WELCOME! Dear friends, We have enjoyed wonderful music this season with the Jacksonville Symphony and I find it difficult to believe that it’s already the last quarter of the year. Of course, there is still a great deal of beautiful music to look forward to during the remainder of the season and I hope you will be here to enjoy it with us as often as possible. One of the many highlights remaining this season is the April 4 world premiere of the Jacksonville Symphony’s newlycommissioned work by Mary Carr Patton Composer-in-Residence Courtney Bryan whose music has been performed from the Blue Note Jazz Club to Carnegie Hall. Courtney’s new piece is a tribute to the city of Jacksonville, its diverse communities and the bridges that bring them together. This program also includes Rachmaninoff’s hauntingly beautiful Symphony No. 2 which is filled with the fantastic romance that made him famous. In addition to our exciting world premiere, the fourth quarter of the Symphony season has something that will please the musical taste of virtually everyone. What could be better than a performance of the music of two composers acknowledged to be among the very best; Mozart and Beethoven. Mozart’s final symphony, “Jupiter” will surely stir your soul. Then cellist Joshua Roman who has been called “…a classical rock star…” returns to Jacoby Symphony Hall for our concert featuring Brahms Symphony No. 1. Many of you will remember Joshua’s spectacular performance with the Symphony during our 2015-2016 season. The Florida Blue Masterworks season closes with Mahler’s grand Fifth Symphony on June 7 and 8.
Tickets: 904.354.5547 Contributions: 904.807.1016 Administration: 904.354.5479 JaxSymphony.org Encore Production Publisher – David Strickland Editor – Sydney Schless Graphic Designer – Ken Shade Photography – Tiffany Manning, Renee Parenteau, Fran Ruchalski Program Notes – Laurie Shulman ©Jacksonville Symphony Association 300 Water Street, Suite 200 | Jacksonville, FL 32202
The remaining Pops programs are no less exciting. Cherish the Ladies is an IrishAmerican super group. They have performed at the White House, the Olympics and with over 250 symphonies around the world. The NY Times has called their GRAMMY-nominated music, “passionate, tender and rambunctious.” Next comes the return of two of Jacksonville’s favorites; Tony DeSare and Capathia Jenkins will join conductor Michael Krajewski for Frank and Ella. You’ll remember Tony from his performance of Sinatra classics on New Year’s Eve three years ago. And of course, our Memorial Day tradition, Patriotic Pops. Bring the family and picnic on the Times-Union lawn by the river. It’s a wonderful way to celebrate the service of those who made the ultimate sacrifice for the freedom we cherish. I shouldn’t forget the final Symphonic Night at the Movies concert: The Wizard of Oz. Bring the kids and grandkids for the ultimate family movie presented on the big screen with the Symphony playing the OSCAR-winning score including Judy Garland’s classic rendition of “Somewhere Over the Rainbow.” On behalf of Courtney Lewis, our musicians and the staff of the Jacksonville Symphony I’d like to offer our heartfelt thanks for your support this season. We truly hope you found our music as thrilling as we were thrilled to perform it for you. Have a wonderful summer and we look forward to seeing you in Jacoby Symphony Hall next season. Sincerely,
STEINWAY & SONS Is the official piano of the Jacksonville Symphony
David Strickland Chairman of the Board ENCORE 5
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THE MAGAZIINE OF THE JACKSONVILLE SYMPHONY
2018 - 2019 SEASON
VOLUME 25 – EDITION 4
EVENTS 24
CHERISH THE LADIES FIDELITY NATIONAL FINANCIAL POPS SERIES RAYMOND JAMES COFFEE SERIES March 8 & 9
29
VERDI’S REQUIEM FLORIDA BLUE MASTERWORKS SERIES March 15 & 16
37
FRANK AND ELLA FIDELITY NATIONAL FINANCIAL POPS SERIES March 29 & 30
41
WORLD PREMIERE REGENCY CENTERS SYMPHONY IN 60 SERIES April 4
42
RACHMANINOFF SYMPHONY NO. 2 FLORIDA BLUE MASTERWORKS SERIES RAYMOND JAMES COFFEE SERIES April 5 & 6
47
MOZART’S JUPITER FLORIDA BLUE MASTERWORKS SERIES April 26, 27 & 28
52
FESTIVAL OF STRINGS YOUTH ORCHESTRAS SERIES May 6
24
37
47
55 MAJOR/MINOR
YOUTH ORCHESTRAS SERIES May 10
57
BRAHMS SYMPHONY NO. 1 FLORIDA BLUE MASTERWORKS SERIES May 17, 18 & 19
60
PATRIOTIC POPS FIDELITY NATIONAL FINANCIAL POPS SERIES RAYMOND JAMES COFFEE SERIES May 24 & 25
63
THE WIZARD OF OZ – FILM WITH ORCHESTRA SYMPHONIC NIGHT AT THE MOVIES SERIES May 31 & June 2
65
SEASON FINALE! MAHLER 5 FLORIDA BLUE MASTERWORKS SERIES June 7 & 8
57
63
DEPARTMENTS 3 Welcome 7 Music Director Courtney Lewis 8 Symphony Association Board 9, 71-74 Thank You, Supporters 11 About the Symphony 12-13 Jacksonville Symphony Musicians 23 Volunteer Activities and Events 67 Sound Investment Program 70 The Cadenza Society 76 Jacksonville Symphony Administration
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MUSIC DIRECTOR Courtney Lewis Music Director Haskell Endowed Chair With clear artistic vision, subtle musicality and innovative programming, Courtney Lewis has established himself as one of his generation’s most talented conductors. The 2018-2019 season marks his fourth as music director of the Jacksonville Symphony.
Renee Parenteau
In June 2018, the Kennedy Center and Washington Performing Arts announced that Lewis and the Jacksonville Symphony will be one of four orchestras invited to participate in 2020 SHIFT: A Festival of American Orchestras. SHIFT celebrates the vitality, identity and extraordinary artistry of orchestras and chamber orchestras by creating an immersive festival experience in the nation's capital. In the summer of 2018, Lewis led the Australian Youth Orchestra alongside the 2016 Sydney International Piano Competition Winner, Audrey Gugnin, and embarked on tour with the Ulster Youth Orchestra through Vienna, Bratislava and Belfast. During the 2018-2019 season, Lewis will lead the Minnesota Opera in their returning production of Silent Night by composer Kevin Puts. Lewis’ previous seasons in Jacksonville have featured an expanded repertoire including Mahler and Sibelius cycles, Adès’ Asyla, Ligeti’s Piano Concerto and Andres’ The Blind Banister, while raising the caliber of guest artists with performances by violinist Anthony Marwood and pianists Lang Lang, Inon Barnatan and Jonathan Biss. In addition to initiating the return of opera productions with Humperdinck’s Hänsel und Gretel in 2017, the 2017-2018 season featured Renée Fleming at the annual Gala, and Christine Brewer with Jay Hunter Morris performing selections from Wagner’s Götterdämmerung.
