Encore 2: 2017-2018 by Jax Symphony

THE MAGAZINE OF THE JACKSONVILLE SYMPHONY

THE SEASON OF MAGIC

Nov 2017- Jan 2018

THE

Confident

Life knowing your future is secured

One of the reasons we moved here was to relieve our children from the burden of care if we can no longer live independently. It’s comforting to have 5-star health services on campus. Meanwhile, we are close to the beach, church and shopping, and are becoming actively engaged members of the Fleet Landing extended family.” —Mr. & Mrs. Robert Freeman, Retired Attorney and Retired Educator and Author, Current Residents

A secure, enjoyable retirement for you means peace of mind for your children. Call to learn more: 904.242.6572 or 1.877.509.8466 toll free One Fleet Landing Boulevard | Atlantic Beach, FL 32233 | fleetlanding.com/discover

WELCOME!

Insight One hour prior to each Florida Blue Masterworks Series concert, join Music Director Courtney Lewis and other Masterworks guest conductors in Robert E. Jacoby Symphony Hall to hear their insight on the program. An open, low-key 15 to 25 minute presentation including question and answer time will provide the opportunity to learn more about the fantastic works performed by the Jacksonville Symphony.

Dear Friends, It’s the most wonderful time of the year. From Thanksgiving through New Year’s, let the Jacksonville Symphony provide the soundtrack to your holidays, with seasonal favorites including Holiday Pops, First Coast Nutcracker, Handel’s Messiah and the best New Year’s Eve party in town. Joining the lineup this year are two classic Christmas films, Home Alone and It’s a Wonderful Life, both presented with live symphonic accompaniment. This Christmas, we are particularly grateful to our supporters. The Symphony relies heavily on financial contributions, which account for more than half of our annual operating revenue. These funds allow us to present more than 100 performances throughout Northeast Florida, including educational concerts that reach 70,000 students each year. One third of all Jacksonville Symphony productions are focused on education and community engagement.

Guest artists often join the conductor to give their vision of the works to be presented. Insight is a new angle on the concert experience. You’ll never listen to the music the same way after hearing Insight. So come early, grab a seat and hear what the experts have to say.

I’m often asked why music education is so important. Learning an instrument and performing with others builds skills – including critical thinking, creativity, flexibility, adaptability, collaboration, productivity, accountability and communication – that are required to be successful in life, even if one’s career path doesn’t involve music. If you haven’t been to a Jacksonville Symphony Youth Orchestras concert, I encourage you to attend and see these developments first-hand.

INSIGHT

is sponsored by

Tickets: 904.354.5547 Contributions: 904.354.1473 Administration: 904.354.5479 JaxSymphony.org Encore! Production

Publisher – Robert Massey Editors – Amy Rankin, Sydney Schless Graphic Designer – Kenneth Shade Advertising Sales – Caroline Jones Photography – Tiffany Manning, Renee Parenteau Fran Ruchalski Communications Coordinator – Sydney Schless Marketing Intern – Joseph Fuqua To Advertise in Encore - Call Caroline Jones at 904.356.0426 or email cjones@jaxsymphony.org. © 2017 Jacksonville Symphony Association

Of course music education isn’t exclusively for the young. We are a curious species and are always pushing ourselves to learn new things. Every day, we read newspapers, magazines, books and online articles. We watch television programs and movies that open new doors and take us further into areas that were foreign to us before. We listen to podcasts and radio programs, try new restaurants and foods, and experience music we’ve never heard before. For many of us, the more we explore, the more our lives are filled with comfort, understanding and happiness. We all love Beethoven’s Ninth Symphony. We’ve heard it dozens of times, not only in concert halls, but also in television commercials, movies and as the soundtrack to major world events. That great work was new to all of us at one point. What will your next Beethoven 9 be? What new masterpiece might you fall in love with? And how great to have a symphony orchestra that will provide the opportunity to grow, understand and be happy. Warmest regards,

Robert Massey President and CEO

300 Water Street, Suite 200 • Jacksonville, FL 32202

@jaxsymphony

#jaxsymphony

is the official piano of the Jacksonville Symphony Orchestra. 4 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

EnCORE

THE MAGAZINE OF THE JACKSONVILLE SYMPHONY

2017 - 2018 SEASON

VOLUME 24 – ISSUE TWO

EVENTS 21

DEPARTMENTS 4

Welcome

Music Director Courtney Lewis

Symphony Association Board

About the Symphony

6, 9, 80-82

Thank You, Supporters

12-13

Jacksonville Symphony Musicians

Sound Investment Program

The Cadenza Society

72-73

Volunteer Activities and Events

Jacksonville Symphony Administration

HOME ALONE - FILM WITH ORCHESTRA SPECIAL PRESENTATION November 25 GERMAN GIANTS FLORIDA BLUE MASTERWORKS SERIES December 1, 2, 3 HOLIDAY POPS RAYMOND JAMES COFFEE SERIES FIDELITY NATIONAL FINANCIAL POPS SERIES December 7, 8, 9, 10 HANDEL’S MESSIAH SPECIAL PRESENTATION December 16, 17 JSYO HOLIDAY CONCERT YOUTH ORCHESTRAS SERIES December 18 IT’S A WONDERFUL LIFE - FILM WITH ORCHESTRA SPECIAL PRESENTATION December 22 NEW YEAR’S EVE - ORCHESTRAL LUNACY FIDELITY NATIONAL FINANCIAL POPS SERIES December 31

THE INEXTINGUISHABLE REGENCY CENTERS SYMPHONY IN 60 SERIES January 4

TCHAIKOVSKY’S PIANO CONCERTO FLORIDA BLUE MASTERWORKS SERIES January 5, 6

HOOKED ON CLASSICS SYMPHONY ABOUT TOWN January 13

SYMPHONY GALA - FEATURING RENÉE FLEMING SPECIAL PRESENTATION January 20 MAGIC OF THE MOVIES RAYMOND JAMES COFFEE SERIES FIDELITY NATIONAL FINANCIAL POPS SERIES January 26, 27 ENCORE 5

The Jacksonville Symphony gratefully acknowledges some of our most important music makers. J. Wayne & Delores Barr Weaver

Ruth Conley

Robert D. and Isabelle T. Davis Endowment Fund

The Roger L. and Rochelle S. Main Charitable Trust

State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture.

The Jessie Ball duPont Fund

PGA TOUR, Inc.

The DuBow Family Foundation

Donald C. McGraw Foundation

Valdemar Joost Kroier Endowment Fund

Yvonne Charvot Barnett Young Artist Fund • Biscottis • G. Howard Bryan Fund • Brooks Rehabilitation • CSX Transportation, Inc. Cummer Family Foundation • Downtown Investment Authority • Drummond Press • Jess & Brewster J. Durkee Foundation • Fleet Landing David and Ann Hicks • The Kirbo Charitable Trust • Martin Coffee Co • National Endowment for the Arts • Publix Super Markets Charities Rice Family Foundation • David and Linda Stein • Jay and Deanie Stein Foundation • Carl S. Swisher Foundation Edna Sproull Williams Foundation • Stein Mart • SunTrust • Vanguard Charitable-Kessler Fund Woodcock Foundation for the Appreciation of the Arts ACOSTA Sales & Marketing • Arcus Capital Partners • Baptist Health • Buffet Group USA • Burgman Winston Youth Orchestra Scholarship Fund Tom Bush BMW • CenterState Bank • Chartrand Foundation • Claude Nolan Cadillac • Dana’s Limousine and Transportation Services Duval Motor Company • Enterprise Holdings Foundation • Harbinger Sign • JAX Chamber • JAX Chamber - Downtown Council Brady S. Johnson Charitable Trust • The Main Street America Group • Mayse-Turner Fund • Parsley’s Piano • Rowe Charitable Foundation Sabel Foundation • Shacter Family Foundation • The Shultz Foundation • Harold K. Smith Foundation • Smoller Scholarship Fund Stellar Foundation • TigerLily Media • V Pizza • Wells Fargo • Westminster Woods on Julington Creek • Workscapes A-B Distributors, Inc. • The Community Foundation for Northeast Florida • Cornelia and Olin Watts Endowment Fund Charter Members of the Corporate Conductor’s Club: Admira Dentistry with Dr. Joe Barton • Arkest LLC • Assign Commercial Group LLC • Bank of America/Merrill Lynch Jacksonville Business Journal • Meinrod & Leeper Wealth Management • Dr. Christine Ng - ngderm.com • Saunders & Company Media Partners: WJCT Public Broadcasting • Florida Times-Union 6 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

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 2017/18 season will mark his third season as music director of the Jacksonville Symphony. Highlights of the past season included engagements with the Dallas Symphony, the Royal Philharmonic Orchestra, Minnesota Orchestra and the New York Philharmonic. Since his debut in November 2008 with the Saint Louis Symphony Orchestra, he has appeared with the Atlanta 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 has served as assistant conductor of the New York Philharmonic, associate conductor of the Minnesota Orchestra and Dudamel Fellow with the Los Angeles Philharmonic.

RENEE PARENTEAU

From 2008 to 2014, Courtney 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.

ENCORE 7

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

Executive Committee

Don Baldwin, Marketing Committee Chair Gilchrist Berg, Vision 2020 Campaign Co-Chair Carl Cannon, Vision 2020 Campaign Co-Chair R. Chris Doerr, At-Large Member Margaret Gomez, Foundation Board Chair Randolph R. Johnson, Development Committee Chair Matthew S. McAfee, Immediate Past Board Chair John Surface, At-Large Member Randall C. Tinnin, Programming Committee Chair Gwendolyn “Gwen” Yates, Governance Committee Chair

Board of Directors

Sandra Sue Ashby, ex officio Martha Barrett Karen Bower J.F. Bryan, IV Chung-Hae Casler Tyler Dann Barbara Darby Jack Dickison, ex officio Michael Drexler Anne H. Hopkins Wesley Jennison Susan Jones Charles S. Joseph Allison Keller Ross Krueger Anne Lufrano Elizabeth McAlhany Sheila McLenaghan Rick Moyer W. Ross Singletary III Douglas Worth

Foundation Board Margaret Gomez, Chair Gilchrist Berg R. Chris Doerr Peter Karpen

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

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

8 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

Past Board Chairs

Olin E. Watts, Founding President Wellington W. Cummer Hugh R. Dowling Giles J. Patterson Carl S. Swisher Gert H. W. Schmidt Robert R. Bowen Roger L. Main Charles L. Hoffman Hugh Abernethy Archie J. Freels Harold K. Smith Jacob F. Bryan, III Ira M. Koger J. Shepard Bryan, Jr. Randall C. Berg W. E. Grissett, Jr. B. Cecil West James C. Blanton David C. Hastings Alford C. Sinclair Constance S. Green Arthur W. Milam John H. McCallum Preston H. Haskell Sylvia F. “Tibby” Sinclair J. F. Bryan, IV David W. Foerster E. William Nash, Jr. James H. Winston Robert T. Shircliff Robert O. Purcifull Carl N. Cannon Phillip E. Wright Jay Stein Mary Ellen Smith R. Travis Storey John S. Peyton A. R. “Pete” Carpenter Steven T. Halverson Gerald J. Pollack James Van Vleck R. Chris Doerr Richard H. Pierpont Martin F. Connor, III Matthew S. McAfee

The Jacksonville Symphony Association gratefully acknowledges the generosity of the following individuals, businesses and foundations: Gifts to the Annual Fund between July 1, 2016 and October 20, 2017 ∆ Designates a gift in-kind * Designates deceased

PRESIDENT’S COUNCIL $100,000+

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

$50,000 - $99,999

Anonymous gift in honor of the City Rescue Mission Staff Pete and Lory Doolittle State of Florida, Division of Cultural Affairs Mayo Clinic Mrs. C. Herman Terry Florida Times-Union ∆

$25,000 - $49,999 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 Chris and Stephanie Doerr Donald C. McGraw Foundation DuBow Family Foundation EverBank Haskell Anne and Robert Lufrano Valdemar Joost Kroier Endowment Fund Magnolia Foundation

Jessie Ball DuPont Fund Roger L. and Rochelle S. Main Charitable Trust Mr. and Mrs. Matthew S. McAfee Mr. and Mrs. Russell B. Newton Jr. PGA TOUR Regency Centers, Inc. Rice Family Foundation Stein Mart, Inc. VyStar Credit Union Quentin and Louise* Wood Omni Hotel and Resorts ∆ J. Wayne and Delores Barr Weaver Music Education Endowment ENCORE 9

KOREAN BEEF SHORTRIBS with bulgogi marinade

Napa Cabbage Kimchi made in-house at Black Sheep

Benne Seeds from Anson Mills, Columbia, SC

Grits from Logan Turnpike, Blairsville, GA

Eggs from Black Hog Farm, East Palatka, FL

EXPECT THE

UNEXPECTED 100 North Laura Street • 904.802.7745 A Black Sheep Restaurant Group Concept

B E L LW E T H E RJA X .C O M

TWO ALUMS • TWO ERAS • TWO SUCCESSES ULYSSES OWENS, JR. Jazz Artist with three solo albums, 2-time Grammy Award winner, recently joined the Faculty at The Juilliard School in the Jazz Studies Program

JULIAN ROBERTSON National Young Arts Finalist, Recipient of Full Scholarship at The Juilliard School

CLASS OF 2001

CLASS OF 2016

Offering Intensive Studies in Dance, Vocal, Instrumental Music, Film, Creative Writing, Theatre and Visual Arts

F O R 2017 AU D I T I O N I N FO R MAT ION:

10 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

(9 0 4 ) 3 4 6 -5 6 2 0 , E X T. 1 0 1 • DA -A RT S . ORG

ABOUT THE JACKSONVILLE SYMPHONY

As Music Director Courtney Lewis begins his third season at the conductor’s podium, the Jacksonville Symphony celebrates an expanded 2017/2018 season that promises more weeks of music reaching more people than ever before. Last year’s record attendance of 255,000 individuals is sure to be broken this season. As the concert schedule expands to 38 weeks, there are new events along with more artists that will make the season shine. The Daily’s Place Symphony Series which debuted with the film, Harry Potter and the Sorcerer’s Stone, performed with live orchestra soundtrack was a first of its kind partnership between a symphony and a NFL team. 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 Northeast 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

and other special youth pricing, there are several programs to foster music education. This year the Jacksonville Symphony Youth Orchestras is under the direction of Assistant Conductor and JSYO Principal Conductor Deanna Tham. As part of the JSYO’s activities, they will be gearing up to play in Los Angeles’ famous Frank Gehry-designed Walt Disney Concert Hall this coming June as one of just three student orchestras invited to perform in the Los Angeles International Music Festival. 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 and Lang Lang. This year the Symphony will host the incomparable Renée Fleming for the January 2018 Gala. Our season would not be possible without the generosity of our donors, patrons and volunteers. We thank them and all our patrons for their support. For more information about the Jacksonville Symphony, please visit www.Facebook.com/JaxSymphony, follow us on Twitter @JaxSymphony, and on Instagram at JaxSymphony.

