworks. For example, JSYO ensembles perform in the TimesUnion Center’s Jacoby Symphony Hall during the season as well as the annual Major/Minor concert, which will be conducted by Jacksonville Symphony Music Director Courtney Lewis. At this concert, finalists in the annual Young Artists Concerto Competition showcase their exceptional talents by performing with the Jacksonville Symphony. The JSYO also perform free community engagement concerts, both in Jacoby Symphony Hall and at various First Coast locations. Last season, the JSYO Philharmonic participated in their firstever tour to the Los Angeles International Music Festival where they performed at the Walt Disney Concert Hall. Upcoming Events: Young Artist Concerto Competition - February 25 Spring Concert – March 3 Festival of Strings – May 6 Major/Minor – May 10

Frosty the Snowman Helen Morin, conductor Themes from The Nutcracker

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Support for the JSYO is provided in part by: PGA TOUR Cummer Family Foundation Rice Family Foundation Publix Super Markets Charities Rowe Charitable Foundation Brady S. Johnston Perpetual Charitable Trust Florida State College at Jacksonville

YOUTH ORCHESTRA SERIES Jule STYNE

Let it Snow! Let it Snow! Let it Snow!

Deborah BAKER MONDAY

Light the Candles

Repertory Orchestra Irving BERLIN arranged by CHASE

Deanna Tham, conductor White Christmas

TRADITIONAL arranged by CERULLI

The Holly and the Ivy

Kristen ANDERSON- LOPEZ & Robert LOPEZ arranged by KROGSTAD

Music from Frozen

N Sparkman

arranged by LONGFIELD

INTERMISSION Philharmonic Leroy ANDERSON

Deanna Tham, conductor Christmas Festival

John WILLIAMS

Suite from Star Wars

Leroy ANDERSON

Sleigh Ride

I. Main Title V. Throne Room and End Title

Please see insert for student roster and conductor biographies This program runs approximately 1 hour 40 minutes.

Presented by

Sponsored in part by

Cummer Family Foundation Rice Family Foundation Rowe Charitable Foundation Brady S. Johnston Perpetual Charitable Trust

Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.

Deanna Tham Principal JSYO Conductor Winston Family Endowed Chair

Hailing from Saratoga, California, Tham has conducted and guest conducted all over the United States, most recently working with renowned conductors Marin Alsop and James Ross at the Cabrillo Contemporary Music Festival. Before joining the Jacksonville Symphony, Tham was the music director of the 350-piece Louisville Youth Orchestra. Tham has also served as the Music Director of the Boise Philharmonic Youth Orchestra and has conducted the Boise Philharmonic, Ballet Idaho and Opera Idaho. Tham worked as the assistant conductor for the Cleveland Orchestra Youth Orchestra where she received a Professional Studies Certificate from the Cleveland Institute of Music in Orchestral Conducting. In 2013, Tham made her debut with the National Music Festival. She was one of two assistant conductors who appeared with Maestro Richard Rosenberg, working with some of the top professional musicians and teachers from around the world. In 2015, she was the recipient of the Wintergreen Summer Music Academy Conductorâ&#x20AC;&#x2122;s Guild Scholarship where she worked with Master Teacher Victor Yampolsky. Most recently, she was invited to compete in the Cadaques Orchestra International Conducting Competition.

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Deanna Tham cont'd Tham has served as the assistant conductor of the Carnegie Mellon All-University Orchestra. While at Carnegie Mellon, she received her Bachelor of Fine Arts degree in horn performance. Tham went on to receive her Master of Music degree, with honors, from Northwestern University studying with Dr. Mallory Thompson. While at Northwestern, she worked with Dr. Robert Harris, Victor Yampolsky and Dr. Robert Hasty, making her equally at home in wind, orchestral and vocal settings. She also completed community outreach projects in the form of concerts in the Pick-Staiger Concert Hall Kid’s Fare series, participating in a movie music themed concert as well as conducting, managing and producing a multicultural themed interactive concert.

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SYMPHONY SPECIAL Thank you for joining us!

Saturday, December 15, 2018 | 8 pm Sunday, December 16, 2018 | 3 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

If this is your first time here, welcome and feel free to flip to the newcomers guide on page 18. We hope to see you again.

HANDELâ&#x20AC;&#x2122;S MESSIAH Nathan Aspinall, conductor Emily Birsan, soprano Amanda Crider, mezzo-soprano Jonathan Johnson, tenor Alexander Dobson, baritone Jacksonville Symphony Chorus George Frideric Messiah HANDEL Part One: The Advent of the Messiah INTERMISSION

Part Two: The Passion of the Christ

Part Three: His Resurrection

This program runs approximately 2 hours 30 minutes.

Fun Facts

Did you know?

Chorus Fact: The Jacksonville Symphony Chorus has over 100 members, each one of them volunteers! Composer Fact: Handel was known to order enough dinner for three people if he was eating out.

Tickets: 904.354.5547 JaxSymphony.org

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CONDUCTOR’S NOTE by Nathan Aspinall Handel’s Messiah is a miraculous work of art. Written in just three weeks, Handel’s craft and musical mastery is obvious. The music is complex and deep, and provides the greatest test to musicians, but ultimately it is the spiritual richness that inspires us to return to the piece time and time again. The piece is full of violence, loneliness and fear but ends with hope, compassion and love, and it is this image of darkness to light that touches the soul. Originally intended for performance at Easter, Messiah tells the whole story of Christ – the prophecy of his coming, his birth, life, passion, resurrection and ultimately his glorification in heaven. It is an unusual piece for Handel; unlike his other religious oratorios, there is no linear narrative, the soloists are not characters and there is no direct speech from individuals in the bible. Rather, it is a collection of scenes highlighting moments in the life of Christ, like vignettes that together give us an arc of his life. The fragmented nature of the work makes it challenging for the performers and audience to grasp the structure and the emotional journey. There are moments of drama and action, particularly the depictions of the crucifixion in Part Two, but so much of Messiah is contemplative and reflective. Finding the balance between these contrasting moods is central to a convincing performance. The craft and detail in Handel’s setting of the text is astonishing and is a constant journey of discovery and nourishment. His depiction of words and actions is visceral, almost cinematic at times. The overture is subtle and understated, symbolizing the solemnity of the story and preparing the listener for what will follow. The opening movements depict the prophecy of Christ with music that is joyous and bright, expectant and anticipatory. One example of Handel’s masterful text setting is the Bass recitative “For behold, darkness shall cover the earth.” For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of thy rising. (Isaiah 60: 2-3)

The music begins softly and low in the strings and the feeling is ominous and cold, a magical depiction of “darkness.” Under the text that describes the Lord “arising,” the music slowly builds and transforms from minor to major tonality and becomes an all-encompassing, radiant image of Christ’s glory. This image of darkness to light permeates so much of the piece and this moment is one of the first graphic allusions to that idea.

The contrast here is powerful. The violence of the previous chorus is followed by stillness and silence. The orchestra is hushed while the tenor portrays Christ’s loneliness; it suggests eternity and earthly longing. One cannot help but feel an overwhelming sense of compassion and sorrow in this moment.