Since his debut in November 2008 with the Saint Louis Symphony Orchestra, Lewis has appeared with the Atlanta Symphony, Colorado Symphony, Washington National Symphony, Los Angeles Philharmonic, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Houston Symphony, Rochester Philharmonic, RTÉ National Symphony Orchestra of Ireland, Lausanne Chamber Orchestra and Ulster Orchestra, among others. As a young conductor, Lewis served as assistant conductor of the New York Philharmonic, associate conductor of the Minnesota Orchestra and Dudamel Fellow with the Los Angeles Philharmonic. From 2008 to 2014, Lewis was the music director of Boston’s acclaimed Discovery Ensemble, a chamber orchestra dedicated not only to giving concerts of contemporary and established repertoire at the highest level of musical and technical excellence, but also bringing live music into the least privileged parts of Boston with workshops in local schools. Born in Belfast, Northern Ireland, Lewis read music at the University of Cambridge during which time he studied composition with Robin Holloway and clarinet with Dame Thea King. After completing a master’s degree with a focus on the late music of György Ligeti, he attended the Royal Northern College of Music, where his teachers included Sir Mark Elder and Clark Rundell.
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SYMPHONY ASSOCIATION BOARD OF DIRECTORS Officers
David M. Strickland, Chair Tim Cost, Vice Chair Michael Imbriani, Treasurer Elizabeth Lovett Colledge, Secretary
Board of Directors Don Baldwin, Marketing Committee Chair
Martha Barrett Gilchrist Berg, Vision 2020 Campaign Co-Chair
Douglas A. Booher Karen Bower J.F. Bryan, IV Rafael Caldera Katharine Caliendo, ex officio Carl Cannon, Vision 2020 Campaign Co-Chair
Chung-Hae Casler Tristan Clarke, ex officio Tyler Dann Barbara Darby Jack Dickison R. Chris Doerr Thomas M. Galvin, Jr. Fausto Gardini, ex officio
Foundation Board
Margaret Gomez, Chair Gilchrist Berg Jeffrey E. Bernardo R. Chris Doerr Peter Karpen
Margaret Gomez Katheryn Hancock, ex officio Randolph R. Johnson, Development Committee Chair
Charles S. Joseph Kiki Karpen Ross Krueger Anne Lufrano Matt S. McAfee Elizabeth McAlhany Sheila McLenaghan Ronald Rettner W. Ross Singletary III Randall C. Tinnin, Programming Committee Chair
Timothy A. Woodward Douglas Worth Gwendolyn “Gwen” Yates, Governance Committee Chair
Honorary Directors Ruth Conley David W. Foerster Preston H. Haskell Anne H. Hopkins Robert E. Jacoby Frances Bartlett Kinne Mary Carr Patton Robert T. Shircliff Mary Ellen Smith Jay Stein James Van Vleck James H. Winston †
† designates deceased
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The Jacksonville Symphony Association gratefully acknowledges the generosity of the following individuals, businesses and foundations: Gifts to the Annual Fund between July 1, 2017 and January 6, 2019 ∆ Designates a gift in-kind * Designates deceased
PRESIDENT’S COUNCIL $100,000+
Amy and Gilchrist B. Berg BRASS Ruth Conley in memory of Paul Conley City of Jacksonville Cultural Council of Greater Jacksonville Fidelity National Financial Mrs. Josephine Flaherty Florida Blue Florida State College of Jacksonville ∆ Monica and Bob Jacoby PRI Productions ∆ Ronald and Karen Rettner
$50,000 - $99,999
Anonymous gift in honor of the City Rescue Mission Staff bestbet Pete and Lory Doolittle DuBow Family Foundation Florida Times-Union ∆ Jacksonville Aviation Authority Δ Jennifer Johnson Duke and Joe Duke Mary Carr Patton State of Florida, Division of Cultural Affairs Mrs. C. Herman Terry
$25,000 - $49,999
Anonymous Len Allen Mr. and Mrs. John D. Baker, II Black Knight Mr. and Mrs. J. F. Bryan, IV Tim and Stephanie Cost Robert D. and Isabelle T. Davis Endowment Fund Stephen and Suzanne Day Deutsche Bank Jane and Jack Dickison Chris and Stephanie Doerr Mr. William G. Gingrich Haskell Jacksonville Symphony Guild Jessie Ball duPont Fund Valdemar Joost Kroier Endowment Fund
Drs. Anne and Robert Lufrano Roger L. and Rochelle S. Main Charitable Trust Mayo Clinic Donald C. McGraw Foundation Mr. and Mrs. Russell B. Newton Jr. Omni Hotels and Resorts ∆ THE PLAYERS Raymond James & Associates, Inc. Regency Centers, Inc. Morris B. Rettner Foundation VyStar Credit Union J. Wayne and Delores Barr Weaver Music Education Endowment Dr. Eugene and Brenda Wolchok Mr. and Mrs. Douglas C. Worth ENCORE 11
Tiffany Manning
ABOUT THE JACKSONVILLE SYMPHONY
As Music Director Courtney Lewis begins his fourth season on the conductor’s podium, the Jacksonville Symphony celebrates an expanded 2018-2019 season that promises more weeks of music reaching more people than ever before. In the 2017-2018 season, the Symphony reached almost 290,000 individuals through 309 performances.
children under the age of 18 for selected Florida Blue Masterworks concerts, and other special youth pricing, there are several programs to foster music education. In June, the Jacksonville Symphony Youth Orchestras embarked on its first national tour as one of only three student orchestras invited to perform in the Los Angeles International Music Festival at Walt Disney Concert Hall.
The Jacksonville Symphony is one of Northeast Florida’s most important cultural institutions. Founded in 1949, the Symphony is ranked among the nation’s top regional orchestras. The Symphony’s home, Robert E. Jacoby Symphony Hall, is considered to be an acoustic gem. Each year thousands enjoy the Symphony’s performances both at Jacoby Symphony Hall in the Times-Union Center for the Performing Arts and at venues located throughout the state of Florida.
Over the years, the Jacksonville Symphony has hosted some of the most renowned artists of the music world including Isaac Stern, Benny Goodman, Duke Ellington, Marilyn Horne, Luciano Pavarotti, Itzhak Perlman, Kathleen Battle, Mstislav Rostopovich, Audra McDonald, Joshua Bell, Lang Lang and Renée Fleming.
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
For more information about the Jacksonville Symphony, please visit JaxSymphony.org, like us on Facebook at Jacksonville Symphony, follow us on Twitter @JaxSymphony, and on Instagram at JaxSymphony.
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FIRST TIME AT THE SYMPHONY? GET CUED IN!
Welcome to the Jacksonville Symphony! Whether it’s your first or fiftieth time with us, we care a lot about every single person in the beautiful Jacoby Symphony Hall. The orchestra rehearses for hours each week, but the magic doesn’t happen until you’re here to enjoy it with us. So, if there is anything we can do to make you feel welcome, please feel free to speak with an usher or staff member. You can also tell us about your experience online at jaxsymphony.org/about/contact-us/.
Here’s what to expect: 1. First Things First The concertmaster enters the stage – they are the principal, or leader, of the string section and sit to the left of the conductor. The string section includes – from smallest to largest – two sections of violins (the highest pitched strings), violas, cellos and basses. 2. Tuning Note The concertmaster cues a note from the principal oboe for the woodwinds (flutes, clarinets, oboes and bassoons) and brass (trumpets, trombones,
French horns and tubas). The only percussion instrument (the drums and keyboards in the back) that is tuned is the timpani – spot the timpanist putting his ear close to the head of the drum as he tunes. 3. Conductor Enters A conductor’s most basic job is to use a baton to keep time and make sure the orchestra starts and stops together, but the magic is in their gestures, which give the musicians cues as to how they should play the notes as a unit to express the music. 4. Time for the Music! The best way to enjoy the music is to just listen and see where it takes you. It is perfectly natural for your mind to wonder, so don’t be discouraged or anxious about listening a certain way. This moment is for you. Here are a few insider tricks to make the most of it: • If you’re here for a Masterworks series concert, read the program notes (located after the program page) before the concert begins. • See if you can pick out which instrument holds the melody (the part you can sing along with). • Close your eyes and imagine the memories, colors, movie scenes, images or moods the music brings to mind. • Listen for patterns in rhythm, sound or melody and notice how they change.