ENCORE 11

THE ORCHESTRA

Anthony Anurca SECOND/CONTRA BASSOON

Katherine Caliendo SECOND HORN

Tristan Clarke

ASSOCIATE CONCERTMASTER

Melissa Barrett

BASS TROMBONE

Chris Bassett

Patrick Bilanchone

Aaron Brask

Andrew Bruck

Rhonda Cassano

Kevin Casseday

Laurie Casseday

Christopher Chappell

Chi-Yin Chen

ASSOCIATE PRINCIPAL SECOND VIOLIN

VIOLIN

Conrad Cornelison

Clinton Dewing

Aurelia Duca

Patrice Evans

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

BASS

PRINCIPAL BASSOON

BASS

CELLO

VIOLIN

THIRD HORN

PRINCIPAL SECOND VIOLIN

VIOLIN

CELLO

PRINCIPAL KEYBOARD

Ileana Fernandez

Kayo Ishimaru Fleisher PRINCIPAL HARP

SECTION PERCUSSION

Kevin Garry

Anna Genest

Annie Hertler

Jiayi Huang

Max Huls

Vernon Humbert

James Jenkins

The George V. Grune Endowed Chair

VIOLIN

VIOLA

12 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

VIOLIN

CELLO

VIOLIN

PRINCIPAL TUBA

THE ORCHESTRA

Ran Kampel

PRINCIPAL CLARINET

Cynthia Kempf VIOLA

Jennifer Glock Endowed Chair

Jason Lindsay BASS

Brian Osborne THIRD/UTILITY TRUMPET

Daniel Rios

SECOND OBOE

Todd Lockwood

ASSOCIATE PRINCIPAL BASS

Colin Kiely VIOLA

Brian Magnus CELLO

Ilana Kimel

Mark Knowles

VIOLIN

FOURTH HORN

Steve Merrill

Ellen Caruso Olson

PRINCIPAL PERCUSSION

VIOLA

Joel Panian

Susan Pardue VIOLA

PRINCIPAL TROMBONE

Jeffrey Peterson

Jorge A. PeÃ±a Portillo

Les Roettges

Alexei Romanenko

Paul Strasshofer

Piotr Szewczyk

SECTION PERCUSSION

PRINCIPAL FLUTE

PRINCIPAL CELLO

BASS

VIOLA

VIOLIN

Jonathan Kuo VIOLIN

Eric Olson

PRINCIPAL OBOE

Kevin Reid

PRINCIPAL HORN

James Tobias

SECOND TROMBONE

The Musicians of the Jacksonville Symphony are proudly represented by the American Federation of Musicians, Local 444. Backstage Employees are proudly represented by the International Alliance of Theatrical Stage Employees (I.A.T.S.E.) Local 115, Saul Lucio, Business Agent.

Carol Whitman VIOLIN

John Wieland PRINCIPAL BASS

Yuping Zhou VIOLIN

ENCORE 13

The TrusT You Place In us Is PrIceless. Thank You.

11401 Old St. Augustine Rd. (at I-295), Jacksonville, FL 32258 / 904-260-1818 / www.rivergarden.org

Together, We Are Your

Join Us Today: (904) 366-6653 | myjaxchamber.com 14 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

JACKSONVILLE SYMPHONY YOUTH ORCHESTRAS by Richard A. Salkin After nearly a quarter century, the Jacksonville Symphony Youth Orchestras (JSYO) program is already famous for innovation. They have a new goal this season: how to build on previous successes. Founded in 1993 and working closely with local schools and musicians, the JSYO program has introduced thousands of students to the lasting joys of classical music. Now, with a wider scope and broader reach than ever, the program is poised for accelerated growth. “Our vision is to make JSYO available and accessible to all students throughout the Northeast Florida region,” said Kathryn Rudolph, Director of Education and Community Engagement at the Symphony, “Our goal is to continue growing it in the years to come while maintaining the highest standards of musicianship, education and leadership.”

Big changes afoot Over the summer, the JSYO program (an umbrella term for six progressive levels of ensembles serving students between age 7 and 21) rolled out a series of newsworthy initiatives and developments:

Journal last summer after an 11-hour drive from her former home in Louisville. “It’s like you’re on a road trip and you’ve been on local roads for a while, and thinking, ‘okay, I’m ready to go faster, get on the freeway.’” Now that she’s here, she added, “I feel like I’m finally on the freeway.”

make music in a group setting, she continued, “you learn about collaboration, social awareness, sensitivity, listening, empathy—skills you don’t necessarily get directly from focusing on solo repertoire. With music, dance and other arts in a collaborative setting, so much of the learning occurs in the moment. You have to react right there.”

She’s already in the fast lane. Tham articulated a series of goals for the beginning, intermediate and top-level students in the program. For kids in the beginner-level Jump Start Strings and Foundation Strings, the goals are relatively simple: “I want them to learn that music is fun, that playing music with other people is fun and that practice makes perfect.”

As a result, music students develop what Tham calls “hypersensitive empathy toward others, the ability to read what your fellow musicians mean.”

A selection committee unanimously named Deanna Tham as principal conductor of the youth orchestras. She’ll also serve as an assistant conductor of the Jacksonville Symphony itself. Five prominent music educators were named as JSYO assistant conductors.The JSYO Philharmonic, the highest-level group in the JSYO program, will participate in the invitation-only 2018 Los Angeles International Music Festival. That prestigious gig includes performances at Disneyland and the Frank Gehry designed Walt Disney Concert Hall, home to the Los Angeles Philharmonic. “We are building and strengthening the curriculum,” Rudolph added, “connecting more deeply with schools and teachers, expanding our presence within the community and establishing programs and opportunities for the students that can be offered exclusively by the program’s connection to a large, professional symphony.”

Tham in the fast lane Tham’s appointment took effect July 1, and she jumped right in with both feet. Soon she was featured in numerous local publications— and appeared with Music Director Courtney Lewis in a live interview on the Symphony’s Facebook page. “I am super excited to be here; it’s a huge opportunity,” she told the Jacksonville Business

For the intermediate and advanced students, it’s more task-oriented: goalsetting, appreciating the role of arts in the community, self-assessment skills, diligence and preparation and how to prepare a performance to a professional standard. All while appreciating the fun of it. Students in the JSYO program learn a lot more than music. When young people learn to

At what age should parents expose their kids to great music? “I think music is essential for everyone,” she said unequivocally. “I started when I was really little; a lot of parents choose to go that way. It’s good to expose children to a variety of creative outlets and see what hits the target and what misses—like throwing darts at a dartboard.” Sometimes there are no specific clues that a child will be musically inclined: You just have to watch and listen for them. In other cases, she added, “sometimes it’s really obvious. If a child likes dance or drawing, music can be a creative outlet.” JSYO (continued on next page) ENCORE 15

JSYO (continued from previous page)

Broadening the faculty

Tham will have help putting a unique stamp on the program. Over the summer, three new, notable area string player/educators were named as assistant conductors as part of the JSYO’s community outreach efforts. There will be beginning programs on site at GW Carver Elementary School, Normandy Village Elementary School, North Shore Elementary School, Pickett Elementary School, Woodland Acres Elementary School in Jacksonville and the Clay County site at Wehner School of the Arts. These particular programs will be led by the Symphony’s own principal bass John Wieland and Naira Cola, a violinist who has played with the Symphony since 2012. Rose Francis, an adjunct professor at UNF, will oversee the Foundation Strings at FSCJ. Joining her there, David Song, who not only serves as assistant principal violin with the Savannah Philharmonic but also plays often with the Jacksonville Symphony, will conduct Jump Start Strings. Helen Morin, a music teacher at R.B. Hunt Elementary School in St. Augustine, will conduct the Encore Strings and Premier Strings programs.

Taking it on the road: More than a field trip. Around the time Tham was preparing to start in her new position, the JSYO Philharmonic received an invitation to participate in a highly prestigious event: the Los Angeles International Music Festival, tentatively scheduled for June 15-19, 2018. They’ll be joined by three other educational orchestras: two at the high-school level and one at the college level. The LA festival performances, at Disneyland and at the city’s iconic Disney Concert Hall, will be judged by a panel of music professors. Over 70 participating students will make the trip, which in addition to the performances will also include the opportunity to attend an educational workshop and do a little sightseeing.

The event marks the first-ever tour for any JSYO group, and definitely not the last. “This remarkable invitation speaks to the quality of the JSYO program, the accomplishments of the musicians and the dedication of the staff,” said Robert Massey, president and CEO of the Jacksonville Symphony. The tour to Los Angeles will also be a great way to end the JSYO’s 25th season, Rudolph said. “From a musical and educational perspective, it provides students with exposure to other ensembles, world-class institutions, cultural exchange and awareness as well as the fun and life-long bonds that can only be provided by a travel experience.” The JSYO is offering three new Special Programs to advanced students that are aimed to not only help compensate for tourrelated fees, but to provide educational and professional experience. Among the programs: an Arts Administration Assistantship, letting a student explore the fundamentals of running an arts organization; an Honors Chamber Music Fellowship, creating an unparalleled 10-month career-building opportunity to perform chamber music at the highest level in special appearances throughout Northeast Florida; and an Orchestra Librarian Apprenticeship, providing first-hand experience working alongside the Jacksonville Symphony’s principal librarian and Education and Community Engagement Manager throughout the season. All three positions “provide students with the opportunity to earn money for their tour while gaining experience in leadership, time-management, communication, organization and much more,” Rudolph explained. Through the three programs, “students also gain a behind-the-scenes look at the complexity of running an orchestra and working as a professional musician with potential future opportunities for full internships with the organization.”

Walt Disney Concert Hall

16 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

One family’s JSYO experience: Meet the Holley kids The young lady on the cover of this magazine is Brynna Holley, one of three siblings who participate in the magic of music-making through the JSYO program.

Brynna Holley

Brynna attends West Riverside Elementary in their Dual Language Program. “Watching my brother and sister perform with the JSYO made me so happy that I decided to join. I started with the violin and am now playing the viola. I want to go to LaVilla School of the Arts and I hope that one day I will be a strong enough player to be able to perform with my siblings.”

Neriah Holley

Neriah, currently a student at LaVilla, has participated in the JSYO program for five years. “I began playing the violin for the first two years and then switched to playing the cello. Without the years in the JSYO, I would have never made it into LaVilla last year. What I want in the future is to attend Juilliard and be a famous cellist, and I hope that the JSYO inspires people like it has me and my siblings.”

Bruce Holley, Jr.

Currently a student at James Weldon Johnson College Preparatory, Bruce is the eldest of the three and spent six years in the JSYO program. “Being part of the JSYO is an incredible experience that every person who joins can benefit from—whether it is socially, physically or mentally. I have personally benefited from it myself. Playing the violin has helped me focus on my objectives, including my school work. My future aspiration is to be a Pediatrician.”

2018 SYMPHONY GALA

Featuring RenÃ©e Fleming

01. 20 .18 JACOBY SYMPHONY HALL TIMES-UNION CENTER FOR THE PERFORMING ARTS

Presented by

Concert-only tickets start at $75.

904.354.5547

JaxSymphony.org

LIFETIME OPPORTUNITIES.

85% of Bolles students participate in over 100 performances and gallery shows within the Fine and Performing Arts Department annually.

All Things Possible. Start Here. At Bolles, student potential is nourished by a superior curriculum and the most extensive program offerings in Northeast Florida for grades PreK to 12. Students here have access to extraordinary opportunities in a vibrant, global community of contributors who celebrate all beliefs and cultures. We believe life’s greatest achievement is to realize one’s best possible self. This mindset drives every decision we make, and it’s why we’ve earned an exemplary international reputation. Join the esteemed alumni of Bolles, and experience a lifetime of possibilities.

For more information and to schedule your tour, visit www.Bolles.org or call (904) 256-5030.

Four Unique Campuses Ponte Vedra Beach PreK–5 Whitehurst PreK–5 Bartram 6–8 San Jose 9–12 Day and Boarding School from PreK through Grade 12.

CONCERTMASTER SEARCH Concertmaster Audition Process The Jacksonville Symphony is hosting seven candidates for the concertmaster position during the 2017/2018 season. Candidates will play with the orchestra for one Masterworks series weekend and one Pops/Special Presentation weekend. Please give them a warm Jacksonville welcome.

Vivek Jayaraman – November 25 / December 1, 2 & 3 Vivek Jayaraman is a member of The Florida Orchestra in St. Petersburg, FL and has played with several major orchestras in the United States including The Cleveland Orchestra, the Detroit Symphony Orchestra, the Pittsburgh Symphony and the New York Philharmonic. Jayaraman was concertmaster of the Canton Symphony Orchestra (OH) from 2015-2017 and has performed as concertmaster with the New World Symphony under the baton of Michael Tilson Thomas, the Verbier Festival Chamber Orchestra in Switzerland and as guest concertmaster of symphonies in Shreveport, Knoxville and Vancouver. Originally from Lansing, Michigan, Jayaraman received a bachelor’s degree from the Eastman School of Music studying with Charles Castleman and a master’s degree in Orchestral Performance from Manhattan School of Music where he studied with Glenn Dicterow, former concertmaster of the New York Philharmonic. Following a four-year fellowship with the New World Symphony, he earned an Artist Diploma in Concertmaster Studies at the Cleveland Institute of Music with Cleveland Orchestra Concertmaster, William Preucil. Jayaraman plays a modern violin built in 2005 by Roger Graham Hargrave.

Emma McGrath – December 31 / January 4, 5 & 6 Heralded as a “First-magnitude star in the making” by the Seattle Times, British violinist Emma McGrath made her London debut aged 10 in the Purcell Room and at 14 she performed Bruch’s Violin Concerto No. 1 in the Queen Elizabeth Hall with the London Philharmonic Orchestra, broadcast live on Classic FM. She has since performed as a soloist with numerous professional orchestras such as the Seattle Symphony, Royal Northern Sinfonia, Northern Chamber Orchestra, Manchester Camerata and the Tasmanian Symphony Orchestra, and has toured France, Belgium, the Czech Republic, Brunei, Malaysia, Hong Kong, China, Russia, Israel, Australia, the UK and the USA as a soloist and chamber musician. McGrath is currently the concertmaster of the Tasmanian Symphony Orchestra in Australia. Prior to this she was the associate concertmaster and acting concertmaster of the Seattle Symphony Orchestra and the assistant concertmaster of the Colorado Symphony Orchestra. She has been guest concertmaster of the BBC Symphony Orchestra and the BBC Philharmonic Orchestra, and will be a guest concertmaster of the Sydney Symphony Orchestra in 2018. She has also performed with the Chicago Symphony Orchestra and the Pittsburgh Symphony Orchestra and toured Australia and Japan with the Australian Chamber Orchestra. McGrath received her Bachelor of Music (honors) First Class from the Royal College of Music, where she received the Chamber Music Prize and her Master of Music and Artist Diploma from Carnegie Mellon University where she won the Concerto Competition and was awarded the Violin Prize twice. A multi-faceted musician, McGrath is also a professional singer, composer, folk musician and baroque violinist! When she is not making music, she enjoys hiking and travelling.

ENCORE 19

2 Independent Drive Jacksonville, FL 32202

BennysSteakandSeafood.com 904-301-1014 Family Owned and operated since 2003

– Benny’s proudly makes all sauces in house, from scratch. – Our steaks are Grade A, grass fed and hand carved in house. – Our seafood is always fresh and local. Present your Symphony concert ticket or mention this ad for a free bottle of house wine with purchase of two entrees. To-go and catering available @ bite squad Like us on Facebook!

Come for the view and you will return for our food! C o m e b y b o a t , d o c k f o r f r e e a n d e n j oy d o c k s i d e d e l i ve r y.

Discover The naTural choice in senior living active living is second nature at Westminster Woods on Julington creek. You’ll be happy with a lifestyle featuring lifelong learning and wellness opportunities, and enhanced by delightful dining options and hospitality services. enjoy a wide variety of spacious choices in villa homes and waterfront and garden apartments. no matter what choice you make, every residence comes with maintenance-free living and the assurance of healthcare and supportive services.

Call (877) 280-3594 for more information.

www.WestminsterWoodsFL.org

20 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

25 State Road 13, Jacksonville, FL 32259

SPECIAL PRESENTATION Saturday, November 25, 2017 l 7 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

Nathan Aspinall, conductor Jacksonville Symphony Chorus TWENTIETH CENTURY FOX Presents A JOHN HUGHES Production A CHRIS COLUMBUS Film

HOME ALONE MACAULAY CULKIN JOE PESCI DANIEL STERN JOHN HEARD and CATHERINE O’HARA Music by JOHN WILLIAMS

HOME ALONE Celebrating its 27th anniversary, Home Alone has entertained audiences around the world and has been a household holiday favorite since its premiere in 1990. The film features notable actors including John Heard, Joe Pesci and Catherine O’Hara, with the most memorable performance from young actor, Macaulay Culkin, playing the forgotten youngest sibling, Kevin McCallister. His character charmingly shines throughout the film as he is accidentally left at home while his family travels to spend their Christmas in Paris. While little Kevin is all alone, the film revolves around him exploring the freedom of having the house to himself as well as warding off two burglars attempting to break in on Christmas Eve.