Later in Part One Handel gives us a beautiful illustration of shepherds in the field at night keeping watch over flock when an angel appears and tells them of “Good news” and “Great joy.” Handel opens the scene with an orchestral Pastorale, which is a musical representation of nature: primitive, rustic, gentle and calm. The scene ends with the uplifting and heavenly chorus “Glory to God,” heralded by trumpets in the distance. Handel exquisitely contrasts the gloriousness of heaven with earthly simplicity. The violins close the scene with soft, delicate, cheeky trills as the angels scurry back to heaven.

Hallelujah: for the Lord God Omnipotent reigneth. (Revelation 19: 6)

Part Two opens with Christ nailed to the cross. The solemn chorus “Behold the Lamb of God” resembles a French overture, which historically would be played at the beginning of an opera or ballet in the French court as the “King” arrives. The chorus leads the storytelling during the crucifixion; their music is a graphic portrayal Christ’s wounds, scars and stripes and the weight of “iniquity” that the Lord “hath laid on him.” The solo tenor also takes centre stage during the Passion texts, surely an homage to the Bach Passions which feature a solo tenor as Evangelist. A particularly powerful moment in Messiah comes next: the chorus acts as a mob taunting and teasing Jesus on the cross with sarcasm and bitterness. They ask, if he really was King of the Jews why would God not rescue him now? “He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.” (Psalm 22: 8) After their angry rant, the mob abandons Jesus and leaves him alone and helpless. The tenor sings: “Thy rebuke hath broken His heart: He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort him.” (Psalm 69: 20)

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Part Two ends with the ecstatic chorus Hallelujah.

The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. (Revelation 11: 15) King of Kings, and Lord of Lords. (Revelation 19: 16) This is immediately followed by the soprano aria “I know that my redeemer liveth,” a very touching, deep personal statement of faith. I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. (Job 19: 25-26) For now is Christ risen from the dead, the first fruits of them that sleep. (I Corinthians 15: 20) In all of these moments Handel combines the image of an individual with an image of something bigger: the angel and the shepherds, Jesus and the mob, the grandiose chorus with an individual statement of faith. The more one studies and listens to Messiah the more one realizes the work is full of these images. It is this delicate combination of the individual and the collective that runs through Messiah and links the scenes of drama with the moments of reflection and contemplation. This image dominates the story of Christ but is also symbolized in Handel’s score. We see it in the interaction between solo voice and the chorus, between grandeur and intimacy, noise and silence. Handel tells the story of Jesus but leaves room for our own imagination and narrative. He wants us to imagine ourselves in the story an as individual and as the collective.

Emily Birsan, soprano American soprano Emily Birsan is a critically acclaimed recitalist and well known for her prominent interpretations of concert and operatic repertoire. The 2017-2018 season included a concert performance with the Liverpool Symphony, Violetta in La traviata with Indianapolis Opera, Handel’s Messiah with the Jacksonville Symphony, Mahler’s Fourth Symphony with the Rochester Philharmonic Orchestra and her debut with Welsh National Opera as Donna Anna in Don Giovanni. In the 2016-2017 season, Birsan made role debuts as Juliette in Gounod’s Romeo et Juliette with Madison Opera, Susanna in Le nozze di Figaro with Boston Lyric Opera and Donna Anna in Don Giovanni with Florentine Opera. On the concert stage, she made her debut with Melbourne Symphony singing Beethoven’s Missa Solemnis, a concert with the Chicago Philharmonic, and was featured with the BBC Symphony in London singing Bliss’ Beatitudes. Other recent highlights include her return to the Lyric Opera of Chicago as the Italian Singer in Capriccio, Leila in The Pearl Fishers with Florida Grand Opera, Anne Trulove in The Rake’s Progress with the Edinburgh International Festival, Elgar with the Bergen Philharmonic in Norway, Verdi and Puccini with the Knoxville Symphony and her Carnegie Hall debut singing Mozart’s Mass in C minor.

Amanda Crider, mezzo-soprano American mezzo-soprano Amanda Crider is quickly gaining recognition for her extraordinary musicality and assured dramatic presence. Engagements for 2017-2018 included Alma in Persona with LA Opera, Handel’s Messiah with the Jacksonville Symphony, Angelina in La Cenerentola with Opera Orlando, Speranza in L’Orfeo with Apollo’s Fire and the title role in Carmen with Pine Mountain Music Festival. In the 2016-2017 season, Crider debuted with Boston Lyric Opera as Doreen in Greek, and joined Apollo’s Fire for Handel’s Messiah and the Southwest Michigan Symphony for Beethoven’s Ninth Symphony. The 2015-2016 season saw her return to Eugene Opera as Olga in Eugene Onegin, her debut with Florentine Opera as Prince Orlovsky in Die Fledermaus, Alma in Persona with Beth Morrison Projects and Handel’s Messiah with Augustana College. Engagements for 2014-2015 included joining New World Symphony for de Falla’s El amor brujo, the Louisiana Philharmonic for a Baroque Christmas, Carnegie Mellon Philharmonic for Mozart’s Requiem and her role debut as Angelina in La Cenerentola with Opera Roanoke. In the summer of 2015, she sang Laurey in Oklahoma! with the Southwest Michigan Symphony Orchestra. Additional recent highlights include debuts with Dallas Opera in La traviata, Opera Omaha in La cambiale di matrimonio, Eugene Opera in Nixon in China and Zerlina in Don Giovanni with Castleton Festival and Nevada Opera. The 2018-2019 season sees her as soloist in Bernstein’s Jeremiah for her debut with the Amarillo Symphony, the title role in L’incoronazione di Poppea with Florentine Opera and Bach’s B Minor Mass with Apollo’s Fire.

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Jonathan Johnson, tenor

Simon Pauly

This season, American tenor Jonathan Johnson makes his debut in the title role of Candide with the Seoul Philharmonic Orchestra, Utah Symphony Orchestra and Des Moines Metro Opera and returns to the Lyric Opera of Chicago as Lurcanio in Ariodante. He also returns to Jacksonville Symphony as Don Ottavio in Don Giovanni and as the tenor soloist in Messiah, which he also performs with Kansas City Symphony Orchestra. A graduate of the Patrick G. & Shirley W. Ryan Opera Center, the Lyric Opera of Chicago’s professional artist-development program, he appeared in the house’s main productions of Les Troyens, Lucia di Lammermoor, The Merry Widow, Der Rosenkavalier, Capriccio, The Magic Victrola and Mieczysław Weinberg’s Holocaust opera The Passenger. Other recent engagements have included his debut at Canadian Opera Company in a production of Anna Bolena, Frederic in The Pirates of Penzance and Lensky in Eugene Onegin at the Lyric Opera of Kansas City, Fenton in Falstaff at San Diego Opera, Lindoro in L’italiana in Algeri at the Portland Opera, La Damnation de Faust at the Grant Park Music Festival, Le Fils in Les mamelles de Tirésias with the Civic Orchestra of Chicago, Beethoven Symphony No. 9 with the Jacksonville Symphony, a performance of Schumann’s Dichterliebe as part of a Liederabend in Chicago and various appearances in the Harris Theater’s Beyond the Aria series, the 125th Anniversary Gala for the Auditorium Theater and on WFMT radio as part of the Ryan Opera Center Recital Series. He also enjoys a touring relationship with Chris Botti, which has taken him to many cities in the U.S. and abroad. Hailing from Macon, GA, Johnson holds a master’s degree and Professional Artist Certificate from the A.J. Fletcher Institute of the University of North Carolina School of the Arts.