Tiffany Manning
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• You might hear a composer winking at you – many of them have a great sense of humor!
FIRST TIME AT THE SYMPHONY? GET CUED IN! 5. Clapping There are two reasons to applaud at a Jacksonville Symphony concert: as a greeting, and to show appreciation! Before the concert begins, the Symphony members will all be seated on the stage, except for the concertmaster. You can applaud to greet the concertmaster, conductor and any soloists who will be performing. During a Masterworks concert, it is customary not to applaud again until the very end of each piece of music (even if there are multiple movements with pauses in between). The program will list the movements in each piece, so you will know how many there are. If unsure, wait for everyone else! The conductor recognizes players who performed special parts on their own. Loved it? Yell Bravo! Sometimes, if you clap enough, you’ll get a special “encore” from a featured soloist who comes out to play by him or herself.
Five things to try: 1. Meet the people in the seats nearby. 2. Take a selfie with the Bryan Concert Organ and check into the #jaxsymphony on Facebook or Instagram. 3. Take in Jacksonville’s best view of the St. Johns River in the Uible Lobby. 4. Not sure about which instrument is which? Try using the musicians’ roster to match faces to instruments. 5. Spot our librarian, Bart, when he switches the conductor’s music on the podium. 7. Afterward A Jacksonville Symphony concert is always amazing, but never the same, so pick your next concert and make sure you’re on our email list to receive a special offer. Check out the program page for our suggestions!
6. Intermission Usually 20 minutes, intermission is a break for your mind, and a chance to prepare for more awe-inspiring music.
Tiffany Manning
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GET INVOLVED – VOLUNTEER WITH THE SYMPHONY The Jacksonville Symphony loves its volunteers. There are many ways to support the Symphony – you can give a gift, join an auxiliary group, serve as an usher or sing in the chorus. Read about the many opportunities to support our mission.
The Guild of the Jacksonville Symphony
As in every year, the Education Committee of the Guild of the Jacksonville Symphony has been very active furthering musical education in our communities. For the current season, six of its 11 Instrument Zoos are held in schools in St. Johns County. Two special Instrument Zoos were held this season: one at an evening concert at the Times-Union Center, for adults to experience various instruments and, around Christmas time, one at Wolfson Children’s Hospital. This season, financial tuition assistance has been granted to 45 members of the Jacksonville Symphony Youth Orchestras (JSYO) and Harmony Grants for educators were awarded to eight teachers to support their specific projects in music education. The Committee and the Guild increased their respective Youth Artist Scholarships by $500 each. This year’s scholarship auditions were held on February 25 in Jacoby Symphony Hall. An Instrument Zoo requires anywhere from 10 to 15 volunteers and the auditing of all the submissions to the Education Committee is akin of a full-time job. All these activities could not be performed without the dedication of many volunteers and the financial support from individuals and donors. I want to specially recognize the George M. Cohen Foundation, Inc. and its President, Carolyn Munro Wilson, for its continuing support and generosity. Thank you! Fausto Gardini, Guild President
ARIAS Continues Its Support of Nassau County Music Education
ARIAS, Amelia Residents in Action for the Symphony, continues its primary mission as a provider of music education for the elementary grades of Nassau County schools. At the 4th grade level, we continue our wildly successful Instrument Zoo program, allowing children to handle and make sounds from the four families of symphonic instruments. We are continuing our financial support of Suzuki violin lesson sessions under the auspices of Arts Alive Nassau, moving up to the 4th grade level. In 5th grade, all students are exposed to marvelous melodies of a selection of Symphony ensembles right in their school. We extend our educational theme to adults as well by providing discounted bus transportation to a variety of Masterworks, Pops and Special concerts, allowing a broad spectrum of county residents to enjoy our local musical gem! For membership information, please call Jack Dickison, ARIAS president, 904.277.0572.
BRASS Beaches Residents Actively Supporting the Symphony
NOW ANNOUNCING! BRASS will be hosting a bus from Ponte Vedra to the Times-Union Center for the Performing Arts on select dates during the 2018-2019 season. To reserve your seat and for more information, please email info@BRASSonline.org. BRASS will be sponsoring five Jacksonville Symphony events this season and presenting the Annual BRASS Gala on Sunday, May 5, 2019. BRASS was thrilled to present a check for $100,000 to the Jacksonville Symphony in May 2018, after an incredible year of volunteer work and three beautiful special events hosted by the Board and members of BRASS. To join BRASS today, or to renew your membership, please go to www.BRASSonline.org or email info@BRASSonline.org ENCORE 25
POPS SERIES
PRESENTED WITH
COFFEE SERIES Friday, March 8, 2019 | 11 am Friday and Saturday, March 8 & 9, 2019 | 8 pm
Thank you for joining us!
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
CHERISH THE LADIES Deanna Tham, conductor
Calvin and Ellen Hudson Charitable Trust Endowed Chair
TRADITIONAL arranged by CHERISH THE LADIES & SAMMUT
Fir and Far*
Gerard FAHY arranged by HOLLENBECK
Magh Seola*
Gerry O’BEIRNE arranged by LYN & GAULT
Shades of Gloria*
Program Note:
TRADITIONAL choreographed by GEANEY
Dance Break*
Turlough O’CAROLAN arranged by STAROBIN
Loftus Jones*
TRADITIONAL arranged by CHERISH THE LADIES, LYN & GAULT
The Old Maids of Galway*
Ewan MACCOLL arranged by FEELEY
Sweet Thames Flow Softly*
Joanie Cat’s Meow* MADDEN arranged by SAMMUT & KEANE INTERMISSION
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Cherish the Ladies are the most successful Celtic Pops act in history. They have been the guest soloists for over 250 nights with the leading symphonies in the United States performing their Celtic Pops Celebration program and their Celtic Christmas show. Their symphonic career all began with a phone call from the Boston Pops. The Ladies made their debut with the Cincinnati Pops under the tutelage of Keith Lockhart and after the overwhelming response from the audience, Keith took Cherish the Ladies back to Boston where they performed another four shows including the prestigious Tanglewood Summer Series. Their successful collaboration led to their Grammy-nominated album “The Celtic Album.” “Every time Cherish the Ladies takes the stage, they set the world on fire! Their sheer energy, their deep love of music and their pure desire to want every member of the audience to laugh and sing and dance in the aisles is truly contagious! No one knows how to make audiences happier than do The Ladies!”