Film Editor RAJA GOSNELL Production Designer JOHN MUTO Director of Photography JULIO MACAT Executive Producers MARK LEVINSON & SCOTT ROSENFELT and TARQUIN GOTCH Written and Produced by JOHN HUGHES Directed by CHRIS COLUMBUS Soundtrack Album Available on CBS Records, Cassettes and Compact Discs Color by DELUXE® Tonight’s program is a presentation of the complete film Home Alone with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. Film screening of Home Alone courtesy of Twentieth Century Fox. © 1990 Twentieth Century Fox Film Corporation. All Rights Reserved. PRI Productions is the Proud Event Production Partner of the Jacksonville Symphony. Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

Director of Harry Potter and the Sorcerer’s Stone, Mrs. Doubtfire and Rent, Chris Columbus first saw John Hughes’ script for Home Alone after the production of Uncle Buck, a movie that included Macaulay Culkin. Although his duty as a director required him to audition hundreds of other kids, Columbus was still most impressed with Culkin and offered him the role. In addition to the soon-to-be famous characters of the film, a memorable score was composed by five-time Academy Awardwinner John Williams. Not knowing Williams or ever working with him before, Columbus had originally hired composer Bruce Broughton to HOME ALONE (continued on next page) ENCORE 21

John Williams In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all eight Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief. His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse and Lincoln. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games. He has received five Academy Awards and fifty Oscar nominations, making him the Academy’s most-nominated living person and the secondmost nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twenty-three Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer. In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December, 1993, after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama, and in September 2009, the Boston Symphony premiered a new concerto for harp and orchestra entitled “On Willows and Birches.”

HOME ALONE (continued from previous page)

work on the score but Broughton had to cancel at the last minute. From there, he was able to contact Steven Spielberg who then referred him to Williams. Thinking Williams would not agree at first, Columbus showed him the film and was delighted he agreed to compose the score. Williams described writing the music as similar to composing for a cartoon as the action needed to sync with the music or else the on screen comedic performances would have less of an impact on the audience. Williams was also able to include traditional holiday songs such as “O Holy Night” and “Carol of the Bells” to further enhance the Christmas spirit of the film. Just in time for the 1990 holidays, Home Alone turned out to be the surprise hit of the season. The film garnered so much attention that it became the number one movie of the year and grossed 476.7 million dollars at the box office. Home Alone has now become a regular holiday film for audiences of all ages and has generated several sequels.

PRODUCTION CREDITS Home Alone in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Technical Director: Matt Yelton Supervising Technical Director: Mike Runice Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Home Alone has been adapted for live concert performance. With special thanks to: Twentieth Century Fox, Chris Columbus, David Newman, John Kulback, Julian Levin, Mark Graham and the musicians and staff of the Jacksonville Symphony.

22 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

Nathan Aspinall, conductor Nathan Aspinall is currently the associate conductor of the Jacksonville Symphony. Recent performances in this position have included Handel’s Messiah, Prokofiev’s Cinderella and a special event concert with organist Cameron Carpenter. Formerly, he 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. Aspinall studied French Horn and Conducting at the University of Queensland and upon graduation was awarded the Hugh Brandon Prize. In 2012 Aspinall 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 Sydney, Adelaide, Queensland and Tasmanian Symphony Orchestras. In addition he has conducted 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 2017-18 season, Aspinall will lead the Jacksonville Symphony in his second masterworks subscription appearance conducting Shostakovich Symphony No. 5 and Rachmaninov’s Third Piano Concerto with Behzod Abduraimov. As a guest conductor he will return to the Atlanta and Queensland Symphony Orchestras. Aspinall studied Orchestral Conducting with Hugh Wolff at New England Conservatory in Boston.

Red ed carpet service th throughout roughout the First Coast VIP Services • Meet and Greet • Bus Charters • City Tours • Dinner Charters • Handicap Services

Limousine & Transportation Services

Providing full service transportation between Jacksonville International Airport, all private airports in NE Florida, the Jacksonville Cruise Terminal and all major resorts and hotels from Amelia Island & Fernandina Beach to St. Augustine.

Service • Excellence • Luxury • Style • 24 Hours a Day, 7 Days a Week For reservations: 904-744-3333 • 800-456-5466 • www.danaslimo.com • jim@danaslimo.com ENCORE 23

24 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

MASTERWORKS SERIES

Friday & Saturday, December 1 & 2, 2017 l 8 pm Sunday, December 3, 2017 l 3 pm

that a short three-minute movement might well contain as much material as a large-scale symphonic poem by another composer.

“Insight” one hour prior to each Masterworks concert

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

GERMAN GIANTS Courtney Lewis, conductor Haskell Endowed Chair

Tai Murray, violin Arnold Five Pieces for Orchestra, Op. 16 (revised 1949) SCHOENBERG Vorgefühle (Premonitions) Vergangenes (Yesteryears) Farben (Colors) Peripetie (Peripetia) Das obligate Rezitativ (The Obligatory Recitative)

16:00

Felix Violin Concerto in E minor, Op. 64 MENDELSSOHN Allegro molto appassionato Andante Allegretto non troppo – Allegro molto vivace

26:00

~ Intermission ~ Ludwig von Symphony No. 3 in E-flat major, Op. 55, “Eroica” BEETHOVEN Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

20:00 47:00

PRI Productions is the Proud Event Production Partner of the Jacksonville Symphony. Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

PROGRAM NOTES By Steven Ledbetter

Arnold Schoenberg (1874-1951) Five Pieces for Orchestra, Op. 16 (revised 1949) Only once did Schoenberg experience a passing success in his native Vienna—in 1897, when his early string quartet in D was given its premiere. Never again in his lifetime did a Viennese audience applaud a new work of his. Two years later the organization that had programmed the string quartet refused to play his Verklärte Nacht on the grounds that it had a single “uncatalogued” dissonance. Despite the setback, Schoenberg kept pursuing his own line. Virtually selftaught in music, he was nonetheless a man of enormous intellectual force who could extract fruitful lessons in compositional procedure from the study of other composers’ masterworks.

In 1901 Schoenberg turned out a series of extraordinary works that marked the first stage of his musical revolution. He composed the Three Piano Pieces, Opus 11, the Five Orchestral Pieces, Opus 16 and the extraordinary “monodrama” Erwartung. The orchestral pieces were typical of the music of this period in their brevity. Indeed, Schoenberg found it difficult to write anything but short works in this style unless supported by a text. The harmonic plan of earlier music presupposed a certain length. Composers often used such “padding” as scales, arpeggios, or other filler in order to produce the required stretch of music in a given key for the proper architectural balance. But once the need for that kind of balance had passed, the composer could produce music that was vastly more dense and compressed than anything written before. Schoenberg’s music was so eventful

The Five Pieces for Orchestra represent Schoenberg’s first grappling with this new style on a large scale. He was determined to unify the work from beginning to end, deriving virtually every element of the music from the few ideas presented in the opening measures. The five movements of Opus 16 are brief. The emotional range is nonetheless extraordinarily wide. Schoenberg uses a large romantic orchestra, though he rarely calls for everyone to play together. Rather, the dramatic and wide variations of instrumental color—often with a few solo instruments at a time—reflect the great range of feeling in the piece. The first movement is relatively easy to follow, if only because it is built on an ostinato pattern which helps to focus the attention through the consistent bass motive. The second movement is perhaps the most popular because it is in some sense a bow to the past, a lyrical passage, still relatively tonal in its harmonic character. The third movement, “Colors,” is usually described as a chordal movement that slowly changes in harmony and timbre by substituting one note at a time in the complex chord with which it opens. Schoenberg himself implied this view by noting in the score that the changes of chord are to be handled with the greatest subtlety, “avoiding accentuation of entering instruments, so that only the difference in color becomes noticeable.” “Peripetia,” defined as a “sudden change of fortune, a sudden change of direction,” is the title that Schoenberg gave to the fourth movement, which is altogether more passionate than what has preceded it. The final movement of the set is in many respects the freest, avoiding normal patterns of formal organization, though built up of many of the same motivic ideas as the earlier four movements, with which it is closely linked. NOTES (continued on next page)

ENCORE 25

Fidelity National Financial Pops Series

New Year’s Eve ORCHESTRAL LUNACY December 31 – 9 pm

Times-Union Center for the Performing Arts

Sponsored in part by Arcus Capital Partners

Concert After-Party with the Chris Thomas Band Includes champagne, dessert, dancing and the best view of fireworks in town

$30 STANDARD

$50 VIP – RESERVED SEATING

$100 PREMIUM Also includes Breakfast Action Station and access to the VIP lounge on the mezzanine level with guest artist After-party prices do not include concert tickets. Concert tickets sold separately

9 0 4 . 3 5 4 . 5 5 4 7 | J a x S y m p h o n y. o r g NOTES (continued from previous page)

Felix Mendelssohn (1809-1847) Violin Concerto in E minor, Op. 64 Ferdinand David (1810-1873) was one of the most distinguished German violinists and teachers of his day. When the 27 year old Mendelssohn became director of the Gewandhaus concerts in Leipzig in 1836, he appointed David to the position of concertmaster. Relations were always cordial between composer and violinist, and their warmth was marked in a letter that Mendelssohn wrote to David on July 30, 1838, in which he commented, “I’d like to write a violin concerto for you next winter…” Yet Mendelssohn didn’t complete it for several years—not until he decided to shake off his wearying appointment at the court of Frederick William IV in Berlin. It wasn’t until July 1844 that he was able to work seriously on the concerto. On September 2 he reported to David that he would bring some new things for him; two weeks later the concerto was finished. It is, quite simply, one of the most original and attractive concertos ever written. The originality comes from the new ways Mendelssohn found to solve old formal problems of the concerto. First of all, the traditional concerto built its first

movement on a formal pattern that alternated statements by the full orchestra (ritornellos) with sections featuring the soloist. It was an effective device when the ritornellos were short summaries of the musical material and functioned like the pillars of a bridge to anchor the soloist’s free flight. But as first movements took on the shape of a symphonic sonata form, the orchestral ritornello got longer and longer. Mendelssohn takes the much more radical step of dispensing with the tutti ritornello entirely. He fuses the opening statement of orchestra and soloist into a single exposition. The soloist enters with the main theme after just two measures of orchestral “curtain.” The other problem of concerto form that Mendelssohn attacked in a new way is that of the cadenza. Normally, just before the end of the movement, the orchestra pauses on a chord that is the traditional signal for the soloist to take off on his own. Everything comes to a standstill while we admire the sheer virtuosity of the soloist. The problem is not quite so serious when the composer himself provides the cadenza, because it is then at least in an appropriate style. But there remains the absurdity of coming right up to the end of the movement and suddenly putting everything on hold.

26 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

Mendelssohn’s solution is simple and logical—and utterly unique. He writes his own cadenza for the first movement, but instead of making it an afterthought, he places it in the heart of the movement, where it completes the development and inaugurates the recapitulation! Finally, Mendelssohn was an innovator with his concertos by choosing to link all the movements together without a break, a pattern that had been used earlier in such atypical works as Weber’s Konzertstück for piano and orchestra. The smooth discourse of the first movement requires no highlighting. But it is worth pointing out one of the loveliest touches of orchestration at the arrival of the second theme. Just before the new key is reached, the solo violin soars up to high C and then floats gently downward to its very lowest note, as the clarinets and flutes sing the tranquil new melody. Mendelssohn’s lovely touch here is to use the solo instrument to supply the bass note, under the first phrase; it is an inversion of our normal expectations, and it works beautifully.

When the first movement comes to its vigorous conclusion, the first bassoon fails to cut off with the rest of the orchestra, but holds his note into what would normally be silence. The obvious intention here is to forestall intrusive applause after the first movement; Mendelssohn gradually came to believe that the various movements of a large work should be performed with as little pause as possible between them, and this was one way to do it. A few measures of modulation lead naturally to C major and the lyrical second movement, the character of which darkens only with the appearance of trumpets and timpani. Once again at the end of the movement there is only the briefest possible break; then the soloist and orchestral strings play a brief transition that allows a return to the key of E for the lively finale, one of those brilliantly light and fleetfooted examples of “fairy music” that Mendelssohn made so uniquely his own.

Ludwig van Beethoven

Bonaparte would have marked Beethoven as politically suspicious, so on publication in 1806, the work became Sinfonia eroica. Another imperfection played an increasing role in Beethoven’s consciousness in these years: the physical infirmity of deafness, of which the composer had been gradually becoming aware for some time. He first revealed the awful secret to two of his close friends in the summer of 1801. Although sometimes merry enough in this period, Beethoven suffered from wide emotional swings and at least once contemplated suicide.

Symphony No. 3 in E-flat, Op. 55, “Eroica” Rarely has any composition been so closely entwined with an anecdote about its composer’s life as Beethoven’s Eroica Symphony and the story of its intended dedication to Napoleon.

found out that his patron, Prince Lobkowitz, would be willing to pay a good fee for the dedication and six months’ performance rights. He then thought of titling the symphony “Bonaparte” but dedicating it to Lobkowitz. This was evidently the state of affairs in May 1804 when his friend, Ferdinand Ries brought the disconcerting news that Napoleon had declared himself emperor and (according to Ries’s account) tore up the title page in a fine dramatic gesture, rewriting it as “Sinfonia eroica.” Unfortunately, however accurate Ries’s recollection may be in the broad outline, it is mistaken in the final point: the title Eroica was not used until the parts were published over two years later. By 1805 war broke out again between Austria and France after a peace that had held since about 1800. A title like

The first movement of the Eroica has not one single theme that stands complete in and of itself. Things begin in a straightforward way but shade off immediately into doubt and ambiguity. The very first theme is Mozartean for its just eight notes. But Beethoven’s theme continues--and gets “caught” on its tenth note, a C-sharp not part of the home key. This C-sharp generates an unusually lengthy musical discourse to explain its meaning. The troublesome note appears in every conceivable context. In the exposition, it is a C-sharp; in the recapitulation it functions as a D-flat by moving down to C. After ending the recapitulation with a solid return in the home key of Eflat, the entire orchestra suddenly jumps to a loud D-flat chord. Beethoven makes of this a new developmental section of great breadth that finally leads triumphantly back to the E-flat. Only now, at the very end of the movement, do we hear the opening musical theme presented four successive times as a complete melody.

(1770-1827)

It appears that Beethoven admired the republican Napoleon, the hero of the French Revolution, and eventually came to despise the later Napoleon, the emperor and despot. Beethoven’s notion of dedicating a symphony to Napoleon, formed while he was writing the piece in the summer of 1803, had already begun to weaken by October when he

recapitulation remained roughly the same size, the development became the longest section of the movement; and the coda, far from being a perfunctory closing fanfare, was almost as long as the exposition.

In reaction to the devastating approach of deafness, Beethoven turned to creation; in fact he began an extraordinarily fertile period, one in which he composed most of the works that have generated our popular view of the composer. The first of these new and overpowering works was the Third Symphony. Early listeners were astonished by the symphony’s unusual length, almost twice as long as any written to that date. It is rare to find a musical composition that is suddenly twice as long as its immediate predecessors. In earlier classical symphonies, the lion’s share of the time is allotted to laying out the main thematic ideas and the tension inherent in their key relationships (this is the “exposition”) and the resolution of those tensions (the “recapitulation”). The development section, which comes in between and takes the musical discourse through a series of modulations ultimately returning to the home key, was usually shorter, and the concluding coda, which simply reaffirmed the home key, would be shorter still. In the Eroica, these proportions underwent a dramatic change. Although the exposition and

The Adagio assai generated heated discussion as to the appropriateness of including a funeral march in a symphony. No attentive listener can fail to be moved by the shattering final measures in which the dark march theme returns for the last time, a convincing demonstration of the power inherent in the music of silence. Beethoven’s comment upon hearing of the death of Napoleon in 1821 is well known: “I have already written the music for that catastrophe.” The scherzo’s whirlwind of activity scarcely ceases for a moment. All suggestion of the traditional third-movement menuetto vanishes before a torrent of rushing notes and irregular phrases. The last movement builds a set of variations from a tune taken from Beethoven’s ballet The Creatures of Prometheus. The finale starts out as nothing more than a cheerful little tune varied in charming and characteristic ways. The conclusion, with virtuosic outbursts in the horns and energetic fanfares for the full orchestra loses nothing in the way of rousing excitement, no matter how many times we hear it. © Steven Ledbetter (www.stevenledbetter.com)

ENCORE 27

Tai Murray, violin An inspiring talent with a silky and sweet tone from even the highest registers of her instrument, impeccable intonation, dexterity, subtlety yet always vigorous and dramatic, the well-schooled and hugely musical Tai Murray has become an essential personality in today’s classical musical world. A former BBC young generation artist, member of the Marlboro Festival and of Lincoln Center’s Chamber Music Society, she gave her London Proms Debut during the summer of 2016 with the BBC National Orchestra of Wales and Thomas Sondergard. Living between New York and Berlin, Tai has been heard on stages such as the Barbican, Queen Elisabeth and London Royal Albert Hall, aside orchestras such as Chicago Symphony, Atlanta Symphony, BBC Symphony Orchestra, Manchester BBC Philharmonic Orchestra, BBC Scottish Symphony Orchestra, BBC National Orchestra of Wales and Royal Liverpool Philharmonic. In Germany, she was invited to play by the Philharmonic Staatsorchester of Mainz, the Göttinger Symphonie Orchester and Düsseldorfer Symphoniker, and has toured with the Brandenburger Symphoniker and the Niederrheinische Sinfoniker. Tai Murray’s critically acclaimed debut recording for harmonia mundi of Ysaye’s six sonatas for solo violin was released in February 2012. Her second recording with works by American Composers of the 20th was released in November 2013 by the Berlin-based label eaSonus and her third disc with Bernstein’s Serenade in 2014 by the French label mirare.