Alexander Dobson, baritone

Mélissa Tremblay

British-Canadian baritone Alexander Dobson has been praised for his musical and dramatic artistry on both opera and concert stages. He was lauded for his “gripping embodiment of Wozzeck” (Journal Voir) in a production of the Berg opera with Théâtre du Nouveau Monde and Orchestre Métropolitain, conducted by Yannick Nézet-Séguin. This season Dobson makes his third appearance in three seasons with Florentine Opera, performing the role of Betteron in Carlise Floyd’s Prince of Players. Concert highlights include Messiah performances with Symphony Nova Scotia and St. Thomas Church in New York as well as Durufle’s Requiem with the Bach Society of St. Louis and Bizet’s Carmen in concert with the Kitchener-Waterloo Symphony. Other engagements of note include the Canadian premiere of The Mute and the Canary, a new opera by Rudolf Komorous, with Turning Point Ensemble and Spoleto Festival USA’s production of Zemlinksy’s Spring Symphony at Luminato Festival. Dobson’s operatic roles include the title role in Don Giovanni with Florentine Opera, “Masetto” in Don Giovanni and “Maximilian” in Bernstein’s Candide with Calgary Opera and “The Count” in The Marriage of Figaro with Against the Grain. Concert highlights include Mahler’s Songs of a Wayfayer with Orchestre Métropolitain, Walton’s Belshazzar’s Feast with Toronto Symphony, and Mahler’s Symphony No. 8 with Yannick Nézet-Séguin conducting the combined National Arts Centre Orchestra and Orchestre Métropolitain. Visit Alexander on the web at schwalbeandpartners.com/alexander-dobson-baritone.

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SYMPHONY SPECIAL Thank you for joining us!

Monday, December 31, 2018 | 9 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

NEW YEAR’S EVE FROM VIENNA

If this is your first time here, welcome and feel free to flip to the newcomers guide on page 18. We hope to see you again.

Courtney Lewis, conductor Haskell Endowed Chair

Johann STRAUSS JR.

Thunder and Lightning, Op. 324

Johann STRAUSS JR.

Tales from the Vienna Woods, Op. 325

Johann STRAUSS JR.

Pizzicato Polka, Op. 449

Josef STRAUSS

Mein Lebenslauf ist Lieb’ und Lust, Op. 263

Franz LEHÁR

Waltzes from The Merry Widow

Jacques OFFENBACH

Overture to Orpheus in the Underworld INTERMISSION

Johann STRAUSS JR.

Roses from the South, Op. 388

Johann STRAUSS JR.

Tritsch-Tratsch-Polka, Op. 214

Johann STRAUSS JR.

Vienna Blood, Op. 354

Johann STRAUSS JR.

Champagne Polka, Op. 211

Johann STRAUSS JR.

On the Beautiful Blue Danube, Op. 314

Vittorio MONTI

Csárdás

Piotr Ilyich TCHAIKOVSKY

Waltz from Eugene Onegin

Tickets: 904.354.5547 JaxSymphony.org

This program runs approximately 1 hour 45 minutes. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.

Fun Facts

Did you know?

Program Fact: Although not always featuring music of the Strauss family, there has been a tradition of concerts on New Year’s Day in Vienna since 1838. Composer Fact: Having composed more than 400 waltzes in his lifetime, it is no wonder that Johanna Strauss, Jr. received the nickname “The Waltz King.”

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SYMPHONY IN 60 SERIES MASTERWORKS SERIES Thank you for joining us!

Thursday, January 3, 2019 | 6:30 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

SIBELIUS SYMPHONY NO. 3

If this is your first time here, welcome and feel free to flip to the newcomers guide on page 18. We hope to see you again.

Courtney Lewis, conductor Haskell Endowed Chair

Jean Symphony No. 3 in C major, Op. 52 SIBELIUS Allegro moderato

Andantino con moto; quasi allegretto Moderato - Allegro; ma non tanto

This program runs approximately 45 minutes. Friday and Saturday, January 4 & 5, 2019 | 8 pm “Insight” one hour prior to each Masterworks concert Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

BEETHOVEN, HAYDN & SIBELIUS Courtney Lewis, conductor Haskell Endowed Chair

Evren Ozel, piano Franz Joseph Symphony No. 86 in D major HAYDN Adagio - Allegro spiritoso

Capriccio: Largo Menuet: Allegretto Allegro con spirit

Ludwig van Piano Concerto No. 4 in G major, Op. 58 BEETHOVEN Allegro moderato

Andante con moto Rondo: Vivace

INTERMISSION Jean Symphony No. 3 in C major, Op. 52 SIBELIUS Allegro moderato

Andantino con moto; quasi allegretto Moderato - Allegro; ma non tanto

This program runs approximately 1 hour 55 minutes.

Tickets: 904.354.5547 JaxSymphony.org

This concert is dedicated to Dr. Carolyn H. Smith, in memory of her husband, Dr. Richard C. Smith. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.

Fun Facts

Did you know?

Composer Fact: Rumor has it that Beethoven was so meticulous that he would count out 60 coffee beans each time he had a cup.

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PROGRAM NOTES by Laurie Shulman Franz Joseph Haydn (1732-1809) Symphony No. 86 in D major 26 minutes

Eighteenth-century composers did not have recordings or digital media to aid promotion of their works. Music became known through live performance. Joseph Haydn was luckier than most: he had music publishers in Vienna, London, Leipzig and Paris. Their sales helped to disseminate and familiarize his music throughout Europe. During the winter of 1784-85, the Concerts de la Loge Olympique, a Masonic lodge in Paris, commissioned six symphonies from Haydn. Its leader, Comte d’Ogny, proposed the generous sum of 30 Louis d’or to Haydn for performance and publication rights. It was a large, lucrative and prestigious assignment, and a tribute to Haydn’s fame. Paris was then the center of Europe’s growing music publishing industry. This commission had the potential for excellent sales, and a sizeable market in France alone. Haydn still had extensive responsibilities in his capacity as Kapellmeister (orchestra master) to Prince Esterházy. For eleven months of each year, he supervised all musical activity at Esterháza, the Prince’s country estate. In light of his busy schedule, it is nearly miraculous that he was able to fulfill Comte d’Ogny’s commission. The true miracle is the music: the symphonies themselves, which have become known as the ‘Paris’ symphonies. This was the first of Haydn’s D major symphonies to use both trumpet and timpani in the original score. Haydn was taking advantage of the comparatively lavish resources available in Paris. The orchestra of the Concert de la Loge Olympique had 45 players in the mid-1780s – twice the size of Haydn’s orchestra at Esterháza. Timpani and brilliant trumpets enhanced the military, ceremonial character of the Symphony No. 86, particularly in the outer movements. The true gem of this symphony, however, is its slow movement, marked Capriccio: Largo. Peppered with unexpected entrances from the full orchestra, surprising harmonic turns, and rich writing for woodwinds, this extraordinary movement reflects the striking influence of Haydn’s young friend Wolfgang Mozart.