POPS SERIES
PRESENTED WITH
COFFEE SERIES Joanie MADDEN & The Boat to Bofin John BRADY arranged by LYN & GAULT Kathleen The Homecoming* BOYLE arranged by KELLY & GAULT Joanie Wave and the Spade MADDEN arranged by LYN & GAULT Dick We Dreamed Our Dreams FARELLY arranged by LYN & GAULT Joanie MADDEN arranged by KELLY
Bonkers in Yonkers*
Joanie Longing for Home MADDEN arranged by LYN & GAULT TRADITIONAL arranged by CHERISH THE LADIES
Hornpipe
TRADITIONAL arranged by CHERISH THE LADIES & FEELEY
Castle of Dromore
TRADITIONAL arranged by CHERISH THE LADIES & HOLLENBECK
Highway to Kilkenny
Tickets: 904.354.5547 JaxSymphony.org
This program runs approximately 1 hour 50 minutes. *included on Raymond James Coffee Series concert
Sponsored in part by Students at the Symphony is sponsored in part by The DuBow Family Foundation Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
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Deanna Tham Assistant Conductor & Principal JSYO Conductor
N. Sparkman
Hailing from Saratoga, California, Tham has conducted and guest conducted all over the United States, most recently working with renowned conductors Marin Alsop and James Ross at the Cabrillo Contemporary Music Festival. Before joining the Jacksonville Symphony, Tham was the music director of the 350-piece Louisville Youth Orchestra. Tham has also served as the Music Director of the Boise Philharmonic Youth Orchestra and has conducted the Boise Philharmonic, Ballet Idaho and Opera Idaho. Tham worked as the assistant conductor for the Cleveland Orchestra Youth Orchestra where she received a Professional Studies Certificate from the Cleveland Institute of Music in Orchestral Conducting. In 2013, Tham made her debut with the National Music Festival. She was one of two assistant conductors who appeared with Maestro Richard Rosenberg, working with some of the top professional musicians and teachers from around the world. In 2015, she was the recipient of the Wintergreen Summer Music Academy 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.
Cherish the Ladies “It is simply impossible to imagine an audience that wouldn’t enjoy what they do,” says the Boston Globe speaking of Cherish the Ladies, the long-running, Grammynominated, Irish-American super group that formed in New York City in 1985 to celebrate the rise of women in what had been a male-dominated Irish music scene and has since toured the world, played the White House and the Olympics, recorded 17 outstanding albums including a live recording, “An Irish Homecoming,” which was simultaneously videotaped for a Public Television Special that aired across America and won an Emmy. Under the leadership of All-Ireland flute and whistle champion Joanie Madden, named by The Irish Voice Newspaper as one of the Top 25 most influential IrishAmericans of the past quarter century, these ladies create an evening that includes a spectacular blend of virtuoso instrumental talents, beautiful vocals, captivating arrangements and stunning step dancing. Their continued success as one of the top Celtic groups in the world is due to the ensemble’s ability to take the best of Irish traditional music and dance and put it forth in an immensely entertaining show. The New York Times calls their music “passionate, tender, and rambunctious,” and the Washington Post praises their “astonishing array of virtuosity.” They’ve won recognition as the BBC’s Best Musical Group of the Year and were named Top North American Celtic Group at the Irish Music Awards and not to mention having a street named after them in the Bronx! They’ve collaborated with such musicians as The Boston Pops, The Clancy Brothers, the Chieftains, Vince Gill, Nanci Griffith, Pete Seeger, Don Henley, Arlo Guthrie and Maura O’Connell as well as being the featured soloist with over 250 nights of symphony orchestras.
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MASTERWORKS SERIES Friday and Saturday, March 15 & 16, 2019 | 8 pm “Insight” one hour prior to each Masterworks concert Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
Thank you for joining us!
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
VERDI’S REQUIEM Courtney Lewis, conductor Haskell Endowed Chair
Amber Wagner, soprano Katharine Goeldner, mezzo-soprano Norman Reinhardt, tenor Nathan Stark, bass Jacksonville Symphony Chorus University of North Florida Chorale Messa da requiem
Gretchen Kelley
Giuseppe VERDI
Requiem and Kyrie Dies Irae Offertorio Sanctus Agnus Dei Lux aeterna Libera me
Amber Wagner, soprano
There will be no intermission. This program runs approximately 1 hour 30 minutes.
Presented by Masterworks guest artists are sponsored by Ruth Conley Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
Fun Facts
Did you know?
Composer Fact: According to statistics on worldwide opera performances, three of Verdi’s operas, La traviata, Rigoletto and Aida are constantly among the most performed operas, each accumulating 300 to 400 performances a year worldwide.
American soprano Amber Wagner has been featured in Opera News as one of 25 artists poised to break out and become a major force in classical music in the coming decade. In a recent review of Wagner’s Der fliegende Holländer at the Metropolitan Opera, the New York Times described her as possessing a “powerful, gleaming and richly expressive voice [which] was ideal for the music.” Amber Wagner’s 2018-2019 season begins with a return to the Metropolitan Opera, for her role debut as Giorgetta in Il Trittico. She returns to Opera Australia to sing the title role in Puccini’s Turandot and later reprises the role of Sieglinde in Die Walküre with Oper Frankfurt. Symphonic highlights include Verdi’s Requiem with the Melbourne Symphony and Toronto Symphony Orchestra, Los Angeles Master Chorale, Milwaukee Symphony Orchestra, L’Orchestre Philharmonique de Nice, Houston Symphony, Taipei Symphony, Pacific Chorale, Kansas City Symphony, Tucson Symphony, Colorado Symphony and Grant Park Music Festival. Wagner
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performed Strauss’ Vier letzte Lieder with the Orquesta Filarmónica de Jalisco, Spokane Symphony and Oregon Symphony; a concert of Strauss songs with L’Orchestre Philharmonique de Nice; Mahler’s Symphony No. 8 with the Aspen Music Festival; Sieglinde in Act 1 in concert performances of Die Walküre with the Colorado Symphony; Beethoven’s Symphony No. 9 with the Grant Park Music Festival and Russian National Orchestra at the Napa Valley Festival del Sole and Rossini’s Stabat Mater with the Oregon Symphony.
Katharine Goeldner, mezzo-soprano Opera News calls her “a natural actress…with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, the “powerhouse” mezzo-soprano Katharine Goeldner is recognized as one of today’s great singers. Recent performances include her Minnesota Orchestra debut as Herodias in Richard Strauss’ Salome, Mahler’s Symphony No. 3 with Orchestra Iowa and Dalila in Samson et Dalila at Virginia Opera. She created the role of Jackie Onassis in David T. Little and Royce Vavrek’s JFK, and starred at Opera Theatre of Saint Louis as Ma Joad in the premiere of the revised version of Ricky Ian Gordon and Michael Korie's The Grapes of Wrath. This season Goeldner returns to her native Iowa, where she can be heard in Mahler’s Das Lied von der Erde with the University of Iowa Symphony. She performs the Verdi Requiem with the Jacksonville Symphony, Fricka in Die Walküre in Augsburg, Germany, Brigitta in Die tote Stadt for her return to the Théatre du Capitôle, Toulouse, and Madame Larina in Eugene Onegin this fall at Michigan Opera Theatre, where she will return in the spring to reprise her triumphant Ma Joad.