28 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

INSIGHT Get the scoop on the music! One hour prior to each Florida Blue Masterworks Series concert

Join Music Director Courtney Lewis and other Masterworks guest conductors in Robert E. Jacoby Symphony Hall to hear their insight on the program. An open, low-key 15 to 25 minute presentation including question and answer time will provide the opportunity to learn more about the fantastic works performed by the Jacksonville Symphony. Guest artists often join the conductor to give their vision of the works to be presented. Insight is a new angle on the concert experience. You’ll never listen to the music the same way after hearing Insight. So come early, grab a seat and hear what the experts have to say.

INSIGHT

is sponsored by

Gain even more “Insight”

View video program notes before you arrive and learn even more about the music.

CONNECT WITH THE JACKSONVILLE SYMPHONY Get inside information about our events and share your experiences!

/jaxsymphony

jaxsymphony

llow us

phony

@jaxsymphony

#jaxsymphony

@jaxsymphony

#jaxsymphony

@jaxsymphony

#jaxsymphony

/jaxsymphony

#jaxsymphony

like / comment / tag / follow / share

BE A CATALYST FOR MUSIC! M E M B E R S H I P AT A G L A N C E

JaxSymphony.org/Donate

Make a contribution that will be a catalyst for the music you love, and receive a full year of benefits and privileges.

Join one of our giving programs and receive a year of benefits: ANNUAL FUND MEMBERSHIP Enhance your community and your experience with a year of insider privileges, invitations and more perks as a Member.

CONDUCTOR’S CLUB Connect with the Symphony’s most passionate and generous supporters as a member of the Conductor’s Club.

PRESIDENT’S COUNCIL

$2,500

$5,000

$10,000

$25,000

$1,000

$500

$250

• • • • • •

$150

• • • • • •

$75

• • • • • •

2 2 4 4 4 4 4 4 4

• • • • • • • • • • • • • • • • • • • • • • • • • 2 2 2 2 2 2 2 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • •

$75 Trio $150 Quartet $250 Ensemble

$500 Player’s Circle $1,000 Concertmaster’s Circle

$2,500 Conductor’s Club Silver

$5,000 Conductor’s Club Gold

$10,000 Conductor’s Club Platinum

Philanthropists in the President’s Council make leadership commitments of at least $25,000 annually, and receive benefits and recognition that are tailored to their interests.

• • • • • • • • • • • • • • • • • •

GIVING LEVELS

$25,000 President’s Council

MEMBERSHIP BENEFITS AT-A-GLANCE CONCERT PRIVILEGES Early access to Listen Up Chamber Concert Tickets 10% off all single tickets 2 one-time passes to Florence N. Davis Gallery intermission receptions Complimentary tickets to all Listen Up Chamber Concerts Intermission receptions at all subscription concerts VIP Ticketing Concierge Complimentary Valet Parking SPECIAL EVENTS – TICKETS AND INVITATIONS TO EXCLUSIVE DONOR EVENTS Donor Appreciation Concert Tickets Sound Bites Open Rehearsals Premium Evening Open Rehearsals Donor Appreciation Season Announcement Breakfast Major/Minor Concert Tickets Post-concert artist meet and greets On-stage Rehearsals EXTRA PERKS AND RECOGNITION Donor-exclusive CD recording Recognition in Encore program book Advance invitation to Annual Gala Invitation to travel with the Symphony Symphony Association voting member status Host a group of 25 or more at a private open rehearsal Complimentary lunch at all Sound Bites events Concert dedication evening for up to 8 guests Receive a CD signed by one guest artist of your choice Tailored recognition, access and privileges

ENCORE 31

AUGUSTINE ASSET MANAGEMENT CONGRATULATES THE JACKSONVILLE

SYMPHONY

ON A SEASON OF GREAT PERFORMANCES.

SKILLFUL INVESTING IS OUR FORTE. THE

SCALE OF YOUR

SUCCESS IS THE MEASURE OF OURS.

GLOBAL 1551 ATLANTIC BOULEVARD, JACKSONVILLE, FL 32207 (904) 396-6944

AUGUSTINEASSET.COM

AND FIXED INCOME INVESTMENTS FOR PRIVATE CLIENTS AND INSTITUTIONS.

ONE THING IS CERTAIN IN THE FINANCIAL WORLD. The Chartered Financial Analyst® designation is a trusted mark of integrity in today’s financial world. With its rigorous focus on investment knowledge, analytical skill, and ethical conduct, no credential is more highly regarded in the financial industry. CFA Society Jacksonville is a community of investment professionals who promote the ethical and professional standards set by CFA Institute. To learn more about the CFA® designation and CFA Society Jacksonville, visit www.cfasociety.org/jacksonville or contact us at info@jacksonville.cfasociety.org ©2012 CFA Institute. CFA®, CFA Institute® and Chartered Financial Analyst® are registered trademarks of CFA Institute in many countries around the world.

32 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

EQUITY

COFFEE SERIES POPS SERIES What Makes Your Holiday Sing?

Pops Series: Thursday, December 7, 2017 l 7:30 pm Friday, December 8, 2017 l 8 pm Saturday, December 9, 2017 l 3 pm & 8 pm Sunday, December 10, 2017 l 3 pm Coffee Series: Friday, December 8, 2017 | 11 am

Everyone has their favorite holiday music. Some like the traditional carols, some wouldn’t think of celebrating without attending a performance of Handel’s Messiah and others like the more modern music that has been built around family experiences.

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

HOLIDAY POPS

Nathan Aspinall, conductor Caitlin McKechney, mezzo-soprano John Dooley, baritone Jacksonville Symphony Chorus* Bethel Church Choir* Douglas Anderson School of the Arts Dancers Melodica Men 44:00 ANDERSON Christmas Festival TABOUROT/arr. Rutter Ding Dong Merrily on High * TCHAIKOVSKY Selections from The Nutcracker Pas de deux Trepak Arr. Biegel Hanukah Fantasy * BERLIN White Christmas HANDEL “For Unto Us a Child is Born” from Messiah * TCHAIKOVSKY From The Nutcracker Waltz of the Flowers ANDERSON Sleigh Ride ADAM O Holy Night

~ Intermission ~

HUMPERDINCK Overture from Hansel and Gretel Arr. Hankewich Kickin’ Kringle * BERNARD/arr. Prince Winter Wonderland RUTTER Angel’s Carol * COOTS/arr. Mann Santa Claus is Comin’ to Town Arr. Tyzik The Twelve Gifts of Christmas FINNEGAN Christmas Singalong * Not on Coffee Series Concert

Coffee series concert sponsored in part by Westminster Woods on Julington Creek Pops series concerts presented by

Support is provided by: The Jess & Brewster J. Durkee Foundation

The Coffee Concert is hosted by the Jacksonville Symphony Guild. Coffee and tea are provided by Martin Coffee Company, Inc.

Whatever your preference, Holiday Pops has something for you. This year’s event is packed full of special guests including guest vocalists Caitlin McKechney and John Dooley as well as the Jacksonville Symphony Chorus! Accompanying them will be dancers from Douglas Anderson Schools of the Arts Dance and Theater program with a show-stopping appearance by the Bethel Church Choir. And don’t forget the finale will include Jacksonville’s one and only guaranteed snowfall!

20:00 44:00

Highlights of this year’s performance include: • The arrangement of Hanukah Festival by Jeffrey Biegel featuring the Jacksonville Symphony Chorus. The piece highlights well-known Hanukah melodies that you’ll be sure to sing-a-long with! • It wouldn’t be the holidays without the classics. Throughout the evening you’ll hear some of your favorites from the timeless sound of White Christmas to the always fun Santa Claus Is Comin’ to Town. HOLIDAY (continued on next page)

ENCORE 33

HOLIDAY (continued from previous page)

Delfeayo Marsalis

Brasil Guitar Duo

Backtrack Vocals

freD Moyer

fire & Grace

rajeeV taranatH

9.29.17

1.12.18

Huntertones

3.16.18

We couldn’t have a holiday concert without Tchaikovsky’s The Nutcracker. Ironically, the first performance of this ballet in 1892 was not a success but since the 1960’s The Nutcracker has been part of many families’ Christmas traditions. December 15, 16 & 17 the Symphony will present the First Coast Nutcracker with Jacksonville Symphony’s Deanna Tham as conductor and Rhonda Stampalia as choreographer.

•

And how could we go through the holidays without hearing that horse whinny and slapstick in Leroy Anderson’s Sleigh Ride. Do you hear “those sleigh bells jingle-ing, ring-ting tingle-ing, too?”

•

You definitely do not want to miss the continually entertaining duo Melodica Men in their rendition of your holiday favorites including Winter Wonderland. Featuring the Jacksonville Symphony’s Tristan Clarke and pianist/composer Joe Buono, it’s a performance sure to put a smile on your face!

12.8.17

4.6.18

The 2017-2018 season Tickets are on Sale noW! Contact us for more information

www.rfaajax.org • 904-389-6222

5.4.18

10.20.17

•

34 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

Caitlin McKechney, mezzo-soprano “Powerhouse mezzo” (The Chicago Reader) Caitlin McKechney is quickly making a name for herself as a dynamic singing actress. McKechney’s 2017 season proved quite varied, spanning from the title role in Offenbach’s La Perichole with Tacoma Opera (described as “marvelous, a lush mezzo with low notes like pools of water and just the right mix of long-suffering and flirty...” News Tribune) to playing guitar and belting out U2 at the Bucks County Center for the Performing Arts for Frank McCourt’s The Irish and How They Got That Way. McKechney returns to Tacoma Opera and the title role in Carmen in February of 2018. McKechney also starred in the title role in Peter Brook’s Tragedie de Carmen with Opera Memphis, for which she was hailed by John W. Sparks of the Commercial Appeal for her “captivating vocals and powerful expressions that flash with mischief, anger, joy, confidence and sadness, vividly showing vulnerability and intelligence.” Other credits include Hydrogen Jukebox with Nashville Opera, Maddalena with Opera Memphis and Opera Connecticut, Inez Serrano in Andy Vores’s operatic treatment of Sartre’s existential masterpiece No Exit and Suzuki in Puccini’s Madame Butterfly with Florida Grand Opera. Also well versed in musical theater and operetta, McKechney has been seen as Sarah Brown in Guys and Dolls, Lilli Vanessi in Kiss Me Kate, the Witch in Into the Woods and Tessa in The Gondoliers. In addition to opera and theater, McKechney performs with her “band,” The Opera Cowgirls.

John Dooley, baritone John Dooley has been praised by the The Wall Street Journal as “a warm, supple baritone.” He is an outstanding crossover singer whose opera talent equals his flair for musical theater. In the 2017-2018 season, Dooley returns to Opera Theater of Connecticut as Sharpless in Madama Butterfly. He sees notable debuts with the Jacksonville Symphony in their Holiday Pops concert and Chattanooga Symphony & Opera for the Luke Holdings Pops Series celebrating Maestro Bob Bernhardt’s 25th Anniversary. He will also debut the role of Carl Magnus in Sondheim’s A Little Night Music with Alamo City Opera. The 2016-17 season brought debuts with Pittsburgh Opera in a workshop performance of Sonenberg’s The Summer King, The Florida Orchestra in a Gilbert & Sullivan Coffee Concert under the baton of Stuart Malina, soloist in Handel’s Messiah with the Wilmington Choral Society and Valentine’s Day Concerts with Opera Wilmington and Carmel Country Club. Dooley returned to Amarillo Opera as William Clark in Mager’s Dream of the Pacific and to First Coast Opera as Yamadori in Madama Butterfly, Learned Judge in Trial By Jury and Hans Christian Anderson in The Trail of B.B. Wolf. He also returned to the Sanibel Music Festival as soloist in the concerts An Evening with the Gershwin Brothers and Fantastic French Composers.

Melodica Men What started off as two guys playing toy instruments for fun is now an internationally-acclaimed musical duo. Tristan Clarke and Joe Buono became friends while studying music at the Peabody Conservatory, and they have been playing melodica together since May 2016. A melodica is like a cross between a keyboard and a harmonica because you have to blow air into it to make the reeds inside vibrate. In July 2016, the Melodica Men funded their tour of Seattle and Paris by busking in the street. In September 2016, their “Rite of Spring” video went viral and gained over 1.5 million views in one day. In December 2016, they played their solo debut with the Jacksonville Symphony at the Holiday Pops concert series. Since then, the Melodica Men have been featured on ABC’s “The Gong Show” and seen on NBC’s “America’s Got Talent.” You can find the Melodica Men on Facebook, YouTube and Instagram. Tristan is a graduate of the Juilliard School and plays principal trumpet with the Jacksonville Symphony. Joe has earned two Masters degrees from the Peabody Conservatory and is currently teaching and composing. The duo also designs and sells their own melodicas! For more information check out http://www.melodicamen.com/. ENCORE 35

Express Yourself! Fill your retirement with fun and provide security for your life! Draw, swim, exercise, dance, sing, laugh, or play an instrument. Discover what Glenmoor residents already know. A host of activities from fitness to the arts, giving you the most exciting, joyful and fulfilling experience you can imagine. Discover a new you at Glenmoor.

Pickleball

Glenmoor PlayReaders

Outing at the Cummer

Schedule a personal presentation at Glenmoor to learn how a Life Plan Community will enhance your overall well-being and expand your independent living longevity!

To learn more or schedule a personal tour, please call 904-940-4800.

www.glenmoor.com

235 Towerview Drive, St. Augustine, FL 32092

About the 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.

This season the chorus will participate in several performances including Fauré’s Requiem, Holiday Pops and the final Masterworks performance, Twilight of the Gods.

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.

“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 33rd 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.