Almost as wonderful is the Minuet, whose Trio features a duet between solo bassoon and first violins (a favorite ploy of Haydn in his mature symphonies) that succeeds in being graceful at the same time that it makes us laugh. Haydn’s finale is a joyous romp with vigorous repeated notes, at once echoing the timpani’s military flavor and mocking it with pointed sarcasm. A delicate grace note figure in the strings may offer witty contrast, but the finale’s thrust is unstoppable, rushing headlong to the closing flourish.

Ludwig van Beethoven (1770-1827) Piano Concerto No. 4 in G major, Op. 58 34 minutes

Solo piano opens this piece with an intimate, expressive and somewhat improvisatory statement that seems to ask a question. We sense right away that we are listening to no ordinary piano concerto. The strings respond in a completely different key. Now we know we have something quite extraordinary. As the woodwinds creep into the orchestral fabric, we might well wonder: surely this cannot be Beethoven. No bombast, no rhetoric, no drama demanding that we sit up ramrod straight in our seats. In this first movement, Beethoven’s orchestra is Mozartean, lacking timpani and devoid of brass other than the mellow French horns. The key concept in Beethoven’s Fourth Concerto is intimacy. Sometimes it is mixed with playfulness, other times with the kind of private introspection that makes us a bit embarrassed, as if we have witnessed a corner of someone’s soul to which we have no legitimate right. Always the music touches us with a tenderness Beethoven achieved in no other concerto. From that unusual initial statement to the charm and muted insouciance of the dance-like finale, the Fourth Concerto debunks our stereotyped notions of Beethoven’s style. His piano writing is unusually delicate: lace filigree, yet with the strength of wrought iron in its structural integrity. Few of his works marry fanciful, self-indulgent imagination so happily with inventiveness of form. Perhaps because of its fundamental ambiguity, the G-major concerto never ceases to be endearing.

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Jean Sibelius (1865-1957) Symphony No. 3 in C major, Op. 52 29 minutes

The orchestral music of Jean Sibelius divides into two distinct groups: programmatic tone poems drawing on Finnish legend, and the seven symphonies. Although some of his contemporaries attempted to foist a programmatic subtext on the symphonies, Sibelius resolutely opposed any extramusical association in these abstract works. In fact, the Third Symphony is not even specifically nationalist, as the First and Second Symphonies had been. Sibelius was clearly shifting gears with this work. He abandoned the large Russian gestures of the earlier symphonies and wrote for a noticeably smaller orchestra. This symphony represented a change from the Nordic, quasi-Russian spirit of his first two efforts in the genre. The shift coincided with a decision in spring 1904 to abandon urban Helsinki in favor of the peace and beauty of the countryside. Sibelius purchased property in Järvenpää, about twenty miles outside the capital. Architect Lars Sonck designed the new house, Ainola, which was ready for occupancy in September 1904. The secluded new house inspired Sibelius to compose. Within weeks, he wrote to a friend that he had begun his Third Symphony. It occupied him on and off for the next three years. A trip to England in November 1905 provided significant impetus for the piece. The English conductor and composer Granville Bantock was a champion of Sibelius’ music. Through Bantock, Sibelius met other important advocates in England. He left England with a commitment to conduct the premiere of his new symphony with the Royal Philharmonic Society in March 1907. Because he did not finish the finale in time, that engagement had to be postponed. The Third Symphony, which Sibelius dedicated to Bantock, was first performed in Helsinki on 26 September, 1907. The composer conducted. This symphony lacks the orchestral opulence of its predecessors; but it is greatly admired by musicians. The composer often referred to it as “the most beloved and least fortunate of my children.” Clearly Sibelius was moving away from the post-romantic legacy in this work. Its compression — four movements telescoped to three, which total barely thirty minutes in performance — indicates a reaction against extravagant length. Recognizable Sibelius signatures are present, such as extended pedal

points in the horns and motivic fragments in thirds delivered by woodwind duets. An emphasis on the strings for the melodic argument, right from the bluff opening theme in the celli, is something new in his symphonic modus operandi. The first movement has been compared to Mozart and Haydn in its textural transparency and clarity of form. Subtle connections between themes lend

it the organic inner unity that is so characteristic of Sibelius’ style. There is a decisive sense of C major, subtly flavored with modal colorings. And the development has a busy-ness in the strings that approaches perpetual motion. The slow movement, has a folk-like theme that the orchestra varies. A brisker middle section has elements of scherzo, blurring the definition of a ‘slow’ movement.

The finale is the work’s most interesting and original movement. Its binary structure fuses scherzo and finale even more decisively. Its extended ostinato(repeated phrase or rhythm) and insistent rhythmic patterns are another favorite device that mark this music with the Sibelius stamp. Laurie Shulman ©2018

Evren Ozel, piano American pianist Evren Ozel began his musical education at age 3, taking lessons at MacPhail Center for Music in his hometown of Minneapolis, MN. He has performed with numerous orchestras including the Cleveland Orchestra, RTÉ National Symphony Orchestra, Minnesota Orchestra and Boston Pops. He has taken masterclasses from Andras Schiff, Richard Goode and Paul Lewis, as well as many other notable artists. His achievements include scholarships from the U.S. Chopin Foundation and the YoungArts Foundation, first prize at the 2016 Boston Symphony Concerto Competition, second prize at the 2016 Thomas and Evon Cooper International Competition and second prize as well as the Mozart and Chopin special prizes at the 2018 Dublin International Piano Competition. He has performed twice on National Public Radio’s From the Top, as a soloist and as a chamber musician, and has participated in festivals such as Marlboro Music Festival and International Mendelssohn Akademie Leipzig. He has previously studied piano with Dr. Paul Wirth, theory and composition with Dr. Sarah Miller and conducting with Jacksonville Symphony Music Director Courtney Lewis. In 2014, Ozel moved to Massachusetts, attending Walnut Hill School for the Arts. After graduating from Walnut Hill in 2017, he matriculated to New England Conservatory, where he currently studies piano with Wha Kyung Byun.

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JAMES HORNER WINSTON In loving memory of James H. Winston, Jacksonville Symphony Board Chair (1991-1992). The family, friends and the citizens of the First Coast lost a genuine treasure with the passing of Jim Winston on Wednesday September 19, 2018. The Jacksonville Symphony Board, staff and musicians are deeply grateful for Jim’s leadership, generosity and passion. He will be remembered for his role in founding and supporting the Jacksonville Symphony Youth Orchestras. Jim’s impact will be felt by generations to come.