Norman Reinhardt, tenor One of the leading tenors of the younger generation, Norman Reinhardt continues to enjoy a growing reputation on both sides of the Atlantic in the lyric and bel canto repertoire. Current season highlights include Adolar in Christof Loy’s new production of Euryanthe for Theater an der Wien, Lurcanio (Ariodante) for Opéra de Monte-Carlo and Flamand (Capriccio) for Teatro Real. He makes his role debut as Števa in Katie Mitchell’s new production of Jenůfa for Dutch National Opera. Since graduating from the Houston Grand Opera Studio, Reinhardt’s ongoing relationship with the company has included Ferrando (Così fan tutte), Bénédict (Béatrice et Bénédict), Lysander (A Midsummer Night’s Dream), Ernesto (Don Pasquale), Jacquino (Fidelio), Cassio (Otello) and Tony (West Side Story). As a member of the ensemble at Oper Leipzig he extended his repertoire to include Alfredo (La traviata), Lensky (Eugene Onegin), Conte Almaviva (Il barbiere di Siviglia), Don Ottavio (Don Giovanni), Tom Rakewell (The Rake’s Progress) and Tamino (Die Zauberflöte), all of which he performed under Ulf Schirmer. In particular, the role of Tamino has brought considerable critical acclaim leading to a debut at the Bregenz Festival in David Pountney’s production under Patrick Summers (released on DVD by Unitel). Tamino has since become one of Reinhardt’s signature roles with further appearances at San Francisco Opera and at Teatro Real Madrid in Barrie Kosky’s production under Ivor Bolton.
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Nathan Stark, bass Praised by the Washington Post as having a voice of “unearthly power,” The Houston Press as being a “blow away singer” and the San Jose Mercury News as a “natural comic actor,” American bass, Nathan Stark, has performed on operatic, concert and recital stages throughout the United States, Europe and China.
Jordan Kubat
Hailing from Hughson, California, Stark has performed with opera houses throughout the United States, including the Metropolitan Opera, Cincinnati Opera, Dayton Opera and Atlanta Opera. Some of his noted operatic roles have included Mustafà in L'Italiana in Algeri, both Don Basilio and Don Bartolo in Il Barbiere di Siviglia, both Leporello and il Commendatore in Don Giovanni, Colline in La Bohéme and Banco in Macbeth. Equally comfortable on concert stage, he has performed concerts with ensembles including the Boston Symphony Orchestra, the Detroit Symphony Orchestra, the Chicago Philharmonic and the Atlanta Symphony Orchestra. In the 2018-2019 season, Stark makes his debut with the Boston Landmarks Orchestra as the bass soloist in the Verdi Requiem and makes company returns to Opera San Jose as Pasha Selim in The Abduction from the Seraglio, to Arizona Opera as the French General in Silent Night, to Virginia Opera as il Commendatore in Don Giovanni, to Opera Orlando as Don Bartolo in Il Barbiere di Siviglia, to Boston Baroque as the bass soloist in Handel’s Messiah, and will be the bass soloist for The Defiant Requiem Foundation’s concert “Defiant Requiem: Verdi at Terzin” with the Pacific Symphony, Pacific Chorale and conductor Murry Sidlin. Stark has given recitals throughout the United States and Germany, concerts at the Great Wall of China, the U.S. Colombian Embassy, U.S. French Embassy, the U.S. Austrian Embassy and the Washington National Cathedral. In 2005 he was chosen to be the featured soloist for the nationally televised opening ceremonies of the Air Force One exhibit at the Ronald Reagan Library for former First Ladies, Laura Bush and Nancy Reagan, members of the United States Senate and Congress, and for then President of the United States, George W. Bush.
Donald McCullough Director, Jacksonville Symphony Chorus Tom Zimmerman Endowed Chair
Hailed by the Washington Post for his “dazzling expertise” on the podium, Donald McCullough is considered one of America’s pre-eminent choral conductors. He became the director of the Jacksonville Symphony Chorus in 2012. In November 2014 he led the Jacksonville Symphony Chorus on its first appearance in Carnegie Hall. Previously, he was the director of the Master Chorale of Washington in the John F. Kennedy Center Concert Hall for more than a decade, developing a reputation for creating choruses that sang “with an innate sense of lyricism and musical poise” and “sensitive, scrupulous and heartfelt” (Washington Post). During his tenure with the Master Chorale, the 120-member symphonic chorus performed 16 world premieres, produced three nationally distributed CDs, and toured twice throughout Central Europe. The Chorale earned The Margaret Hillis Achievement Award for Choral Excellence in North America. McCullough is also a composer whose works have been critically acclaimed throughout North America and Europe. Routinely sought after for commissions, his works have been described as “powerful and heart-wrenching,” “mystically beautiful” and “remarkably inspirational.” Previously, McCullough was the founder and music director of two Norfolk-based choruses: the Virginia Chorale and the Virginia Symphony Orchestra Chorus. He holds bachelor’s degrees in organ and vocal performance from Stetson University and master’s degrees in sacred music and vocal performance from Southern Methodist University. A native of Jacksonville, FL, he recently moved to Atlantic Beach, FL, to focus on his expanding composing career.
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Jacksonville Symphony Chorus The Jacksonville Symphony Chorus, under the direction of Donald McCullough, is an all-volunteer group of individuals from all walks of life who have a love of singing choral music. The 140 members must audition to participate. “The Symphony chorus is designed to sing over the Symphony,” said McCullough. “I look for voices that have focus and ring to them and that are sizeable enough to add to the sound we are trying to achieve.” Some of the voice factors that go into selecting a choral member include their ability to sing in tune, which must be impeccable; their flexibility; range; diction; and innate sense of musicality. The Chorus is celebrating its 34th season this year and was founded by past Music Director Roger Nierenberg. In 2014, the Chorus traveled to New York City for perform under McCullough’s direction in the Lincoln Center premiere of his cantata In the Shadow of the Holocaust. This season the chorus will participate in several performances including Handel’s Messiah, Holiday Pops and the highly anticipated performance of Verdi’s Messa da requiem. Choral singing is the most popular form of participation in the performing arts according to a recent study by Chorus America. Over 18% of American households report one or more adults participate in a chorus.