Jacksonville Symphony Chorus Donald McCullough, Director, Tom Zimmerman Endowed Chair • Jill Weisblatt, Chorus Manager William Adams B. David Avery Deborah Baker Jerrye Baker Susan Baker Stan Ballenger Carole Vanderhoef Banks Alla Bartosh May Beattie Jessica Bergstol Taylor Boice Elizabeth Bricknell Louise Brooks Dorothy Jean Bush Rita Cannon Charles Carroll Kenneth Chin Estelle Chisholm Dale Choate Melody Choate Sandy Clarke Susan Connors Bradley Corner Nancy Crookshank Julie Cross Katherine S. Crowell

Jane Daugherty Julie Davis Tracy Davis Alyce Decker Marissa Dickerson Stephanie Doerr Jeffrey Elledge Gregory Fisher, Jr. Kate Flint Brian Ganan Veronica Gibson Bonnie Goldsmith David L. Groth Michele Hale Robert Hall Carol Heckrotte Wayne Heckrotte Deborrah Hoag Mike Hodges Dennis Holt Kathy Hunt Ryan Justice Kiki Karpen Matthew Kelly William Kolb Charl Kuhlmann

Ken Kutch Lena Leon de Lahaye Ginger Lindberg Melissa H. Lumsden Mark Macco Linda MacLeod Jim Maher Walter Mattingly Sarah Elizabeth McAlhany Marianne McAlhany James McGuffin Kate Medill Osvaldo Medina Patricia Medlock Bill Meisel Janet Metcalf Barbara H. Miller Molly Miller Kenneth Mixon Libby Montgomery John Morrow Sevella Mostella Tom Nesbitt Christina Ng Ben Norman Sally Offen

John Owen Jane Palmer R. Hugh Patterson Rosina Paul Anne Petersen John Petersen David Pierson Deborah Pierson Laura Jane Pittman Kelsey Potratz Carolyn Price Vickie Prince John Pugh Nancy Purcell Bob Quinby Amy Quinn Mark Reasoner Timothy Redding Nancy Lammert Redfern Wynn Redmon Caitlin Regan Patti Robertson Karl Rogers Robert Roth Kim Rowland Anne Julie Ruvane

John Ruvane Jen Schlechte Jeffrey Schroer Keith Schroyer Rebecca Seekatz Jennifer Serotta Kara Shidemantle Jermaine Smith Janet Snell Sharon Snow Laura Stephenson Richard Sykes Hugh Tobias Sheri Van Orden Eileen Ward Billy Ware Jerri Lea Ware Jill Weisblatt John Weitzel Cindy Wohl Peter Wynkoop Sam Young

ENCORE 37

Douglas Anderson School of the Arts Dance Theater Choreography by Rhonda Stampalia

“Kickin’ Kringle” Caitlyn Savage with Claudia Ancelin, Liana Cliff, Sydney Connor, Colleen Faherty, Mikell Graf, Hope Jones, Kearstyn Junifer, Grace Leeper, Kelly Liddicoat, Gracie Mixon, Isabella Pineda, Briley Rowan, and Reece Weaver

Private Lessons on ALL Instruments for ALL Ages and ALL Levels of Ability

Community Band • Orchestra • Jazz Band Instrumental • Vocal • Keyboard Faculty: Jacksonville Symphony Members and College Music Professors

“Santa Claus is Comin’ to Town” Destinee Bouldin, Colleen Faherty, Mikell Graf, Hope Jones, Grace Leeper, Kelly Liddicoat, Simone Matchett, Gracie Mixon, Caitlyn Savage and Amanda Trujillo

S AT U R D AY, M A R C H 1 0 , 2 0 1 8

More information available at JaxSymphony.org

With the Jacksonville Symphony

Philanthropic Outreach Project

~Philip Pan, Former Jacksonville Symphony Concertmaster

Daily’s Place Symphony Series

38 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

“Northeast Florida Conservatory is the most comprehensive music school in our community.”

Laura’s Friends We offer free music lessons/classes to the disadvantaged in our community and have introduced music into the lives of children and students at Daniel Kids, Girls Inc., The Bridge of NE Florida and many public schools in the Duval County School System.

NEW PRODUCTION! December 1-17 (Fridays, Saturdays & Sundays)

All tickets only $20! Purchase Tickets Online:

ShowTixNow.com All performances at

The Conservatory

11363 San Jose Blvd., Bldg. 200 COMING IN 2018!

Member

My Fair Lady

March 16-20, 2018

904.374.8639

www.nfconservatory.org NE Conservatory is a non-profit 501(C)(3)

Like us follow uson /jaxsymphony

@jaxsymphony

#jaxsymphony

Trying to find the perfect Holiday gift? Look no further! c The Crazy Ar

LEGENDS

16 Fri: 7pm FEB 17 Sat: 7pm

2 Fri: 8pm MAR 3 Sat: 8pm

23 Fri: 8pm MAR 24 Sat: 8pm

The NY Times called Raiders, ‘’…one of the most deliriously funny, ingenious and stylish American adventure movies ever made.” From the incredible minds of Steven Spielberg and George Lucas, now you and the whole family can see it like never before with John Williams’ score played live with the film.

“…show stealer Ms. [Storm] Large is sensational. What came out was personality plus.” NY Times

She’s sung for presidents, at the EMMYs, Lincoln Center and Carnegie Hall. N’Kenge returns to the Symphony to bring you the songs of African-American greats including Billie Holiday, Diana Ross, Leontyne Price, Beyoncé and more. Don’t miss this celebrated singer who was recently nominated as Best Lead Actress in a Musical for Elton John’s Aida.

Love

DIANA ROSS, BILLIE HOLIDAY, BEYONCÉ AND MORE

FILM WITH ORCHESTRA

FEB

MAR

Michael Krajewski, conductor Storm Large, vocalist

Do not miss it when the fabulous and sometimes controversial Storm Large joins the Symphony and Principal Pops Conductor Michael Krajewski for a night of classic songs of romance. Enjoy the excitement and mystery of love.

MAR

Nathan Aspinall, conductor N’Kenge, vocalist

Fidelity National Financial POPS SERIES

Reserve your seats today!

904.354.5547

JaxSymphony.org

EDUCATION AND COMMUNITY ENGAGEMENT SOUND INVESTMENT PROGRAM Music in the Schools (Elementary School)

Musicians from the Jacksonville Symphony visit schools throughout Northeast Florida introduce smaller ensembles (quartets/quintets) and integrate music with a variety of grade-appropriate curricula.

Music in the Schools (Middle and High School)

The new Jacksonville Symphony Chamber Orchestra provides students with a unique program for a smaller orchestra which is not traditionally seen in concert halls. Visiting middle and high schools throughout the region, this ensemble uses music to create cross-curricular connections.

Family Concerts (Infants-Age 10)

Musical classics and creative storytelling are sure to engage and enthrall children of all ages. Add to this concert experience by attending FREE pre-concert activities designed specifically for the theme of each concert. Activities include crafts, games and the Instrument Zoo presented by the Jacksonville Symphony Guild. Family concerts are used to establish a foundation for learning, reading and/or storytelling. This is essential in creating successful students, and ultimately, successful adults and an educated work force. Designed for children ages 4-10, these concerts now include age-appropriate activities, privacy areas and a relaxed environment to welcome infants and toddlers to create a fun experience for the entire family to learn and listen together.

Mayo Clinic Community Concerts (All Ages)

With a promise of making musical accessible to all, the Jacksonville Symphony provides free concerts throughout the community.

JACKSONVILLE SYMPHONY’S SOUND INVESTMENT PROGRAM

SPONSORED BY THE J. WAYNE AND DELORES BARR WEAVER MUSIC EDUCATION ENDOWMENT Sponsored in part by: Woodcock Foundation for the Appreciation of the Arts, Enterprise Holdings Foundation, Carl S. Swisher Foundation and Edna Sproull Williams Foundation

FIELD TRIPS Youth Concerts (Elementary School)

Each fall (Preludes), winter (Nutcracker) and spring (Young People’s Concerts), elementary school students attend a 45-minute concert featuring the full Jacksonville Symphony at Jacoby Symphony Hall. Educator classroom guides and supporting material maximize the impact of the experience for the child.

Students at the Symphony (Middle and High School)

Students at the Symphony is a concert-going experience that provides FREE tickets to students and their families for select Jacksonville Symphony Masterworks and Pops concerts via school partnerships. Pre-concert workshops and activities with Symphony Teaching Artists teach students about the orchestra and connect content of each performance to general elements of musical knowledge, allowing students to make cross-curricular connections. Sponsored in part by: DuBow Family Foundation, Downtown Council of the Jacksonville Chamber of Commerce and Wells Fargo

40 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

SPECIAL PRESENTATION Saturday, December 16, 2017 l 8 pm Sunday, December 17, 2017 l 3 pm

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.

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

HANDEL’S MESSIAH

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”

Nathan Aspinall, conductor Emily Birsan, soprano Amanda Crider, mezzo-soprano Jason Ferrante, tenor Craig Irvin, baritone Jacksonville Symphony Chorus

An Oratorio in Three Parts by George Frideric Handel

Part 1 The Advent of the Messiah

57:00

~ Intermission ~

20:00

Part II The Passion of Christ

46:00

Part III His Resurrection

26:00

Sponsored in part by PRI Productions is the Proud Event Production Partner of the Jacksonville Symphony. Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

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, l ike 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.

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. 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. 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.” MESSIAH (continued on next page) ENCORE 41

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.

MESSIAH (continued from previous page)

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) “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)

After their angry rant, the mob abandons Jesus and leaves him alone and helpless. The tenor sings; 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. Part Two ends with the ecstatic chorus Hallelujah. Hallelujah: for the Lord God Omnipotent reigneth. (Revelation 19: 6) 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 standat 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)

42 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

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.

It’s a l u f r e d n o W Life! Fidelity National Financial, Inc. – Community and Business Leader

Fidelity National Financial, Inc. (NYSE:FNF) is a leading provider of title insurance, technology and transaction services to the real estate and mortgage industries, headquartered in Jacksonville, FL. Recognized as an industry leader and ranked #293 on the 2017 Fortune 500, FNF has remained a viable employer and contributor within our local community and in all 50 states for over 30 years. Guided by the highest ethical standards of conduct and a long legacy of service, the FNF family of companies and its thousands of employees nationwide provide a wealth of time, talent and financial support to hundreds of charitable, community, educational and civic causes, including the Jacksonville Symphony.

DEC

Sat: 7pm

IT’S A WONDERFUL LIFE FILM WITH ORCHESTRA Featuring the Jacksonville Symphony Chorus “Some movies can be viewed an indefinite number of times. They improve with familiarity. It’s a Wonderful Life falls into that category.” So said Roger Ebert. See Frank Capra’s and Jimmy Stewart’s favorite film with its wonderful score played live by the Symphony.

Reserve your seats today! 904.354.5547 JaxSymphony.org

About Fidelity National Financial, Inc. Fidelity National Financial, Inc. (NYSE:FNF) is a leading provider of title insurance, technology and transaction services to the real estate and mortgage industries. FNF is the nation’s largest title insurance company through its title insurance underwriters - Fidelity National Title, Chicago Title, Commonwealth Land Title, Alamo Title and National Title of New York - that collectively issue more title insurance policies than any other title company in the United States. FNF is also dedicated to building, innovating, and improving the ability of any size real estate firm to run effectively and efficiently through its industry-leading real estate technology solutions from CINC (Commissions, Inc.) and Real Geeks. More information about FNF can be found at www.fnf.com.

ENCORE 43

Emily Birsan, soprano American soprano Emily Birsan is a critically acclaimed recitalist and well known for her prominent interpretations of concert and operatic repertoire. 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. The 2017-2018 season includes joining the Liverpool Symphony for a concert of Gershwin tunes, Violetta in La Traviata with Indianapolis Opera, Handel’s Messiah with the Jacksonville Symphony and Mahler’s Symphony No. 4 with the Rochester Philharmonic Orchestra. Recently, Birsan returned to the Lyric Opera of Chicago as the Italian Singer in Capriccio, Leila in The Pearl Fishers with Florida Grand Opera and Anne Trulove in A Rake’s Progress with the Edinburgh International Festival, among others. Her critically acclaimed performances on the concert stage included Elgar with the Bergen Philharmonic in Norway, Verdi and Puccini with the Knoxville Symphony and, most recently, her Carnegie Hall debut with Mozart Mass in C minor. An alumna of the Lyric Opera of Chicago’s Ryan Opera Center, Birsan has been critically acclaimed as Servillia in La Clemenza di Tito, Xenia in Boris Godunov and the Sandman in Hansel and Gretel.

Amanda Crider, mezzo-soprano American mezzo-soprano Amanda Crider is quickly gaining recognition for her extraordinary musicality and assured dramatic presence. In the 2016-2017 season, she made her debut with Boston Lyric Opera as Doreen in Gree, joined Apollo’s Fire for Handel’s Messiah and the Southwest Michigan Symphony for Beethoven’s Ninth Symphony. Engagements for 2017-2018 include singing in recital with the 5 Boroughs Music Festival, Alma in Persona with the LA Opera and in Handel’s Messiah with the Jacksonville Symphony. Recent operatic highlights include her return to Eugene Opera as Olga in Eugene Onegin, debuts with Florentine Opera as Prince Orlovsky in Die Fledermaus and with the Castleton Festival as Zerlina in Don Giovanni. Concert appearances include a series of concerts with Seraphic Fire and Handel’s Messiah with Augustana College. Crider will join the New World Symphony for de Falla’s El amor brujo, the Carnegie Mellon Philharmonic for Mozart’s Requiem and concerts with the Winter Park Bach Festival and Master Chorale of South Florida. In recent seasons, Crider made debuts with Dallas Opera in La traviata, Opera Omaha in La cambiale di matrimonio, Eugene Opera in Nixon in China and Zerlina in Nevada Opera’s Don Giovanni. A former young artist, she sang Cherubino in Le nozze di Figaro and Mallika in Lakmé with Florida Grand Opera to great acclaim.

Jason Ferrante, tenor Opera News praises tenor Jason Ferrante for “singing up a stylish storm” and for getting “the gold star for trills.” In the 2017-2018 season, Ferrante creates the role of Little Victor Farrell in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree with Opera Philadelphia. He will repeat Little Victor for his debut with Chicago Opera Theater, then debut with Nashville Opera as Little Bat in Susannah. Last season, Ferrante debuted with Opera Philadelphia as Don Basilio/ Don Curzio in Le nozze di Figaro and returned to Arizona Opera as Goro in Madama Butterfly. On the international stage, Ferrante made his European debut at Teatro Comunale di Bologna as Beadle Bamford in Sweeney Todd. He was the Tenor Ghost in Corigliano’s The Ghosts of Versailles with the Wexford Festival and sang Pong in Turandot under the baton of Lorin Maazel in the grand opening of the Zaha Hadid-designed opera house in Guangzhou, China. Other operatic career highlights include King Ouf in L’etoile at New York City Opera, Tavannes in Les Huguenots and Basile in Le roi malgré lui at Bard Summerscape. Ferrante has also appeared as Jacquino in Fidelio with Opera Boston and Don Basilio in Le nozze di Figaro with Atlanta Opera, Eugene Opera, Berkshire Opera, Dayton Opera and the Orlando Philharmonic. 44 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

Craig Irvin, baritone

2018 Season: Year of the Piano 5 Great Piano Performances… Plus Much More! Yefim Bronfman

Internationally renowned pianist

January 16

Hailed by Opera News for his “rich, resonant baritone” Craig Irvin brings a vibrant sound and commitment to character to each role he portrays. Last season saw the revival of his Lt. Horstmayer in Silent Night for Atlanta Opera, his role debut as Macbeth with LoftOpera and Escamillo in Carmen with Fort Worth Opera. Other recent engagements include debuts with Sarasota Opera as Marcello in La bohème and Anchorage Opera in the title role of The Mikado as well as his return to Utah Opera as Count Almaviva in Mozart’s Le nozze di Figaro. In the 2017–2018 season, Irvin returns to the Canadian Opera Company for their production of Arabella and to Utah Opera in Jake Heggie’s Moby Dick. Additional upcoming engagements include his Wexford debut in Dinner at Eight and Silent Night with Austin Opera.

Twin Headliners Chick Corea

Legendary jazz pianist

January 19

Gil Shaham, violin virtuoso February 15 Garrick Ohlsson, piano great March 4 Dover Quartet, our Quartet-in-Residence March 18, April 8 Grascals, Grammy-nominated bluegrass band April 15, 16, 17

Tickets On Sale:

September 1: for headliners: donors of $500 and above September 15: for headliners: donors at $100-$499 October 1: All concerts to general public

www.aicmf.com or 904-261-1779 for complete information about our 2018 season

Appearances with Minnesota Opera include Peter in Hänsel und Gretel, Mandryka in Arabella, and Lt. Horstmayer in the world premiere of Kevin Puts’ Silent Night, a role he has since reprised with debuts with Fort Worth Opera, Cincinnati Opera and the Lyric Opera of Kansas City. Irvin made his role and company debut with Wolf Trap Opera as the Villains in The Tales of Hoffman and was invited to return in 2012 as Leporello in Don Giovanni. While in residence with Lyric Opera of Chicago’s Ryan Opera Center, Irvin was seen as Angelotti in Tosca, Zuniga in Carmen and Theseus in A Midsummer Night’s Dream, to name a few.

ENCORE 45

Accredited and Medicare certified, Aging True Community Senior Services, a non-profit organization, is happy to provide services that ensure the continuity of care coordination for our clients and their families.

Our services include:

Home Health Care •

Caregiver Support •

Personal and In-Home Care •

Nutrition Services Many of our services are subsidized, private pay and insurance.

For more information on our programs please contact us:

904.807.1203

A g i n g Tr u e . o r g ACHC Accredited. License @299993139

Proud Sponsor

OF THE JACKSONVILLE SYMPHONY

Public Sponsors and Support

Healthier TOGETHER.