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C ADEN Z A

SOCIETY

An invitation to play your part in the future of our Symphony

Cadenza Society members are a group of dedicated supporters who have made a future financial commitment to ensure that the orchestra you love will be able to keep making vibrant music for generations to come.

Membership is easy. No immediate donation is necessary. You simply need to name Jacksonville Symphony as a beneficiary in your will, trust, insurance policy, donor advised fund or foundation. Cadenza Society Members receive recognition in Encore as well as invitations to: • An exclusive Cadenza Society gathering with Music Director Courtney Lewis

• Onstage Open Rehearsals

• Annual Donor Appreciation Night

Kaye Glover 904.354.9136

JaxSymphony.org/legacy

Welcome to our newest Cadenza members! Julian Farris and James A. Montgomery, MD Margaret Gomez William Ptak Mark O. and Cheryl A. Walter

The Jacksonville Symphony gratefully acknowledges these members for including the Symphony in their estate planning. Mark and Rita Allen Mr. and Mrs. Bruce Anderson Sandra Sue Ashby Rick E. Bendel Gilchrist B. Berg Jacob F. Bryan IV Elizabeth I. Byrne, Ed.D. Carl and Rita Cannon Clarissa and Warren Chandler Estelle and Terry Chisholm Col. and Mrs. Robert B. Clarke Patrick and Linda Clyne Mike and Naomi Coffey Luther and Blanche Coggin Elizabeth Schell Colyer Ruth P. Conley Caroline S. Covin Mr. and Mrs. Robert A. Cowden Dr. Amy Crowder in memory of Carole V. Ewart Sara Alice Bradley Darby* Stephen and Suzanne Day Ann Derby Chris and Stephanie Doerr Mr. and Ms. Pete Doolittle Jeff Driggers* Julian Farris and James A. Montgomery, MD. Brock Fazzini Josephine Flaherty Mr. and Mrs. David Foerster Friend of the Symphony (4) Mr. and Mrs. George D. Gabel, Jr. Mr. and Mrs. Allan Geiger John L. Georgas* Linda Barton Gillis Margaret Gomez

Rabbi Robert and Marilyn Goodman Sue Gover Mary T. Grant* Camille Clement Gregg Charitable Remainder Trust in memory of Ruthwood Craven Samek Dr. Dan W. Hadwin and Dr. Alice Rietman-Hadwin Suna Hall Preston H. Haskell Mr. and Mrs. Bill Hetzel Richard Hickok and Andrea Ashley Bev and Bill Hiller Calvin and Ellen Hudson Charitable Trust Wes and Beth Jennison Virginia Johnsen Rebecca and Randolph Johnson Mrs. Rita H. Joost Robert and Cynthia Kastner Elizabeth Kerr Frances Bartlett Kinne, Ph.D. Norman and Dolores Kramer Dr. and Mrs. Ross T. Krueger E. Michael and Heidja Kruse Mrs. Edward W. Lane, Jr. Mr. and Mrs. Ronald Lindsey Dr. D’Anne and Mr. Daniel Lombardo Leyse Lowry Jean Lumpkin* Dr. Joseph Marasco Doug and Laura* Mathewson Ambassador Marilyn McAfee Allison McCallum Frances Watts McCurry Lee and Bobbie Mercier Roxie Merrill Robert A. and Fay Mills*

Sherry Murray* Mr. and Mrs. E. William Nash, Jr. Christine Ng and Herbert Wolfsen Janet and Joseph Nicosia Lloyd Hamilton Oakes Charitable Remainder Trust in memory of Ruthwood Craven Samek Mr. Val Palmer Mr. and Mrs. Joe Peters Ruth (Rusty) Pierce Richard and Leslie Pierpont William Ptak JoAnne Reilly J. William Ross Ruthwood C. Samek* Carol and Bob Shircliff Mrs. Sally Simpson Ann H. Sims* Mr. and Mrs. Al Sinclair* Helen Morse and Fritz Skeen Ana and Hal Skinner Virginia Smith* David and Linda Stein Mary Love Strum Mary Virginia Terry Gwynne* and Bob Tonsfeldt Chip and Phyllis Tousey Rev. W. Glenn Turner Mary Jane and Jack Uible Tom Vickery and Elizabeth McAlhany Mark O. and Cheryl A. Walter Stephen R. Wickersham Stephen Williams Renee Winkler Quentin E. Wood Thomas C. Zimmermann* *Designates deceased

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The Jacksonville Symphony Association gratefully acknowledges the generosity of the following individuals, businesses and foundations: Gifts to the Annual Fund between July 1, 2017 and September 14, 2018 Δ Designates a gift in-kind * Designates deceased CONDUCTOR’S CLUB PLATINUM $10,000 - $24,999 Anonymous (2) Arts Consulting Group Δ Sandra Sue Ashby Baker Family Advised Fund Biscottis Δ Joanne & Doug Booher Brooks Rehabilitation G. Howard Bryan Endowment Fund Sandra and Phillip Burnaman Mr. and Mrs. A. R. “Pete” Carpenter Dr. Elizabeth Lovett Colledge CSX Transportation, Inc. Cummer Family Foundation Sally and Tyler Dann Dr. Sandra Every Dean and Mr. Michael Dean Mr. and Mrs. Michael Drexler Driver, McAfee, Peek & Hawthorne, P.L. Drummond Press Jess & Brewster J. Durkee Foundation Jon A. Ebacher and Jill T. Wannemacher Fifth Third Bank Mr. and Mrs. George W. Gibbs III Mrs. Mary Godley Margaret Gomez Paul and Nina Goodwin Hicks Charitable Foundations Dr. Anne H. Hopkins Michael and Maryann Imbriani Jacksonville Symphony Association Endowment Fund Rebecca and Randolph Johnson Charlie and Anne Joseph The Thomas M. Kirbo and Irene B. Kirbo Charitable Trust Michel and Heidja Kruse Mrs. Edward W. Lane, Jr. Mrs. Frances W. McCurry National Endowment for the Arts Lee and Darlene Nutter Publix Super Markets Charities Rice Family Foundation Riverplace Capital Management, Inc. Mr. and Mrs. Robert T. Shircliff Samuel Shorstein Mr. and Mrs. Ross Singletary Smith, Gambrell & Russell, LLP Δ Stein Mart, Inc. David and Linda Stein Jay and Deanie Stein David and Elaine Strickland SunTrust Bank John and Kristen Surface Carl S. Swisher Foundation Erlane D. and John E. Tait Chip and Phyllis Tousey Jim and Joan Van Vleck Tom Vickery and Sarah McAlhany George and Ellen Williams Edna Sproull Williams Foundation The Winston Family Foundation