William Adams David Avery Wayne Bailey Deborah Baker Jerrye Baker Susan Baker Stan Ballenger Carole Banks Ann Barrow Alla Bartosh Samantha Basso Noah Battle Sr. El Battle Paula Boyd Elizabeth Bricknell Louise Brooks Dorothy Jean Bush Rita Cannon Chuck Carroll Robb Cates Kenneth Chin Estelle Chisholm Dale Choate Melody Choate Sandy Clarke Ellen Clayton Susan Connors Nancy Crookshank Julie Cross Katherine Crowell Marley Curtis Jane Daugherty Julie Davis Tracy Davis Alyce Decker Stephanie Doerr Jeff Elledge Ileana Fernandez Gregory Fisher Jr. Jennifer Flagge Kate Flint
Brian Ganan Veronica Gibson Bonnie Goldsmith Michele Hale Deborrah Hoag Dennis Holt Kathy Hunt Kiki Karpen George Kawaley Ken Kutch Alwynne Lamp Wayne Letizia Ginger Lindberg Annette Littlefield Mark Macco Linda MacLeod Jim Maher Walter Mattingly Liz McAlhany Marianne McAlhany Donald McCullough James McGuffin Kate Medill Ozzie Medina Pat Medlock Bill Meisel Janet Metcalf Barbara Miller Molly Miller Kenneth Mixon Libby Montgomery Meredith Mormann John Morrow Joseph Murray Sanami Nakayama Tom Nesbitt Christina Ng Ben Norman Jessica Poole Caroline Price Vickie Prince
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John Pugh Nancy Purcell Amy Quinn Paulina Ragunas Mark Reasoner Nancy Redfern Wynn Redmon Caitlin Regan Patti Robertson Mark Robinson Karl Rogers Kim Rowland AJ Ruvane John Ruvane Jose Sastre Jen Schlechte Jeffrey Schroer Keith Schroyer Jennifer Serotta Ima Singer Jai Smith Janet Snell Sharon Snow Katie Steele Richard Sykes Hugh Tobias Lora Toney Sheri Van Orden Anna Vrabel Mark Walter Eileen Ward Billy Ware Jerri Lea Ware Emily Wasek Jill Weisblatt John Weitzel, Peter Wynkoop Sam Young Gideon Zoeller
Dr. Cara Tasher Director of Choral Studies, University of North Florida Dr. Cara Tasher has served as Director of Choral Studies at the University of North Florida (UNF) since 2006. She has performed and recorded with conductors such as Claudio Abbado, Daniel Barenboim, James Levine and Robert Shaw. Tasher has been professionally associated with the Atlanta Symphony Chorus, Chicago Symphony Chorus, Jacksonville Symphony, Mexico City's Opera de Bellas Artes, Portugal's Vocalizze Festival and the Young People’s Chorus of New York City. Proficient in several languages, Tasher's engagements as a singer, conductor and adjudicator have brought her to over 10 states and 20 countries for concerts, competitions, festivals and workshops. Her training took place in the Glen Ellyn Children’s Chorus, at the University of Cincinnati College-Conservatory of Music, University of Texas at Austin, Paris IV-La Sorbonne and Northwestern University. Tasher is active within the American Choral Directors Association, International Federation of Choral Music and the National Collegiate Choral Organization in various leadership capacities. At UNF, she created the Jacksonville SINGS! Honor Chorus Festival, Refugee Chorus, Composer’s Collective, Conductor’s Studio, the Master of Music in choral conducting and the undergraduate conducting certificate. Tasher conducts the Chorale and the Chamber Singers and teaches the conducting curriculum while overseeing the choral department and its leadership team.
University of North Florida Chorale The University of North Florida Chorale has been entertaining audiences since the university first opened its doors. One of four official choral ensembles at UNF, this choir draws singers across campus from every field of study and from the Jacksonville community. Most recent masterworks preformed include Elgar The Dream Of Gerontius with the Jacksonville Symphony and Fauré Requiem. In the last two years, they’ve had the opportunity to work with Nicole Lamartine, Michael Barrett, Patrick Herrchiu, Amy Kotsonis and Tesfa Wondemagegnehu. Upcoming works include Handel’s Messiah, Ravel’s Daphnis and Chloe and Verdi’s Requiem with Jacksonville Symphony. Auditions are open to all UNF students and alums and take place the week prior to each semester. Chorale rehearses Tuesday evenings from 7 to 9:30 p.m. For more information about the choral ensembles at UNF, or how to sponsor scholarships for students, please e-mail chorus@unf.edu.
Sopranos
Jada Allen Lilian Grusz Allison Hagan Holly Hammond Megan Hines Nicole Knorr Maddie Mangas Marissa Naylor Lori Perko Andrea Torres Espejo Cameryn Valiente Emma Wilson
Tenors
Gavin Andrews Tavian Cox Jon Cruz-Cole Michael Godfrey Jimi Hutchings Rio Quinonez Jared Randell Jaime Santana Dwayne Stanton
Altos
Liz Brink Emily Fox Claudia Guanes Erin Haworth Miranda Lippus Devan McKenzie Allie Pecoraro Chloe Polder Misha Smeen Jade Staschke Eliza Stoney Wanying "Chelsea" Nie Emme Wein
Basses
Alexander Burney Van Cole Ted Louckes Caleb Moore Joeavian Quintana-Rivera Isaiah Smalls Joseph Smith Jacob Stonecypher George Vachon Jonathan Woodbine
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PROGRAM NOTES By Laurie Shulman Giuseppe Verdi (1813-1901) Messa da requiem 90 minutes
Any performance of Giuseppe Verdi’s mighty Requiem is a major artistic event. This grand, moving and noble work constitutes a fully satisfying musical and spiritual experience. Verdi initially intended his Requiem to be a tribute to Gioachino Rossini, after the older Italian composer died in Paris in November 1868. Over the course of the next several years, as the work grew in scope, Verdi’s focus shifted away from Rossini. Eventually, he chose instead to honor the memory of Alessandro Manzoni, a poet and novelist who died in May 1873. Manzoni was an Italian national hero and Verdi’s personal idol. From the 1840s, Verdi had been deeply involved in Italian politics and the struggle for independence from Austria through the movement known as the Risorgimento [resurgence]. As the prospect of Italian unification drew closer in the 1850s and 1860s, Verdi remained a staunch patriot in life and art. His search for Italian cultural identity and his response to Manzoni’s death enhance the power of this Requiem. Because Verdi was known to be a non-religious man, the Roman Catholic Church was askance at the idea of him composing a sacred work. When the Requiem was premiered in May 1874 on the first anniversary of Manzoni’s death, the press criticized Verdi’s score for being overly operatic. Several prominent musicians concurred with that assessment. The conductor and pianist Hans von Bülow famously dismissed it as an “opera in ecclesiastical vestments.” (Years later, he recanted that hasty judgment and apologized to Verdi.)
Today, many music lovers affectionately refer to the Requiem as ‘Verdi’s greatest opera.’ Despite the early controversy, Verdi’s Requiem has taken a proud place alongside those of Mozart, Berlioz, Brahms, Fauré and Britten as cornerstones of Western choral literature. Audiences love Verdi’s richly dramatic solo and choral parts and connect with the power and humanity of his magnificent score. The operatic style of his Requiem is the very quality that elicits our emotional response to his music. His grand, moving and noble Requiem constitutes a fully satisfying musical and spiritual experience. The Requiem dates from a period in Verdi’s career when his operatic production had slowed. Between 1839 and 1869, he composed 25 operas. Though he lived for another three decades plus, only three operas would follow: Aida, Otello and Falstaff, plus the revision of Don Carlo. Nevertheless, precisely because he had spent a lifetime in the opera house, Verdi understood the human voice intimately. He also knew how to maximize the dramatic impact of a text. His gifts adapted surprisingly well to sacred choral music. In many respects, the Verdi Requiem is the ultimate Romantic choral work. Its focus on grand and exaggerated gestures is decidedly romantic. Verdi’s dynamic instructions, for example, are frequently over-the-top. Rather than asking the chorus to sing piano [p, quiet] or even pianissimo [pp], he specifies pppp or even ppppp in the score. Similarly, in the loud sections, he demands thrilling, loud fortes that make the hairs stand up on the back of one’s neck. Nowhere is this more evident than in the unforgettable Dies Irae, which recurs several times over the course of the Requiem. The Dies irae includes some of the most violent music ever composed for chorus and orchestra, hurling giant wallops of sound into the concert hall.