Florida Blue is proud to work alongside the Jacksonville Symphony. With a long-term commitment to the people we serve, together we will reach our goal of helping people and communities achieve better health. 877-352-5830 floridablue.com

and the Department of State, Division of Cultural Affairs, the Florida Council of Arts and Culture and the State of Florida.

Florida Blue is a trade name of Blue Cross and Blue Shield of Florida Inc., an Independent 90383-0917 Licensee of the Blue Cross and Blue Shield Association.

46 90383-0917 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018 FBLPN_Jax Symphony ad.indd 1

Jacksonville Symphony Association is funded in part by the Cultural Council of Greater Jacksonville and the City of Jacksonville

8/31/17 9:25 AM

YOUTH ORCHESTRAS SERIES Monday, December 18, 2017 l 7 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

JSYO HOLIDAY CONCERT Deanna Tham, conductor

Foundation Strings

FSCJ/Clay County – Naira Cola/ Rose Francis, conductors

Traditional Hebrew Song/ arr. Deborah Maker Monday Spanish Folk Song/arr. Bob Lipton W.A Mozart/arr. Douglas E. Wagner

Song of Peace

Richard Meyer

Bach Country Fiddles

Catalonian Dance Country Dance

Encore Strings

Helen Morin, conductor

Premier Strings

Helen Morin, conductor

Repertory Orchestra

Deanna Tham, conductor

Traditional Spanish Carol/arr. Michael Story Scott Watson Brian Balmages Traditional/arr. Michael Hopkins David Bobrowitz Ian David Coleman Eddie Pola/arr. Wyle/Cerulli Hugh Martin/arr. Blane/Cerulli Bill Holcombe Leroy Anderson/arr. Bullock

Fum, Fum, Fum Dreidl Adventure Rhythmic Snapshots of Christmas

Carol of the Bells Holiday of Hanukah Overture Christmastide – from A Christmas Tritych

It’s the Most Wonderful Time of the Year Have Yourself A Merry Little Christmas Festive Sounds of Hanukah Leroy Anderson Favorites

~ Intermission ~ Philharmonic

Leroy Anderson John Williams

Deanna Tham, conductor

A Christmas Festival Harry Potter and the Sorcerer’s Stone

there are six ensembles that 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 Symphony’s Jacoby Symphony Hall during the season as well as the annual Major/Minor concert which this year 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 their orchestra’s accompaniment. The Jacksonville Symphony and the JSYO also perform free community engagement concerts, both in Jacoby Symphony Hall and at various First Coast locations. This season, the JSYO Philharmonic will participate in their first-ever tour to the Los Angeles International Music Festival where they will perform at the Walt Disney Concert Hall.

The JSYO ensembles are as follows: Jump Start Strings beginner string students

Presented by:

Foundation Strings advancing beginner string students

Support provided in part by: PGA TOUR, Inc.

Cummer Family Foundation • Rice Family Foundation • Rowe Charitable Foundation PRI Productions is the Proud Event Production Partner of the Jacksonville Symphony. Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

About the Jacksonville Symphony Youth Orchestras The Jacksonville Symphony Youth Orchestras (JSYO) are Northeast Florida’s premiere developmental orchestral ensembles. Last season, the JSYO served more than 400 young musicians ages 7-21, who were admitted through competitive auditions. Through the in-depth study of classical repertoire, each orchestra improves its musical skills and understanding at both the individual student level and the ensemble level. In all,

Encore Strings intermediate string students Premier Strings advancing intermediate string students Repertory Orchestra intermediate to advancing full orchestra Philharmonic advanced/pre-conservatory full orchestra

ENCORE 47

Deanna Tham Assistant Conductor and JSYO Principal Conductor 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 and assistant conductor of the Chicago Sinfonietta. 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, studying with Maestro Carl Topilow. While in Cleveland, she produced, programmed and directed a revolutionary cross-sensual concert experience with the International Culinary Arts and Sciences Institute combining taste and sound.

Support for JSYO is provided in part by: Deutsche Bank EverBank Cummer Family Foundation Rice Family Foundation Rowe Chariitable Foundation PGA TOUR Smoller Scholarship Fund Publix Super Markets Charities Florida State College at Jacksonville

Previously, Tham was the music director of the American Chamber Orchestra. Her work with the company includes a groundbreaking, semi-staged version of Mendelssohn’s Elijah and Mozart’s Don Giovanni, staged in English. During her time with the company she worked with many talented musicians, including those who sang with the Lyric Opera of Chicago. She made great strides making the company a strong presence in the Chicago area and has sold recordings of her work with the company on iTunes. Tham has been a conducting fellow at the C.W. Post Chamber Music Festival working with Dr. Susan Deaver, the musicians of the Pierrot Consort and the talented youth of the festival orchestra. There, she was the recipient of the festival conducting award. 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. Her work with the festival has been featured on National Public Radio as well as American Public Media. In 2015, she was the recipient of the Wintergreen Summer Music Academy Conductor’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. 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.

JSYO Special Programs Above all, the JSYO is committed to enriching the Jacksonville community through music education. Need-based scholarships are available for qualified young musicians in all JSYO ensembles. In addition to scholarship opportunities, the JSYO is offering three new Special Programs to advanced students that are aimed to not only help compensate for tour-related fees, but to provide educational and professional experience. The programs include: Arts Administration Assistantship Students will explore the fundamentals of running an arts organization throughout the various administrative departments of the Symphony. Honors Chamber Music Fellowship Gives selected students a 10-month, career building opportunity to perform chamber music of the highest level throughout Northeast Florida while also providing entrepreneurial skills. Orchestra Librarian Apprenticeship Students will work alongside the Jacksonville Symphony’s principal librarian to prepare all music used in a symphony orchestra rehearsal and performance. For more information visit JaxSymphony.org/jsyo. 48 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

Helen Morin, Conductor, Encore Strings and Premier Strings Helen Morin earned a Master of Music in Violin Performance with Lucia Lin at Boston University and holds a Bachelor of Music in Violin from Trinity College of Music, London, where she studied with John Crawford. Prior to her studies in the United States, she performed in Europe with the Britten Peers Orchestra, the Fine Arts Sinfonia of London, and as Concertmaster of the Trinity Sinfonia. Morin has been a guest artist at the Dartington International Music Festival, performed at the Brevard Music Festival, and toured Europe with the Birmingham Philharmonic Orchestra. She has performed at the London Festival Hall, St. Martin-in-the-Fields, Queens House Greenwich, Old Royal Naval College Chapel and St. Johns Square. She is a recipient of the Cavatina Trust Award and the Licentiate Trinity College London Teaching Diploma (qualifying her to teach at university level in the United Kingdom.) While in Massachusetts, she led the Civic Symphony Orchestra, MetroWest Orchestra and spent five seasons as a first violinist with the Plymouth Philharmonic Orchestra. She was a featured artist in the Rimscha Concert Series and director of the Hopkinton String Program. Since moving to St. Augustine in September 2010, Morin has substituted on several occasions for the Jacksonville Symphony, freelances with local chamber orchestras in St. Augustine as well as in the Jacksonville area and has a private violin studio. She is a member of the Georgia Coastal Symphony and has performed as part of the St. Augustine Music Festival Orchestra. She currently teaches music at R.B. Hunt Elementary School in St. Augustine, where she has established an after school strings program, now in its fifth year, in the St. Johns County School District.

David Song, Conductor, FSCJ Jump Start Strings A native of Jeon-Ju, South Korea, violinist David Hwan-Min Song began studying the violin at the age of 10. He received his training at the Jeonju Fine Arts Middle School under Seung-Gu Baek before immigrating to the United States in 2002. Since then, he has performed extensively as an orchestral, chamber and solo violinist. In 2003, Song made his solo debut with the Southwest Florida Youth Orchestra and has also appeared as a soloist with the Southwest Symphony Orchestra. Additionally, Song was featured as a soloist on NPR’s program From the Top, performing with pianist Christopher O’Riley. In 2005, he was selected to perform with the London Symphony during the Florida International Festival in Daytona Beach, Florida. In April 2011, Song was a featured guest soloist performing Pablo de Sarasate’s Carmen Fantasy as First Prize Winner of the Southwest Florida Symphony Young Artist Competition. Song was a full scholarship student of the internationally renowned Routa Kroumovitch-Gomez at Stetson University, where he received a Bachelor of Music in Violin Performance. He was also a scholarship student of Dr. Bruce Berg at Baylor University where he pursued a Masters of Music in Violin Performance. Song currently serves as an assistant principal violin in the Savannah Philharmonic and the 2017/2018 season will be his first as an assistant conductor for the Jacksonville Symphony Youth Orchestras. He also performs with the Jacksonville Symphony, the Coastal Symphony of Georgia, the Orlando Philharmonic and the Southwest Florida Symphony.

ENCORE 49

JAN

SAT

JAN

2 0 1 7 - 2 0 1 8 SEE A S O N Gift Certificates available

28 SUN

Royal philharmonic orchestra

London

helsingborg symphony

SWEDEN

Pinchas Zukerman, CONDUCTOR & VIOLIN Nareh Arghamanyan, PIANO

madamA butterfly 10 Puccini’s TEATRO LIRICO D'EUROPA FEB SAT

FEB

SEASON

Fri

Staatskapelle weimar orchestra GERMANY Vadym Kholodenko, PIANO

2013 Van Cliburn Gold Medal Winner

Symphony 25 Jacksonville Behzod Abduraimov, piano FEB SUN

MAR

Tickets On Sale Now, 11/1/2017 4:31 PM Page 1

04 SUN

017-18_Layout 1 including discounts

national symphony orchestra of cuba Pavel Nersessian, piano

PEABODY AUDITORIUM

for more information call for students, families, change verbiage pitch back to 9.5 AND change header pitch back to 11 Volusia County Schools 386.253.2901 or visit dbss.org employees, and military. In Harmony With Your Real Estate Needs!

Privacy and Beautiful Landscaping

Once In A Lifetime Opportunity

On A High Bluff On the St. Johns River

Across the street from the St. Johns River is this four bedroom, two full and one half bath home built in the midst of a camellia and fern nursery. Features formal living and dining rooms, family room with fireplace, spacious owner’s suite and bath with separate dressing and bathing areas, plus much more. $479,900

The views from this magnificently updated Villa are of the formal gardens and marina of the Epping Forest Yacht & Country Club! History was made here and you can watch it continue in this three bedroom, three bath condo that has been renovated with care and custom craftsmanship. $815,000

This three bedroom, three bath home features a huge great room with fireplace and wet bar, formal dining room and one of the most spacious kitchens ever! Detached temperature controlled wine room. Large paver patio overlooks sweeping lawn, sparkling infinity pool and the river beyond. $1,590,000

the Legends of real estate, REALTORS®

50 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

Linda McMorrow (904) 626-9900

Selby Kaiser (904) 626-8800

8777 San Jose Blvd. Suite 903 Jacksonville, FL 32217 www.SellingLegends.com

JSYO ASSISTANT CONDUCTORS John Wieland, Conductor, Woodland Acres Jump Start Strings and Foundation Strings John Wieland, principal bass for the Jacksonville Symphony, has assumed additional duties as assistant conductor for the Jacksonville Symphony Youth Orchestras in charge of Jump Start Strings and Foundation Strings at Woodland Acres and North Shore Elementary Schools. Prior to joining the Jacksonville Symphony, Wieland was principal bass of the Virginia and Oklahoma Symphonies, as well as the Orquesta Sinfonica de Mineria in Mexico City and the Colorado Music Festival in Boulder Colorado. His bachelor’s degree is from the New School of Music in Philadelphia (now part of Temple University) and included studies with Michael Shahan (Associate Principal Bass/Philadelphia Orchestra) and (the late) William Smith (Assistant Conductor/ Keyboard/Philadelphia Orchestra). Additional teachers include Eugene Levinson/Principal/New York Philharmonic and (the late) H.Stevens Brewster/Principal of the National Symphony. An avid educator, he has taught students from age three up to the university level. He has held faculty positions at the University of Central Oklahoma, Langston University, Bethune-Cookman University and Stetson University. His many former students teach all over North and Central America and many play professionally around the world.

Naira Cola, Conductor, Clay County Foundation Strings Violinist Naira Cola has been playing with the Jacksonville Symphony since 2012. Cola was born and raised in Pensacola, Florida, and her upbringing was filled with jazz, gospel and soul music. She studied at the Mannes College of Music under the tutelage of Sally Thomas and Dr. Ann Setzer before attending New York University and the Juilliard School for her graduate and post graduate studies. Over the course of her career, Cola has received numerous accolades for her unique artistry, including winning the Doris Kahn Concerto Competition, being a semi-finalist in the National Sphinx Competition and being awarded the Artist Award from the New York Foundation for the Arts. As a soloist, she has been featured on NPR radio, WUWF Classic radio and WEAR TV. She has also toured with Ensemble Du Monde chamber orchestra. Cola has served as an artist in residence for the Sphinx Performance Academy, Queens Borough Community College and the Noel Pointer School of Music, where she became the artistic director. She works each summer as the artistic director of the Four Strings Academy in Lexington, MA. As a pedagogue and advocate for arts education, she has instructed hundreds of students in Brooklyn and throughout the New York Metropolitan area.

Rose Francis, Conductor, FSCJ Foundation Strings Rose Francis was born in Los Angeles, California and raised in Brevard County, Florida where she began her violin studies from a young age. She holds an undergraduate degree in Music Education where she studied violin under Dr. Simon Shiao and a Master of Music Performance in Conducting under the direction of Dr. Gordon Brock from the University of North Florida. Francis participated in master classes with the Ying String Quartet (violin), UNF Conducting Symposium participant with Eugene Corporon and was recently a conducting fellow with the Saratoga Orchestra for the Pacific North West Conducting Institute workshop with Diane Wittry and Dr. Anna Edwards. She has served as string orchestra director at Pine Forest Magnet School of the Arts since 2012, where she developed and cultivated a full-time string program for the entire school population with instruction including violin, viola, cello and bass. Francis teaches upper strings techniques and pedagogy as an adjunct professor at University of North Florida since 2016. She has served as the assistant conductor of the Civic Orchestra of Jacksonville from the beginning of its inaugural season in the fall of 2016. She develops educational outreach materials for multiple organizations throughout Jacksonville. Francis is an advocate for string education and an emerging leader in the field. ENCORE 51

JSYO Repertory Orchestra

JSYO Foundation Strings

Deanna Tham, conductor

Violin Carolyn Chen Augustina Cole Franchesca Dalugdug Ethan Das Caleb Feng Kismet Field Katherine Gabriel Megan Graham Sarah Guo Gerald Huang Jihae Kim Michael Kim Rohini Kumar William Li Audrey Lindsay Rachael Lovejoy Nora Menon Songhan Pang Audrey Plauche Eden Rewa James Robinson Willmott

Alexander Roes Elise Russu Sarah-Iyuna Spencer Pilar Thorn Leila Warren Viola Russell Greco Nathan Oyler Cello Christina Bucher LaRyn Fagan Sam Iturra Natalie Taunton Nicholas Willie Double Bass Chris Cavaliere Peter Goricki Flute Rebecca Bohlender Ainsley Elgin

JSYO Premier Strings Helen Morin, conductor

Violin Seth Arcenas Brea Armstrong Tiffany Black Brianna Borbely Jack Camp Rebekah Chun Ana Francisca Docuyanan Madison Fagan Katherine Graham Addison Hassler Claire Huang Stella Hyatt Anna Grace Keller Paul Kim Victoria Locklin Likhita Manchikanti Matthew Miel Gabriel Miel Alerice Milagrosa Gahyun Park Julia Peiris Erica Plauche Alyssa Ramesh Tayana Rich Amanda Robinson Mary Clare Stinneford

Ronak Venkata Natalie Watson Mihajla Wickham Enoch Xiao Ethan Xiao Viola Joshua Manuel Jairen Neil-Blake Janel Neil-Blake Aditya Singh Cello Kyle Bae Jack Gallishaw Ryan Gear Finley Petchauer Sina Wegerer-Jones

Emily Kelsey Grace Seitz Oboe Dominik Klemetsrud Treston Lawson Katie Zabawa Clarinet Aidan Chau Theresa Le Ansley McNeese Hunter Robertson Bass Clarinet Cordelia Ciuk Aidan Pedersen Alex Tun Bassoon Brandon Boyle