Quentin and Louise* Wood Mr. and Mrs. Douglas C. Worth Mrs. Martha Yohe

CONDUCTOR’S CLUB GOLD $5,000 - $9,999

aetna Arkest LLC Drs. Julie R. and James D. Baker, III Sally and Jim* Baldwin Bank of America Baptist Health John and Cherie Billings Annette and Bill Boling Borkowski Family Foundation Paul and Kathy Bosland Nancy and Ted Burfeind Mary Ann Burns and Suzanne Burns Dalton Carl and Rita Cannon Dr. John D. and Mrs. Chung-Hae Casler CenterState Bank Linda L. and Patrick W. Clyne Sharon and Martin Connor Cornehl Family Foundation Tom and Jesse Dattilo Susan P. Davis Edward* and Susan Doherty Alice and O’Neal Douglas Duval Motor Company Andrew Farkas John and Flavel Godfrey Cynthia and Walter Graham, Jr. Becky and Tommy Grimes Betty Lu Grune Harbinger Sign Company Mr. and Mrs. Andrew Harold Joe and Renate Hixon Calvin and Ellen Hudson Mr. and Mrs. Victor A. Hughes, Jr. Ira and Eva Jackler Jacksonville Regional Chamber of Commerce, Inc. Lillian and Bunky Johnson Mr. and Mrs. J. Malcolm Jones Lawrence & Kathy Kanter Philanthropic Fund of the JCF Peter and Kiki Karpen Bob and Cindy Kastner Dr. Frances B. Kinne Patty and Jim Kleck Mr. and Mrs. Eugene J. Kovarik Dr. and Mrs. Ross T. Krueger Mrs. Anne Kufeldt Dave and Mary Pat Kulik Kustura Technology Δ Magnolia Foundation Bill and Barbara Maletz Main Street America Group Martin Coffee Δ Mr. and Mrs. Howard M. McCue III Julie and Michael McKenny Sheila McLenaghan and Duke Butler Margaret Leu Means

62 WWW.JAXSYMPHONY.ORG – NOVEMBER 2018 – JANUARY 2019

Dr. Christine Ng – ngderm.com Janet and Joseph Nicosia Robert and Flo Anne O’Brien Deborah and David Pierson Mr. and Mrs. Thomas Pippin Mr. and Mrs. Raymond A. Ross, Jr. Susan and John Ryzewic Saunders & Company Ed and Whitney Selover Stephen and Joan Shewbrooks Mr. Benjamin Shorstein and Ms. Nicole Nissim Mr. and Mrs. Richard L. Sisisky Helen Morse and Fritz Skeen Kent and Marie Smith Dr. Mark A. Spatola and Dr. Mihaela Ionescu Joseph and Anna Spiak The McMichael Family Foundation Tom Bush BMW Jacksonville Gwynne* and Bob Tonsfeldt V Pizza Δ Vicar’s Landing Carol and Manuel Wallace Ms. Barbara W. Webster Warner and Sherrie Calvert Webb Wells Fargo Foundation Dr. and Mrs. Scott Wiedenmann Stephen Williams Dr. and Mrs. Charles N. Winton Woodcock Foundation for the Appreciation of the Arts Carleton and Barbara Zacheis

CONDUCTOR’S CLUB SILVER $2,500 - $4,999 Anonymous Mr. and Mrs. Norman R. Adams Mark and Rita Allen David and Beth Arnold Teri and Jim Babcock Stephen E. and Phyllis C. Bachand Mr. and Mrs. Don Baldwin Claudette and Richard Barker Dr. and Mrs. Dwight S. Bayley Byron and Cynthia Bergren Joyce R. Blackburn Mr. and Mrs. James C. Blanton Sandy and Jack Borntraeger Mr. and Mrs. Raymond W. Boushie John and Cletia Bowron Mr. and Mrs. David B. Boyer Rod and Pat Brock Mark and Beth Brockelman Karen and Mark Brown Cecilia Bryant and Richard Lipsey Jim and Carol Bryce Mr. Stanley W. Cairns Mrs. Diane Cannon Jack and Dorothy Cernik Warren and Clarissa Chandler Sandra and Andrew Clarke Patricia Clegg in Memory of George F. Clegg

Mike and Naomi Coffey Meade and Alvin Coplan Caroline Covin in Memory of Robert Covin Mr. John P. Cranston in Memory of Larry Karasic, M.D. Peter Dalmares Mr. and Mrs. Bruce R. Darnall Ms. Emily J. Davis Mr. and Mrs. Thomas P. Davis Douglas Anderson School of the Arts In Memory of Shirley Collupy Dr. and Mrs. James W. Dyer Edward Waters College Enterprise Holdings Foundation Greg and Helen Euston Randy and Lynn Evans Mr. Mark R. Evans Mr. and Mrs. Thomas A. Fernley III Mrs. Betty Fipp Mr. and Mrs. David Foerster Dr. Daniel Fulmer and Kim Vermillion Michael Furick Clark and Lauretta Gaylord Pat and Fred Gieg Lawrence and Phyllis Goldberg Mr. and Mrs. Roland and Sara-Ann Gomez Rabbi Robert and Marilyn Goodman Mel and Debbie Gottlieb Dr. William H. Haas and Ms. Brenda B. Verbeck Dr. Dan Hadwin and Dr. Alice Rietman-Hadwin Mr. Rushton W. Hays Herb and Ann Rowe Charitable Foundation Bill and Nancy Hetzel The Holmes Organization Private Client Group- Stacy Derr & Marty Jones Dr. Diane DeMell Jacobsen Ms. JoLynne Jensen Andrew and Gurmeet Keaveny David and Sally Ketcham Dr. Annette Laubscher Janine Leland and Thomas Larson Harriet LeMaster Mr. Courtney Lewis Carolyn Marsh Lindsay Mrs. John R. Mackroth Robert Massey and Lisa Ponton Rachel T. Maddox Memorial Fund of The Greater Cincinnati Foundation Ann and Bob Maxwell Mayse-Turner Fund for Public Performance of Classical Music Alison McCallum Davis and Sandra McCarty Marcia Mederos Merrill Lynch Wealth Management Mrs. Jeanne Moomaw Dr. Lesley Morgan Linda Crank Moseley Robert and Monica Mylod Newman Family Foundation John and Dorothy Nutant Capt. John and Mrs. Carol O’Neil, Jr. (USN Ret.) Mr. Valfrid E. Palmer Marie and Joel Pangborn Dr. Mark Parkulo and Dr. Marie Deruyter The Honorable Mayor John Peyton & Dr. Kathryn P. Peyton

PNC Kathryn S. Robbie – Attorney at Law Bruce Rosborough and Judy Ham Mr. Harry Ruhsam Sheila and Louis Russo Dr. and Mrs. Ralph A. Sawyer Mrs. Miyuki Scheidel Mrs. Lorraine Scruby Mr. and Mrs. Joseph E. Sherin Mr. and Mrs. Mark J. Shorstein Steve and Judy Silverman Hal and Ana Skinner Mr. Richard G. Skinner III and Ms. Pat Holihan Dr. Edward and Mary Ellen Smith Rev. and Mrs. J. Perry Smith Townsend Smith Diane P. Soha in Loving Memory of Margaret B. Partridge Dr. Mandell and Rita Diamond Stearman Mr. and Mrs. Benson I. Stein Marianne and Ben Stein Robert and Patricia Stichweh Mrs. C. G. Strum Ivy Suter Mr. and Mrs. John Tancredi Mireille and Robert Threlkel Mr. and Ms. James M. Tilley Mrs. Georgia Wahl Mary V. and Frank C. Watson Dr. and Mrs. Lowell B. Weiner Ph.D. Westminster St. Augustine Westminster Woods on Julington Creek Arlene and Phil Wiesner Mr. and Mrs. Chester Witczak Mr. and Mrs. A. Daniel Wolff III Hon. Gwen Yates and Lt. Col. Alton Yates, Ret. Carolyn and Elliot Zisser