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Although he has at his disposal four soloists and full orchestra, Verdi relies heavily on the chorus. They must sing quietly and reverently in some passages, yet still be able to project over the massed sound of the large orchestra. In movements such as the Dies Irae, balance presents a significant challenge. Listeners familiar with Verdi’s Rigoletto, La Traviata and Aida will hear parallels in the Requiem with tender and beautiful moments in those operas. Many scenes in Verdi’s other operas are set in churches or deal in some other fashion with faith: the Miserere in Il Trovatore, Leonora’s prayer in Act II of La forza del destino, Desdemona’s ‘Ave Maria’ in Otello. Regardless of Verdi’s personal beliefs, he had a special gift for infusing the mysteries of faith, life and death into his music. Verdi was, first and foremost, a man of the theater. His theatrical sense manifests itself in the Requiem in his use of the trumpets in the Tuba Mirum. Experience in dozens of opera houses had given him a thorough understanding of how to use physical space. The Requiem provided an unusual opportunity for an opera composer: his orchestra was not in a pit, but on the stage, which made an enormous difference in its ability to project. Verdi’s orchestra is as important as his vocal forces in delivering the impact of this music. Ultimately the Requiem is a Mass for the dead. We all have our ways of dealing with grief and loss. In the power and humanity of Verdi’s magnificent score, there is something for everyone. Laurie Shulman © 2019
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POPS SERIES
PRESENTED WITH
Thank you for joining us!
Friday and Saturday, March 29 & 30, 2019 | 8 pm
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
FRANK AND ELLA
Program Note: Frank Sinatra and Ella Fitzgerald: two of the most talented vocalists in the world of jazz and pop. For two incredibly high-profile performers who rose to fame around the same time, they each had immense respect for each other’s talents.
Michael Krajewski, conductor
Calvin and Ellen Hudson Charitable Trust Endowed Chair
Selections to be announced from the stage. There will be one 20-minute intermission.
Sinatra once said, “Ella Fitzgerald is the only performer with whom I’ve ever worked who made me nervous. Because I try to work up to what she does. You know, try to pull myself up to that height, because I believe she is the greatest popular singer in the world, barring none—male or female.”
This program runs approximately 1 hour 50 minutes. Presented by David and Linda Stein in honor of the Stein Scholars from Jacksonville University and The University of North Florida.
Sinatra was not alone in his admiration. Fitzgerald had a deep respect for her fellow singer’s talents and the two duetted on several occasions that led to tops hits.
Additional support provided by Tom Bush BMW of Jacksonville and by Maggiano’s Little Italy Students at the Symphony is sponsored in part by The DuBow Family Foundation Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
Interestingly enough, both of the singers had relatively similar childhoods and careers. Fitzgerald was born in Newport News, VA in 1917, but was raised in Yonkers, a short 15 miles north of Hoboken, NJ, Sinatra’s hometown. Sinatra was a troublemaker from the start, and was expelled from high school. While Fitzgerald began as a strong student, her grades slipped after her mother’s death in 1932. Both launched their solo careers in 1942 and were band signers before that. They rose to iconic heights in the late 1950s and remained the definitive interpreters of the Great American Songbook.
Brandon Marshall
With duets “Can’t We Be Friends” and “The Lady is a Tramp,” not including their own individual successes, it is more than fair to say that these two American icons redefined the music industry.
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Michael Krajewski Principal Pops Conductor
Calvin and Ellen Hudson Charitable Endowed Chair
Michael Tammaro
Known for his entertaining programs and clever humor, Michael Krajewski is a much sought after conductor of symphonic pops. He is Music Director of The Philly Pops and Principal Pops Conductor of the Jacksonville Symphony Orchestra. He previously served as Principal Pops Conductor of the Houston Symphony and Atlanta Symphony Orchestra. As a guest conductor Krajewski has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh and National Symphonies, and numerous other orchestras across the United States. In Canada he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Edmonton, Winnipeg and Kitchener-Waterloo Symphonies. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra as well as performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and Spain’s Bilbao Symphony Orchestra. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Krajewski furthered his training at the Pierre Monteux Domaine School for Conductors. Krajewski lives in Orlando, Florida with his wife Darcy. When not conducting he enjoys travel, photography and solving crossword puzzles.
Capathia Jenkins, vocalist The Brooklyn-born and raised singer/actor, Capathia Jenkins, most recently released the critically acclaimed CD Phenomenal Woman the Maya Angelou Songs with her collaborator Louis Rosen. The pair sold out the world-famous Birdland Theatre in NYC for three nights. She starred as Medda in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the Off-Broadway 2000 revival of Godspell, where she wowed audiences with her stirring rendition of “Turn Back, O Man” which can still be heard on the original cast recording. Jenkins then created the roles of The Washing Machine in Caroline, Or Change and Frieda May in Martin Short-Fame Becomes Me where she sang “Stop the Show” and brought the house down every night. In 2007 she went back to Off-Broadway and starred in (mis) Understanding Mammy-The Hattie McDaniel Story for which she was nominated for a Drama Desk Award. She was also seen in Nora Ephron’s Love, Loss, and What I Wore. An active concert artist, Jenkins has appeared with numerous orchestras around the world including the Cleveland Orchestra, Houston Symphony, Pittsburgh Symphony, National Symphony, Atlanta Symphony, Seattle Symphony, Minnesota Orchestra, Toronto Symphony, the Hong Kong Philharmonic and many others. She was a soloist with the Festival Cesky Krumlov in the Czech Republic multiple times. Jenkins had the great honor of performing in the Broadway Ambassadors to Cuba concert as part of the Festival De Teatro De La Habana. She has appeared several times at Carnegie Hall with the New York Pops and also sang in a Tribute to Marvin Hamlisch at the Library of Congress. Her Television credits include 30 Rock, The Practice, Law & Order SVU, and The Sopranos. She can be seen in the film Musical Chairs directed by Susan Seidelman. Jenkins was also seen in The Wiz in a live performance on NBC. She can be heard on the following film soundtracks: Nine, Chicago and Legally Blonde 2.
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Tony DeSare, vocalist
Vincent Soyez
Named a Rising Star Male Vocalist in Downbeat magazine, Tony DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas headlining with Don Rickles and major symphony orchestras, DeSare has brought his fresh take on old school class around the globe. DeSare has three top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, the Today Show and his music has been posted by social media celebrity juggernaut, George Takei. DeSare has also collaborated with Youtube icons Postmodern Jukebox. DeSare is an accomplished award-winning composer. He not only won first place in the USA Songwriting Contest, but has written the theme song for the motion picture, My Date With Drew, several broadcast commercials and has recently composed the full soundtracks for the Hallmark Channel’s Love Always, Santa and Lifetime’s Nanny Nightmare. DeSare’s forthcoming appearances include the Milwaukee Symphony Orchestra, Seattle Symphony, Indianapolis Symphony Orchestra, Grand Rapids Symphony, Baltimore Symphony Orchestra and the Smith Center in Las Vegas.
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SYMPHONY IN 60 SERIES Thursday, April 4, 2019 | 6:30 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
Thank you for joining us!
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
BRIDGES: A WORLD PREMIERE Courtney Lewis, conductor Haskell Endowed Chair
Jennifer Koh, violin
Courtney BRYAN
Bridges*
Sergei PROKOFIEV
Violin Concerto No. 1 in D major, Op. 19
Andantino Scherzo: Vivacissimo Moderato
* World premiere, Jacksonville Symphony commission Featuring Courtney Bryan, Mary Carr Patton Composer-in-Residence This program runs approximately 60 minutes. The commission for Bridges is made possible through support from Mary Carr Patton and The National Endowment for the Arts. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
Turn to page 43 to read about Courtney Bryan, Jennifer Koh and the program.