Trumpet Toby Chau Gavin Rapelye Joseph Stancil Horn Owen Burow Claire Groulx Anna Leach Lillian Weller Trombone Ethan Halligan Alex Karstedt Tuba Willie Batista Percussion Connor Parish Harp Lina Leyhausen Leeann Watson

JSYO Encore Strings

Helen Morin, conductor Violin Priya Adimula Aislin Alexander Varsini Balamurugan William Bell Tiffany Black Madeleine Callan Nikitha Chintala Ankitha Chintala Caiden Church Emily Caitlyn Docuyanan Jadah Foltz Ashley Fuentes Todd Gaines Taina Garcia Bruce Holley Jacob Holyer Sophia Ivec Faith Keister Christian Kim Christine Kim David Kim Keller Krieger Jace Lim Aleydis Lockwood Charlie Lu Abbygale Monroe Edmund Ng Kai Nguyen Abigail Okey Khobe Pierre Arianna Rahmathulla

52 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

Emaad Rahmathulla Gavin Sawyer Chinmay Shandilya Amelia Snodgrass Aden Speight Rodriguez Sebastian Thorn Timur Tiryakioglu Emma Waidner Mihajla Wickham Viola Raquel Abril Justin Berger Talina Fuentes Bryce Hamilton Anna Jones Cello Lyanne Claudio Amaya Gray Neriah Holley Thomas Karvounis Double Bass Christina Jones Aden Speight Rodriguez Sebastian Thorn Timur Tiryakioglu Emma Waidner Mihajla Wickham

Naira Cola, conductor Rose Francis, conductor

Violin Massimo Ariano Ayesha Avril* Tyler Bradley Shulamite Brukh Skylar Davis Audrey Deans Andrew Dodge* William Gabriel Aarav Gandhi Ravi Ghose Samantha Greenaway Herold Guillaume Jada Laird* Allena Locklear* Julia-Elizabeth Marquez* Kerrington Marshall Elianah Merwin* Luciana Morin Kailyn Myers Giavanna Nagy Amelia O’Neill* Chloe O’Neill* Mary Patterson Aiden Ramirez* Phaedra Smith* Cate Taylor

Timothy Tedder Piper Van Tassel* Kevin Watson Michael White Hadley Woodall Brady Zupansic Viola Brianna Bailey* Louisa Holyer Yash Singh Patrik Youmans Cello Alani Austin Farhad Bagirov Isabella Dominguez Kile Keene Kamoria Pighee Madison Tedder Cameron Westcott Double Bass Liam McNew Megan Palacios * Denotes JSYO Clay

Symphony OurSG AD 2017.qxp_blank half 8/22/17 1

JSYO Philharmonic

Deanna Tham, conductor Violin Saejin Albright Arianna Arcenas Noah Arcenas Cameron Black Lilah Dees Glen Dizon Lexi Feng Katherine Harland Laura Harrington Gabrielle Keller Anastasia Letkemann Ariel Lockley Fiona Lockley Nicole Lukens Mira Menon Benjamin Model Joseph Petchauer Sadie Pichelmann Dolaine Qian Jessica Rinosa Oona Roberts Daniel Savo Katie Seitz Selin Tiryakioglu Maxwell VanHoeij Max Warren Charles Woo

Cello Andrew Angelo Hannah Budd Nathan Ealum Noah Hays Alejandro Ochoa Darren Wang Matthew Zabatta

Viola Armando Atanda Breanna Lang Aditi Shandilya Kaitlyn Thornton

Bass Clarinet Shelby DeVore Chris Nelson

Double Bass Kieran Elwood Peter Goricki Flute Alyse Ellenburg Hanna Kissinger Alexandra McGuire Gabi Park Oboe Jacob Hutchinson Mackenzie Ki Mathew Rowell Clarinet Michael Jenkins Jenna Wolbers Frank Lukens

Bassoon Skye Sisco Sam Watson Horn Adam Agonoy Paola Colon Michael Flanagan Amanda Friedman Trumpet Carson Brite Allison Jenkins Rachel Katrinic Trombone Alexis Potter Mason Wheeler Ian Wolff Tuba Bryce Pierce Percussion Anastasia Imeson Lucas Johnson Emma Lasswell Harp Isabelle Scott Leeann Watson Piano/Keyboard Joseph Petchauer

OUR SENIORS GUIDE is a FREE Resource: Retirement, Care & In-Home Care Options, as well as Services & Benefits to Which You are Entitled! FREE at CVS and Hundreds of Physicians offices all over NE Florida! 904.655.2130 www.OurSeniorsGuide.com info@OurSeniorsGuide.com

Enjoy the Show! Proud Supporter of the Jacksonville Symphony.

Roasters and Blenders of Fine Coffee Since 1957 Martin Coffee Company 1633 Marshall Street / Jacksonville, FL 32206

9 04 . 35 5 . 966 1

www. m ar t i ncoffe e. com ENCORE 53

Your table is ready.

Experience the local flavors of Jacksonville at Julietteâ&#x20AC;&#x2122;s Restaurant. Located in the Omni Jacksonville Hotel, enjoy pre-show dinner or post-show dessert. Or relax with a refreshing cocktail at J Bar. 904-355-6664 â&#x20AC;˘ omnihotels.com/jacksonville

SPECIAL PRESENTATION Friday, December 22, 2017 l 7 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

IT’S A WONDERFUL LIFE FILM WITH ORCHESTRA Jeffrey Schindler, conductor

Jacksonville Symphony Chorus

Dimitry TIOMKIN Act I 1:03:00 ~ Intermission ~ 20:00 Known as a versatile conductor, Schindler Act II 1:07:00 Directed by Frank Capra Produced by Frank Capra Written by Frances Goodrich, Albert Hackett, Frank Capra Starring: James Stewart Donna Reed Lionel Barrymore Thomas Mitchell Henry Travers Beulah Bondi Ward Bond Frank Faylen Gloria Grahame Music by Dimitri Tiomkin Cinematography by Joseph F. Biroc and Joseph Walker Edited by William Hornbeck Produced by Liberty Films Distributed by RKO Radio Pictures / Paramount Pictures

Sponsored in part by: PRI Productions is the Proud Event Production Partner of the Jacksonville Symphony. Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

has conducted world-renowned orchestras across the globe. He has appeared with the London Symphony Orchestra, Sydney Symphony Orchestra at the Sydney Opera House, Seattle Symphony, Pacific Symphony, Nashville Symphony, San Diego Symphony, Colorado Symphony, Calgary Philharmonic Orchestra, Symphony Silicon Valley, Fort Wayne Philharmonic, Orquesta Filarmónica de Santiago, Orquesta Filarmónica de Puerto Rico, Czech Philharmonic, London Session Orchestra, The Strauss Orchestra of Montreal, Orquesta Internacional de Las Artes in Mexico City and the AISOI Symphony Orchestra in Australia. Schindler is one of the only conductors leading concerts of live orchestra to film who has conducted A-list Hollywood motion pictures in the original studio recordings, and is in high demand among film composers. He has led the sessions for many international feature film and television projects including X-men: Apocalypse, X-men: Days of Future Past, Jack the Giant Slayer, The Wolfman, Astroboy, How Stella Got Her Groove Back, Temple Grandin, Four Christmases, Bernard and Doris, Anchorman, Talladega Nights, Hollywood Homicide and the most successful documentary of all time: the Academy-Award winning March of the Penguins.

Jeffrey Schindler, conductor Conductor Jeffrey Schindler enjoys a dynamic international career that takes him from concert podiums around the world to the scoring stages of Hollywood, to the recording studios of London. Whether leading symphonic works of the masters, multi-million dollar film scores, or cutting edge contemporary and commercial music, Schindler’s energy and visionary musical storytelling are hallmarks of every performance. Schindler’s artistry melds imaginative and illuminating performances with expressive and powerful technique, impeccable scholarship and vibrant energy.

ENCORE 55

Leaders in Proton Therapy Effective and Protective

Hooked on

CLASSICS k

MENDELSSOHN MUSSORGSKY TCHAIKOVSKY SMETANA DVOŘÁK

Nathan Aspinall, conductor

Sat

Research shows Proton Therapy can improve your quality of life in the treatment of these and many other cancers:

JAN 13 8pm

Lazzara Performance Hall Breast Cancer Reduced risk of future heart disease & heart attack

University of North Florida

Lung Cancer Spares heart, esophagus & spinal cord from radiation Prostate Cancer Lower risk of developing ED & incontinence Head and Neck Cancer Preserves vocal cords, taste & salivary function

Giving you the best potential for a cure.. I-295 & San Jose Blvd.

56 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

904.354.5547 JaxSymphony.org See page 69 for complete concert information. This event is not sponsored by The University of North Florida

Innovative Print Management Solutions

www.drummondpress.com

TigerLily Media is proud to support the Jacksonville Symphonyâ&#x20AC;&#x2122;s 2017-2018 season.

FILM + TV + BROADCAST + MUSIC VIDEOS + BRANDED CONTENT + ANIMATION www.tigerlilymedia.com

ENCORE 57

POPS SERIES Tomáš Kubínek

Sunday, December 31, 2017 l 9 pm

Certified Lunatic and Master of the Impossible

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

NEW YEAR’S EVE CELEBRATION

ORCHESTRAL LUNACY

Tomáš Kubínek with The Jacksonville Symphony Timothy Hankewich, conductor Tomáš Kubínek, performance artist

Orchestral Lunacy Act I

GLINKA

Overture to Ruslan and Lyudmila

ROSSINI/arr. Hankewich

Overture to The Thieving Magpie

DVOŘÁK/arr. Shanley

Slavonic Dance No. 1 Pitch-Pipe/Harmonica Call/Response with Orchestra

VERDI/arr. Hankewich

“Caro nome” from Rigoletto

MOZART/arr. Shanley

March from The Marriage of Figaro

BROWN/arr. Shanley

Pagan Love Song

DVOŘÁK

Slavonic Dance No. 1

55:00

With a childhood start in show-business, Kubínek’s performing adventures over the years have included elephant kidnappings, serpenthandling and descending from tall buildings dangling by a rope. Working with 80 classically trained musicians – though no small feat – is par for the course. With his solo vaudevillian performances Kubínek has appeared in over 30 countries in theaters, opera houses, international festivals of theatre and humor, in television specials and on Broadway. In the past few years his travels have included performances at the First International Congress of Fools in Moscow, tours to packed theaters in over 40 cities across Italy and a sold-out run at London’s Royal Festival Hall Purcell Theater.

BACH Concerto in D minor for Two Violins II. Largo: ma non tanto

~ Intermission ~

20:00

Orchestral Lunacy Act II

50:00

OFFENBACH

Tempo di marcia & Mazurka from Gaîte Parisìenne

BUCALOSS/arr. Shanley

The Grasshoppers’ Dance

BROOKS/arr. Shanley

The Darktown Strutters’ Ball

BIZET

Danse Bohème from Carmen

ROSSINI

Overture to William Tell

CHAPMAN/arr. Shanley

I Love an Orchestra

Tomáš Kubínek - (toh-mawsh koo-bee-neck), was born in Prague and at the age of three emigrated with his family to Canada after the Soviet invasion of Czechoslovakia.

Perhaps his most illustrious collaboration to date is the one you will witness this evening. ORCHESTRAL LUNACY was commissioned by The University of Iowa’s Hancher Auditorium and had its premiere tour with Orchestra Iowa and Maestro Timothy Hankewich. The program has since played with other orchestras throughout North America and recently had a boisterous 5-night run in Italy with the Orchestra of Messina. Kubínek is a guest artist with the International Human Rights Foundation and performed this past year at the Oslo Freedom Forum during the presentation of the Václav Havel Prize for Creative Dissent. His own awards include; The Moers Comedy Prize from The International Comedy Arts Festival in Germany, The Schneestern Award from the International Festival of Humor in Arosa, Switzerland and The Samuel Beckett Theatre Award from The Dublin Theater Festival in Ireland. For more information please visit www.kubinek.com.

ENCORE 59

Timothy Hankewich, conductor

SAVING is a

beautiful thing ®

Famous brands you know at prices

you’ll love

The 2017-2018 season marks Timothy Hankewich’s twelfth year as the music director of Orchestra Iowa. His recent guest appearances have included performances in Canada with the Victoria Symphony and throughout the Czech Republic and Slovakia with the Moravian Philharmonic and the Slovak State Orchestra. Last season, Maestro Hankewich made his debut leading the Hamilton Philharmonic (Canada) and the Jacksonville Symphony. In September of 2014, Orchestra Iowa under Hankewich’s direction released its first ever commercial recording featuring composer Michael Daugherty’s American Gothic. Prior to his position with Orchestra Iowa, Hankewich served as the resident conductor of the Kansas City Symphony for seven years and held earlier staff conducting positions with the Oregon Symphony, Indianapolis Symphony and the Evansville Philharmonic. In 1997, Hankewich won the prestigious Aspen Conducting award, which helped launch his career and opened the door to many guest appearances with orchestras throughout North America and abroad. Hankewich is a native of Dawson Creek, British Columbia and is married to his wife Jill, a pharmacist. He holds Bachelor and Master of Music degrees from the University of Alberta, as well as a Doctor of Music from Indiana University.

Roosevelt | Mandarin | Lakewood | Beaches Harbour Village | Baymeadows

SteinMart.com | 1-888-SteinMart 60 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

saturday,

december 16th

2:00 and 5:00pm

with guest artists “ChoRuss” from St. Petersburg, Russia

For tickets, visit

JaxChildrensChorus.org

hendricks avenue baptist church funded in

or call 353-1636

media sponsor:

part by:

Enter drawing to win a Peterbrooke holiday basket at each show! And visit the Peterbrooke Table in the lobby.

APR 13/14 8PM FIDELITY NATIONAL FINANCIAL POPS SERIES

904.354.5547 JaxSymphony.org

We know Jacksonville.

Times-Union is a name you can trust. 1 Riverside Avenue Jacksonville, FL 32202

904.359.4318 jacksonville.com

We have built our business on a commitment to truth and fair-dealing, and we take very seriously our role in the community as the arbiter of truth, and the protector of our democracy. The trust we have earned is a privilege and we work continuously to keep and nurture that trust. We’re committed to pushing the conversation of Jacksonville’s growth forward at every turn.

ENCORE 61

Prelude Chamber Music Camp Prelude Chamber Music is THE PREMIER summer MUSIC camp and festival in northeast Florida with the most years of camp experience, the most outstanding teachers, and the best all-around musical experiences for students of all ages and abilities! We offer chamber music coaching and performances throughout the year, as well as in the summer. We work with Duval County Public Schools, area colleges, and other music schools to supplement their school instruction. For our camp, we provide generous scholarships as needed, and all our concerts and special events during camp are free and open to the community.

Follow us on Facebook or go to our website PreludeChamberMusic.org for the latest news and details on our 17th camp season, which will be June 3-10, 2018! Applications will be online in January, 2018. Registration deadline is April 3, 2018. Prelude Chamber Music, Inc. is a 501C3 non-profit organization. We gratefully accept donations on our web site to help us provide camp scholarships and expand our offerings! 62 JAXSYMPHONY.ORG â&#x20AC;&#x201C; NOVEMBER 2017 â&#x20AC;&#x201C; JANUARY 2018

SYMPHONY IN 60 SERIES MASTERWORKS SERIES

Symphony in 60 Series: Thursday, January 4, 2018 l 6:30 pm Masterworks Series: Friday & Saturday, January 5 & 6, 2018 l 8 pm

PROGRAM NOTES By Steven Ledbetter

“Insight” one hour prior to each Masterworks concert

Robert Schumann (1810-1856)

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

Regency Centers Symphony in 60 Series

Overture to Manfred, Op. 115

THE INEXTINGUISHABLE Courtney Lewis, conductor Haskell Endowed Chair

Carl NIELSEN Symphony No. 4, Op. 29, “The Inextinguishable” Allegro Poco allegretto Poco adagio quasi andant Allegro

36:00

Florida Blue Masterworks Series

TCHAIKOVSKY’S PIANO CONCERTO Courtney Lewis, conductor Haskell Endowed Chair

Zhang Zuo, piano Robert SCHUMANN

Overture to Manfred, Op. 115

Piotr Ilyich Piano Concerto No. 1 in B-flat minor, Op.23 TCHAIKOVSKY Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco

~ Intermission ~

Carl NIELSEN Symphony No. 4, Op. 29, “The Inextinguishable” Allegro Poco allegretto Poco adagio quasi andante Allegro Masterworks Series concerts sponsored in part by David and Ann Hicks

Students at the Symphony is supported in part by: PRI Productions is the Proud Event Production Partner of the Jacksonville Symphony. Dana’s Limousine is the official transportation of the Jacksonville Symphony. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.