CONCERTMASTER’S CIRCLE $1,000 - $2,499

Sahar Aboudan, MD Anonymous (2) Mrs. Linda R. Alexander Mr. Thomas Argyris Dr. and Mrs. George F. Armstrong, Jr. Berman Family Foundation Mr. and Mrs. Charles Berman Mr. and Mrs. Francesco Borghese Laura and William Boxer Mr. and Mrs. Peter Bragan John and Hilary Breen Lori Burman Jim and Mary B. Burt Mrs. Lynn Cabrera Mr. Henry C. and Mrs. Jessica Carnegie Jeff and Lee Ann Clements Luther and Blanche Coggin Elizabeth Schell Colyer Dr. and Mrs. James J. Conners Bill and Kathy Cosnotti Mr. and Mrs. Robert A. Cowden Mr. John A. Darby and Dr. Barbara Darby Mr. and Mrs. Walter H. Drew Dr. and Mrs. A. R. Eckels Mr. and Mrs. Richard Ezequelle Mr. and Mrs. Michael S. Favo Mr. Richard Cullen and Mr. Robert Finnerty, Jr. Bill and Judy Franson

Dr. John Gallo Mr. and Mrs. James Giblin Mr. Wayne Greenberg and Mrs. Elizabeth Shahan Mr. and Mrs. Otis C. Gregg, Jr. Gisela Haemmerle Suna Hall Bill and Kent Hamb Jack and Grace Hand Harriet Hart Dr. Hazem Herbly Mr. and Mrs. Thomas Hodgkins Paula and Kenneth Horn The Brady S. Johnston Perpetual Charitable Trust Luke and Sandy Karlovec Mr. and Mrs. Charles Keller Ruth and Jack Kelly Richard and Nancy Kennedy Don and Donna Kinlin Mr. Henry C. Kocmond Sunny and Harold Krivan David Lakari James and Karen Larsen Dr. Charis Lau Norman and Mary Ellen Ledwin Alison R. Leonard Eleanor L. Lotz Mr. and Mrs. David Lovett Hal and Frances Lynch Mr. and Mrs. Donald W. Maley Gayle Manning Judith and Ray Mantle Mr. and Mrs. Ron M. Masucci Mr. Patrick Mayhew and Ms. Helen Kirkpatrick Mrs. Rose C. McCall Mr. and Mrs. Harold F. McCart, Jr. Rosemary and Allan McCorkle Dr. J. Mark McKinney P. L. McWhorter Lee and Bobbie Mercier Barbara and Lance Mora Mrs. Dorothea E. Neinstedt Tom and Harriet Nesbitt Mrs. Laurel New Dr. Robert Nuss and Dr. Ann Harwood-Nuss David and Kathryn Olson Mary Ellen Young and Donald Owen Mr. and Mrs. Geoffrey Parker Dr. and Mrs. Matthew C. Patterson Charles Peter Richard G. Pohlig Mrs. Jane Preston Mr. and Mrs. Robert Quinby Rayonier Advanced Materials Foundation Rev. and Mrs. John S. Rogers Claudia and Steve Russey Dr. and Mrs. Wilbur C. Rust Anne and John Ruvane Peter Ryan in Memory of Sandra J. Ryan Tom and Jane Schmidt Mr. and Mrs. Chris Seubert Shacter Family Association Nathan Shearn Mr. and Mrs. Wheaton Simis Harold K. Smith Charitable Fund Dewey Sparks Mr. and Mrs. Benson I. Stein The Stellar Foundation

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Prof. and Mrs. G. J. Rod Sullivan Elsie Thompson Mr. and Mrs. Michael Tierney Rolf and Neely Towe Susan and James Towler Mr. and Mrs. Richard Tufaro Gabriele Van Zon Billy J. and Nettie T. Walker John Tobias and Rebecca Wells Mr. and Mrs. Thomas Whittemore Dr. and Mrs. Daniel Wohl Zimmerman Family Foundation Mary Jean Zimmerman

$500 - $999

A-B Distributors, Incorporated Robin Allen Ms. Linda Anderson Barbara H. Arnold Mr. B. David Avery Dr. William and Linda Ann Bainbridge Janean C. Baker Mr. and Mrs. George Banks Ms. Martha E. Barrett Robert Bell Rebecca Black Dr. and Mrs. James P. Bolling Mr. and Mrs. William Braddock Mr. and Mrs. Charles Bray Teresa Brewer Col. and Mrs. E. M. Brisach Ms. Sandra Bryant Caren and Dennis Buchman Dr. and Mrs. William Bullock Michael Byrd Dr. and Mrs. William H. Caldwell David and Lynne Campbell Mr. and Mrs. John B. Canarina Ian M. Charlton Gary and Barbara Christensen Charles Christian and Molly Rinehart Mr. and Mrs. Joe Clare Ron Clark Mrs. Lucille Conrad Tom and Pat Conway Linda J. Cooper Ms. Peggy Cornelius Mr. and Mrs. John D. Corse Mr. and Mrs. Michael Curto Ms. Annabel Custer Bill and Mary Cutler Harriett L. Dame Noel and Mildred Dana Mr. and Mrs. Bernard S. Datz Jerry W. Davis, Jr. Ms. Elise S. Day Dr. and Mrs. Julius Dean Stephanie Delgado Mr. and Mrs. Henry D’Hulst Marian Dickson in Memory of Steve Dickson Donald Dinwiddie Mr. and Mrs. Thomas W. Donovan Margie and George Dorsey Ms. Margaret Douglas Ms. Barbara J. Drake Mr. and Mrs. James F. Duffy Charles and Virginia Dunn Ms. Trace Duryea Julia M. Edgerton Virginia M. Elliott