12:00 32:00

20:00 36:00

Like so many romantic composers whose temperament was fundamentally undramatic, Schumann longed to write a successful opera. He did complete a full-scale opera called Genoveva in 1848, but the work, for all its many musical beauties, was theatrically stillborn. But Genoveva was by no means his only approach to dramatic writing. Soon after completing it, he turned to one of the most influential of Romantic poets, Lord Byron, to produce a musical setting of his poetic drama Manfred. Byron’s play was written in 1816-17 after its 28-year-old poet had heard an oral recitation of Goethe’s Faust and found himself inspired by the image of a seeker, a striver, who never achieves contentment. But Byron’s romantic language struck Schumann in the aftermath of the sudden death, just eight months earlier, of his good friend Felix Mendelssohn. He read Byron’s play on July 29, 1848 and within a week he began preparing an adaptation of the text for musical purposes, though not of opera. He kept much of the spoken dialogue, alternating it with fifteen brief musical numbers. It was finally performed in June 1852, only because of the generous championing of Franz Liszt, who directed the performance in Weimar. The hybrid nature of the work has prevented it from having many performances, but the overture has long been regarded as one of Schumann’s finest orchestral achievements. The fast chords, played off the beat and suggesting a headlong rush, begin the piece, only to turn suddenly to a slow introduction with an intensely chromatic line and unstable harmonies. A few bars later, a melody in the violins anticipates what will be the main theme of the Allegro. The dark E-flat minor key and the intense thematic development both contribute to the success of this overture in capturing the personality of Byron’s anti-hero. SCHUMANN (continued on page 63) ENCORE 63

Fine Arts at Episcopal School of Jacksonville

Arts are essential part of an Episcopal education. Eight disciplines allow students to explore, perform and share their talents under the guidance of faculty and staff who are all professional artists. GRADES 6-12

4455 ATLANTIC BOULEVARD

JACKSONVILLE, FLORIDA 32207

EPISCOPAL SCHOOL of JACKSONVILLE

ADMISSIONS@ESJ.ORG

ESJ.ORG

Present this ad to your server and enjoy: ONE FREE CRAFT COCKTAIL Buy one cocktail & get a second one of equal or lesser value. OR ONE FREE DESSERT Buy one dessert & get a second one of equal or lesser value.

JS1718 SAN MARCO SQ.

398.3005

TAVERNA.RESTAURANT

64 tav1727-symphonyBOGOad-v1.indd JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018 1

8/21/17 4:42 PM

SCHUMANN (continued from page 61)

An ending that restates the dark opening music rounds off the work musically even as it signals defeat for the principle character.

Pyotr Ilyich Tchaikovsky (1840-1893) Piano Concerto No. 1 in B-flat minor, Op. 23

Nikolay Rubinstein, director of the Moscow Conservatory from its founding in 1866 to his death in 1881, was a younger brother of Tchaikovsky’s teacher Anton Rubinstein, then quite well known as a composer. Both Rubinstein brothers thought very highly of the young Tchaikovsky, and Nikolay actually conducted the premieres of a great many of his works. Tchaikovsky certainly planned his first piano concerto especially for Nikolay, intending that he should receive the dedication and play the solo part in the first performance.

review praising Tchaikovsky’s music. Von Bülow happily accepted the dedication and prepared to premiere the piece at one of a series of concerts he gave in Boston late in 1875 with the orchestra of the Harvard Musical Association. The Tchaikovsky concerto has long since become so popular that we forget how striking a work it is. Its famous introductory section has been patronized on the grounds that it has nothing to do with the rest of the work; but Tchaikovsky’s biographer David Brown has demonstrated that the opening section in fact provides a veritable anthology of harmonic progressions and melodic fragments that reappear in many guises throughout the concerto. They are quite subtle, but they set the stage suitably for the main body of the movement.

For his finale, Tchaikovsky concentrates on the effective alternation of his materials, the first theme another Ukrainian folk song, and the second a tranquil string melody. He connects these by having the string melody enter over the soloist’s development of the first theme, but for the most part this finale aims at virtuosic excitement, and hits its mark.

Carl Nielsen (1865-1931) Symphony No. 4, Op. 29, “The Inextinguishable”

Zhang Zuo, piano It was not to be. On Christmas Eve of 1874, Tchaikovsky took the manuscript to Rubinstein to ask him about some technical details of the keyboard writing. He played through the first movement and received only stony silence. With mounting apprehension, Tchaikovsky played through to the end and turned to ask him, “Well?” As Tchaikovsky described it later, Rubinstein broke out in a torrent of abuse, saying that the concerto was fragmented, vulgar, clumsy and imitative. Rubinstein, attempting to pour oil on troubled waters, promised to play the piece—if Tchaikovsky reworked it in accordance with his demands. The composer’s response: “I shall not alter a single note; I shall publish the work exactly as it is.” Rubinstein eventually became a firm champion of the concerto, but in the meantime the composer dedicated it to Hans von Bülow, the distinguished German pianist and conductor who had written an important early

The second movement combines elements of both a slow movement and a scherzo. The slow part features a flute melody with a reply by the soloist. The faster portion quotes a French song, Il faut s’amuser (“One must amuse oneself, dance, and laugh”); this song was in the repertory of Artôt and makes a particularly clear reference to her.

The popularity of the concerto begins precisely with the unusual introduction, a well-loved tune, made even more popular in the early ’40s when it was converted into a Tin Pan Alley tune called “Tonight We Love.” The main theme that follows is a Ukrainian folk song. The second theme is a poignant Tchaikovskyan melody with a gently rocking accompaniment familiar from his earlier Romeo and Juliet. This happens to begin with the notes D-flat and A. Tchaikovsky’s biographer David Brown argues that the concerto as a whole recalls the composer’s deep affection for the soprano Desirée Artôt, to whom Tchaikovsky was engaged in the winter of 1868-69, before she suddenly married another singer. One clue, Brown maintains, is the prominence of the pitches D-flat and A, which in German would be called Des and A, as in DESirée Artôt.

Carl Nielsen grew up in a rural environment and from early childhood developed a love of the natural world and a remarkably insightful perception of human beings and their role in the world. Though he had artistic leanings to both the visual arts and literature, his musical gift was even stronger. It was discovered early because his father played violin and cornet as a much sought-after village musician. His mother sang him simple songs, and he learned to imitate them, at the age of 6, on a small violin. By nine he had become part of an amateur orchestra, thus extending his horizons to orchestral dance movements and a few symphonic excerpts from Haydn and Mozart. Yet he remained a product of the country, earning some of the family’s income by looking after geese during school holidays and developing a realistic and utterly down-to-earth character, which remained an important part of his music. Though he long earned his living as an orchestral violinist, Nielsen’s real interest quickly turned to composing. His First Symphony (1894) revealed a strong Brahmsian influence, but his Second, The Four Temperaments, was already wonderfully personal. To many of his symphonies he gave a title, intended to suggest the general character and no more. The Fourth Symphony was composed during two of the most harrowing years of the 20th century, from 1914 to 1916, when the vast European war broke out in August 1914 and quickly became a grinding, repetitive, NIELSEN (continued on next page) ENCORE 65

Zhang Zuo, piano Described as “full of enthusiasm and glamour, radiating the vigor of youth” (Chinese Gramophone), Zhang Zuo (“Zee Zee”) is unique among the young generation of pianists. Her interpretations and communicative abilities have been praised as “taking us to another reality... bright, expressive and moving to the extreme” (Belgischer Rundfunk), while her creative maturity has been hailed as “a powerful, passionate and compelling representation of pure artistry” (Los Angeles Times). The 2017/2018 season sees Zee Zee’s debut with the San Francisco Symphony (Xian Zhang), Royal Liverpool Philharmonic (Martin Yates), Sinfonieorchester Basel (Michał Nesterowicz) and Estonian National Symphony (Neeme Järvi). She appears with the Colorado, Pasadena, Tuscon and Jacksonville symphony orchestras, and gives recitals at the Vancouver Recital Society and Shanghai Symphony Chamber Hall. Zee Zee regularly works with today’s leading conductors, including Paavo Järvi, Marin Alsop, Yan Pascal Totellier and Charles Dutoit. She has performed with orchestras such as the Los Angeles Philharmonic, Minnesota Orchestra, BBC Symphony and London Philharmonic, and given recitals at the Kennedy Center, Lincoln Center and Wigmore Hall. The 2016/2017 season saw her as the Artist in Residence with the Shenzhen Symphony and 2015/2016 marked her final season as a BBC New Generation Artist. In 2014 she gave a live, televised performance at the Royal Albert Hall as part of the BBC Proms. Zee Zee began her musical training at the age of five and has studied at Shenzhen Arts School, Eastman School of Music and The Juilliard School.

NIELSEN (continued from previous)

murderous slog that wore away four full years of human history. Given the horrors that were unfolding only a few hundred miles from where he lived, it is astonishing that Nielsen retained his essentially positive view of life. Perhaps the strongest sign of Nielsen’s trust in the “life force” is the title he gave his Fourth Symphony. This is not the “Inextinguishable Symphony”—as if the title were an adjective intended to describe the music. No, in Danish the title is in the neuter, and it refers to that which is inextinguishable in human life and in the world of nature. In a short epigraph to the score, Nielsen noted that the title was intended “to indicate in one word what the music alone is capable of expressing to the full: The elemental Will of Life.” This sounds highly poetic, but what is most impressive is the purely musical way that he achieves it. In the Fourth, the work unfolds with four sections that function and sound like the four movements of a traditional symphony, but that are linked directly from one to another. And he had gotten well started on the new symphony by mid-July 1914, which he described in a letter to a friend as “a sort of symphony in one movement, which is meant to represent

all that we feel and think about life in the most fundamental sense of the word, that is, all that has the will to live and to move.” The symphony opens with an outburst of great energy with the woodwinds and the strings emphasizing different keys but unfolding essentially the same musical ideas, rhythmically vigorous and at a great speed. The argument gradually calms down. A pair of clarinets sings a sweet duet in thirds but the rest of the orchestra objects to more of this and breaks out with a restatement of the very opening soon after with the introduction of a new idea in E—the first strong statement of the key that will be the final goal of the symphony. First violins over a solo timpani rhythm link the first movement with the Poco Allegretto. This tempo, and indeed this whole movement, seem to reflect the kind of substitution for a scherzo that Brahms liked to employ—not too fast, not too slow, often quite charming and slightly old-fashioned in feel. The woodwinds are featured throughout, and the movement offers a splendid example of Nielsen’s ear for woodwind color. As the last hint of the movement dies away in a faltering clarinet flutter, the violins enter with a passionately intense statement to introduce the slow movement. It becomes less stable when

66 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

the woodwinds begin to return, agitating and building to a massive orchestral climax. A short statement lickety-split in the strings sounds as if it is going to turn into a fugue—but it suddenly stops in a grand pause and the finale begins. The last movement begins with a vigorous waltz theme that is not allowed to dance because it is part of the final struggle of the life force to exert itself. The key signature suggests A major, but the timpanists—two players— begin attacking any sense of key by playing the “forbidden” interval of the tritone, once called “the devil in music,” to confound any sense of “home.” Eventually a clear A-major rings out as the orchestra—including timpani—the perfect fifth, which banishes the “devil.” But it is still necessary to reach the destination, E major. Further struggle occurs, culminating in the arrival of the brass instruments pouring forth the melody that the clarinets had introduced in thirds back in the first movement—now climactically in E, a key that the rest of the orchestra confirms to bring the symphony to its glorious climax, celebrating all that is Inextinguishable. © Steven Ledbetter (www.stevenledbetter.com)

CORPORATE CONDUCTOR’S CLUB ENGAGE I ENTERTAIN | CONNECT

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

CONCERT EXPERIENCES INTERMISSION RECEPTIONS COMPLIMENTARY VALET PARKING YEAR-LONG RECOGNITION ADVERTISING DISCOUNTS SPECIAL EVENTS EARLY ACCESS TO THE ANNUAL GALA

BE A CATALYST FOR MUSIC

$3,000 – SILVER 16 Flexible concert tickets

$5,000 – GOLD 32 Flexible concert tickets

Complimentary Intermission Reception Vouchers

12-month recognition as “Corporate Silver” in Encore

12-month recognition as “Corporate Gold” in Encore and listing in Symphony Season Guide

Not Available

Up to 8 complimentary parking passes

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. 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

ENCORE 67

MEET THE MUSICIANS

RAN KAMPEL

PRINCIPAL CLARINET

JENNIFER GLOCK ENDOWED CHAIR When asked why he decided to play the clarinet, Ran kind of laughed and said this: “I don’t really have an exotic story about how I was walking down the street with my grandma and heard the clarinet playing from speakers…” In fact, Ran picked up the clarinet because it closely resembled the recorder. As most young students do, Ran started his musical experience on the little black recorder pipe. When he was told to pick out a band instrument, Ran was told if he liked the recorder he should play the clarinet! Having traveled and attended school across the globe, Ran shared an interesting tidbit about the clarinet. “What you’ll find in Europe is that almost every country has a different tradition of clarinet playing. The Germans even have a clarinet with a different physical structure!” With such as well-traveled background, Ran has found he has taken a little bit of various clarinet traditions and combined them into something unique to his own playing. “When you can experience and learn about other cultures and styles of playing, it makes you a more versatile player.” Ran loves to cook and try new recipes when he’s not playing the clarinet. He also enjoys playing soccer, tennis and going to skiing which he laughingly says “will be a lot harder to do in Florida.” A little known fact about Ran is that he LOVES board games! While studying music he met a friend who had entire bookshelves full of board games. Since then he has started his own collection. We know where the Symphony is going for game night! Photo by Tiffany Manning 68 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

at Cypress Village

L i f e c a n b e a w o n d er f u l a d v en t u r e a t a n y ag e , e s p ec i a l l y w h e n y o u h a v e t h e f r e ed o m t o m ak e y o u r o w n d e c i s i o n a b o u t wh e r e and how you live it. Cypress Village is designed for those who a p p r e c i at e e x t r ao r d i n ar y i n d e p e n d e n c e w i t h t h e s e c u r i t y o f L i f e C a r e p r o t e c t i o n a n d o u r C a r e f o r L i f e G u a r a n t e e.

Call to Schedule Your Personalized Visit Today! 4600 Middleton Park Circle East Jacksonville FL, 32224

(904)-807-6190

• Independent Living • Personalized Assisted Living • Skilled Nursing • • A l z h e i m e r ’ s a n d D e m e n t i a C a re • O n - S i t e R e h a b • R e s p i t e C a r e •

An invitation to play your part in the future of our Orchestra CADENZA SOCIETY

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

Fall Cadenza Society Luncheon

• Onstage Open Rehearsals • Annual Donor Appreciation Night Kaye Glover • 904.354.9136

J a x S y m p h o n y. o r g / l e g a c y 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 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 Mr. and Mrs. Patrick 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* Brock Fazzini Josephine Flaherty Friend of the Symphony (4) Mr. and Mrs. George D. Gabel, Jr. Mr. and Mrs. Allan Geiger John L. Georgas* Linda Barton Gillis

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 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 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* Ambassador Marilyn McAfee Doug and Laura* Mathewson Allison McCallum Frances Watts McCurry Lee and Bobbie Mercier Roxie Merrill

70 JAXSYMPHONY.ORG – NOVEMBER 2017 – JANUARY 2018

Robert A. and Fay Mills* Sherry Murray* Mr. and Mrs. E. William Nash, Jr. 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 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 Mary Love Strum Gwynne and Bob Tonsfeldt Chip and Phyllis Tousey Rev. W. Glenn Turner Mary Jane and Jack Uible Stephen R. Wickersham Steven Williams Renee Winkler Quentin E. Wood Thomas C. Zimmermann* *Designates deceased

SYMPHONY ABOUT TOWN

Saturday, January 13, 2018 l 8 pm

Hooked on Classics

University of North Florida, Lazzara Performance Hall

Overture to Hebrides, Op. 26