Patricia Ezell Julian Farris and James A. Montgomery, MD Pamela Ferry-Tsitos Ms. Apryl French Mr. and Mrs. Michael S. French Mr. and Mrs. Ben Frisch Mr. and Mrs. J. R. Fullerton Mr. Stephen M. Gahan Geneva Garrison Yves Genre Drs. Thomas Gonwa and Dr. Mary Alice Westrick Theresa Gonzalez de Acevedo Page Gordon Mr. and Mrs. James R. Griffiths Dr. and Mrs. John A. Grisnik Richard Habres Howard Haims and Carole Cooper-Haims Malcolm and Joyce Hanson Karen Harris Mr. and Mrs. Coleman Hawk Marion Haynes Ms. Terri Henderson Mr. and Mrs. Philip R. Henrici Aimery Hernandez Alan and Frances Herzog Mr. and Mrs. William Hill Mr. and Mrs. H.C. Holderfield Derek and Debbie Holmes Mr. and Mrs. Darryl Houseman Ms. Evelyn Howard Mrs. LaRay E. Hrytzay Mrs. Martha Huntley-Robertson Mr. Arthur H. Hurwitz Ms. Jo Carol S. Hutchins Pam and Mike Jackson Barbara Johnson Ms. Gloria E. Johnson Mr. and Mrs. Terrence D. Jones Stanley and Sharon Kantor Mr. and Mrs. Peter E. Kaplan William Kastelz, Jr. in Memory of Sandra Keith Kimball Ruth and Richard Klein Mr. Ronald Koblitz Karen and Fred Koch Mr. and Mrs. Jim Langer Mr. Ted Larson Ms. Merle Lear Mark and Mary Lemmenes Wayne Letizia Dr. Leonard J. Lipkin Mr. Todd and Dr. Shannon Lockwood Richard Lombardi Jim and Robin Love Leyse Lowry Mr. and Mrs. William MacLeod Dr. Mike and Marilyn Mass Mr. and Mrs. Joseph E. McCauley James McGuffin and Kathleen Mullen Lydia Saris, M.D. and Daniel Mechenbier Myron and Ellen Mensh Mr. and Mrs. Alex Meyer Douglas and Jane Miller Lisa Miller Sue Mills Mr. and Mrs. Francis Monaco Mr. and Mrs. Gary Moore Paul and Donna Nelson John and Kathie Nevin

64 WWW.JAXSYMPHONY.ORG – NOVEMBER 2018 – JANUARY 2019

Mr. and Mrs. J. Kenneth E. Noon Thomas Orr Trevor Paris Mr. Parker and Ms. Diane Hale Mr. Howard N. Parks Audrey B. Patterson Suzanne C. Perritt Mr. and Mrs. Joe Peters Mr. and Mrs. John Petersen Mr. and Mrs. Rickie Petersen Mr. and Mrs. Earl S. Poitevent III Nancy and Ted Powell in recognition of Dori and Bill Walton Joseph and Phyllis Power Mr. Jack* and Dr. Miriam Price Michael Ranne and Julia Suddath-Ranne Mrs. Judith J. Ratcliffe Ms. Valerie W. Redmon Wynn Redmon Giles Renaud and Gladys Draper-Renaud Ina W. Richter Drs. Lorraine Rodriguez and Kyle P. Etzkorn Dr. Daniel S. Yip and Teresa Rodriguez-Yip Mr. Neil Rose and Dr. Jeannie Rose Mr. and Mrs. George E. Ross Mr. and Mrs. John Ryder Colleen Andrea Sanchez Mr. and Mrs. Gary F. Sass Mr. and Mrs. Jeffrey Schembera The Schultz Foundation, Inc. Becky Schumann Mr. and Mrs. Richard Seiter Dr. Ralph W. Sevelius Mr. and Mrs. Harry Skilton Robin Smathers Dr. Carolyn H. Smith Raul Soto-Acosta, MD George and Shirley Spaniel Dr. David A. Spring Kimber E. Strawbridge Esq Mr. James Stronski Mr. and Mrs. Mark A. Sur Mr. David G. Sutliff Linda and Jim Sylvester Mr. Ralph Talbott and Ms. Suzanne Plaine Dorcas G. Tanner Carol Tegho Mr. and Mrs. Randall Tinnin Ms. Carol C. Todd Jacqueline Tomassetti Mr. and Mrs. Thomas Torres Alice and John Trainer Mrs. Phyllis Turner Mr. Rudolf E. Urban Mr. Carl Utter Sherilyn Van Orden Ivan Vinnick Ms. Grace L. Voyles and Ms. Mary E. Voyles Cornelia and Olin Watts Endowment Fund Dr. and Mrs. Robert S. Walton William and Elizabeth Weitzel Mr. Kevin Wezniak Mr. and Mrs. Neil J. Wickersty Linda F. Wilkinson Robert and Dianne Wilson Tim and Evelyn Woodward Ms. Mary Wysong and Ms. Sylvia G. Cotner Drs. Steven G. and Linda Younkin Mr. and Mrs. Sergei Zelenkov

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JACKSONVILLE SYMPHONY ADMINISTRATION EXECUTIVE OFFICE

Robert Massey, President & Chief Executive Officer Andreea Vineyard, Executive Assistant & Board Liaison

ARTISTIC OPERATIONS

Roger Wight, Vice President & General Manager Artistic Administration Tony Nickle, Director of Artistic Administration Ileana Fernandez, Staff Accompanist Linda Holmes, Ballet Coordinator Jill Weisblatt, Chorus Manager Orchestral Operations Bart Dunn, Principal Librarian Ray Klaase, Stage Manager Ross Triner, Manager of Artistic Operations Shamus McConney, Technical Director James Pitts, Stage Associate Kenneth Every, Assistant Orchestra Personnel Manager Debby Heller, Assistant Librarian Annie Hertler, Bowing Assistant Education & Community Engagement Brian Ganan, Education & Community Engagement Manager

MARKETING

Peter Gladstone, Vice President of Marketing Christie Helton, Assistant Director of Marketing & Patron Experiences Scott Hawkins, Senior Patron Services Manager Anna Birtles, Digital Marketing Manager Caroline Duffy, Sales Manager Sydney Schless, Marketing & Communications Manager Ken Shade, Graphic Designer Betty Byrne, Patron Services Associate Tara Paige, Patron Services Associate Christina Reyes, Patron Services Associate Robin Robison, Patron Services Associate Cori Roberts, House Manager

DEVELOPMENT

Jennifer Barton, Vice President of Advancement Kaye Glover, Major & Planned Giving Officer Celeste Hart, Director of Individual Giving Jessica Mallow, Director of Corporate Relations Terri Montville, Director of Grants and Reporting Colin Walker, Development Associate – Prospect Management Ann Marie Ball, Patron Systems Associate Maureen Cockburn, Gift Services Associate

FINANCE & ADMINISTRATION

Deborah Forsberg, Chief Financial Officer Mark Crosier, Controller Sydna Breazeale, Staff Accountant Ashley Green, Administrative Services Associate

Naira Cola was a treasured member of the Education and Community Engagement team at the Jacksonville Symphony having worked on numerous projects and programs. She made a tremendous impact as a youth orchestra conductor, focusing on our most underserved communities in the Symphony’s extensive orchestra partnership with Communities in Schools. She was also regularly seen on stage sharing her talents with the Jacksonville Symphony and its patrons. Naira was kind-spirited, caring, strong and optimistic. She was highly respected and dedicated to serving our youth. She leaves an immense hole at the Jacksonville Symphony, in our community and at arts organizations near and far. Our deepest condolences go out to her family and her entire musical community during this time of sorrow. 66 WWW.JAXSYMPHONY.ORG – NOVEMBER 2018 – JANUARY 2019