Tickets: 904.354.5547 JaxSymphony.org
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MASTERWORKS SERIES COFFEE SERIES Friday, April 5, 2019 | 11 am Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
RACHMANINOFF SYMPHONY NO. 2 Courtney Lewis, conductor Haskell Endowed Chair
Sergei RACHMANINOFF
Symphony No. 2 in E minor, Op. 27
Largo - Allegro moderato Allegro molto Adagio Allegro vivace
Thank you for joining us!
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
Fun Facts
Did you know? Composer Fact: Sergei Rachmaninoff had possibly the largest hands in classical music, which is why some of his pieces are fiendishly difficult for less wellendowed performers. He could span 12 piano keys from the tip of his little finger to the tip of his thumb.
This program runs approximately 1 hour 5 minutes. Friday and Saturday, April 5 & 6, 2019 | 8 pm
The Raymond James Coffee Series concert is presented by
“Insight” one hour prior to each Masterworks concert Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
RACHMANINOFF SYMPHONY NO. 2 Courtney Lewis, conductor Haskell Endowed Chair
Jennifer Koh, violin Sergei PROKOFIEV
Violin Concerto No. 1 in D major, Op. 19
Andantino Scherzo: Vivacissimo Moderato
Courtney BRYAN
Bridges* INTERMISSION
Sergei RACHMANINOFF
The Florida Blue Masterworks concert is presented by The Ann and David Hicks Foundation The commission for Bridges is made possible through support from Mary Carr Patton and The National Endowment for the Arts Masterworks guest artists are sponsored by Ruth Conley Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
Symphony No. 2 in E minor, Op. 27
Largo - Allegro moderato Allegro molto Adagio Allegro vivace
* World premiere, Jacksonville Symphony commission Featuring Courtney Bryan, Mary Carr Patton Composer-in-Residence This program runs approximately 2 hours.
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Tickets: 904.354.5547 JaxSymphony.org
Jennifer Koh, violinist Born in Chicago of Korean parents, Koh began playing the violin by chance, choosing the instrument in a Suzuki-method program only because spaces for cello and piano had been filled. At the incredibly young age of 11, she made her debut with the Chicago Symphony Orchestra. She has gone on to have a career that encompasses so much more than playing the violin; from promoting diversity and inclusivity in the industry to teaching and inspiring young musicians, Jennifer Koh has truly made an impact on classical music. A particular passion of Koh is her desire to explore and help create new music. She has expanded the contemporary violin repertoire through a wide range of commissioning projects, and has premiered more than 70 works written especially for her. Her quest for the new and unusual, sense of endless curiosity and ability to lead and inspire a host of multidisciplinary collaborators truly set her apart. Koh has multiple critically acclaimed music series that have grown and expanded over the past seasons: The New American Concerto, Limitless, Bach and Beyond, Shared Madness and Bridge to Beethoven. An up-and-coming project for the violinist is The 38th Parallel: A Contemporary Pansori. The one-hour, multimedia work explores the impact of displacement and immigration, and individual and familial transformation through music, visual art and movement. Conceived by Koh and composer Jean-Baptiste Barrière, The 38th Parallel connects the transformation of three generations of human lives and encapsulates the experience of cultural uprooting and assimilation.
Tiffany Manning
Courtney Bryan Mary Carr Patton Composer-in-Residence Courtney Bryan, a native of New Orleans, LA, is “a pianist and composer of panoramic interests” (New York Times). Her music ranges from solo works to large ensembles in the new music and jazz idioms, film scores and collaborations with dancers, visual artists, writers and actors, and is in conversation with various musical genres, including jazz and other types of experimental music, as well as traditional gospel, spirituals and hymns. Focusing on bridging the sacred and the secular, Bryan's compositions explore human emotions through sound, confronting the challenge of notating the feeling of improvisation. Bryan has academic degrees from Oberlin Conservatory (BM), Rutgers University (MM) and a DMA in music composition from Columbia University of New York. She has been an instructor at Columbia University and Oberlin Conservatory, and a Postdoctoral Research Associate in the Department for African American Studies at Princeton University. Bryan is currently an assistant professor of music in the Newcomb Department of Music at Tulane University, and the composer-in-residence with the Jacksonville Symphony. She has two independent recordings, “Quest for Freedom” (2007) and “This Little Light of Mine” (2010). Bryan’s work has been presented in a wide range of venues, including Carnegie Hall, Lincoln Center, Miller Theatre, Symphony Space, The Stone, The Kennedy Center, National Gallery of Art, Blue Note Jazz Club, Bethany and Abyssinian Baptist Churches and the New Orleans Jazz & Heritage Festival. Recent premieres include Do Your Thing for Carnegie Hall’s Link Up “Orchestra Swings” program, The Bremen Town Band, a collaboration with Lake Simons commissioned by Miller Theatre, Blooming for wind ensemble commissioned by Imani Winds and UChicago Presents, White Gleam of Our Bright Star for orchestra commissioned by the Colorado Springs Philharmonic, and His Love Endures for jazz orchestra commissioned by the New York Jazzharmonic.
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Bryan was recently featured as a speaker at the Tulane University Newcomb College Institute, the National Jazz Museum of Harlem and The Institute of Women & Ethnic Studies of New Orleans, and has curated performances and discussions on women in jazz at Princeton University and Drexel University, and on music and spirituality at Bethany Baptist Church of Newark and the Columbia University Institute for Religion, Culture, and Public Life. She has given talks at the Institute for Research in African-American Studies (IRAAS) Conversation Series and the Jazz Studies Center at Columbia University, at the Harlem Jazz Shrines Festival, and was featured in the Columbia University Institute for Religion, Culture, and Public Life radio documentary “The Harlem Renaissance: Music, Religion, and the Politics of Race.” She was the featured composer at the Callaloo Conference 2014 at Emory University, and traveled with the Horns to Havana program as an instructor with the New Orleans Louis “Satchmo” Armstrong Jazz Camp to Havana, Cuba, and is a subject in a documentary by Geoffrey Poister, entitled “Jazz Dreams II,” which documents fourteen years in the lives of musicians, Courtney Bryan, Jason Marsalis, and Irvin Mayfield. Bryan serves as a board member of the Musical Arts Society of New Orleans (MASNO), Composers Now, and New Music USA.
PROGRAM NOTES By Laurie Shulman Sergei Prokofiev (1891-1953) Violin Concerto No. 1 in D major, Op. 19 22 minutes
If you were 25, came from a wealthy family in an absolutist state, and the status quo appeared to be on the verge of collapse, would you stick around and weather the storm or opt for friendlier shores? Sergei Prokofiev chose the latter option early in the Russian Revolution. By spring 1918, even train travel between Moscow and St. Petersburg had become risky because of political unrest; many Russians feared German invasion as much as the civil war. Prokofiev headed east, across the Siberian steppes to Japan, and thence to California. His luggage contained several manuscripts, including a newly completed violin concerto. The piece was remarkably free of any sign of the chaos into which Russia had been thrown. One wonders whether Prokofiev was simply ignoring what was transpiring around him, for its melodies are positively ethereal. As classically constructed as any piece he wrote, this concerto is more tender and romantic than sardonic. We hear the sensitive and lyrical Prokofiev, rather than the savage and sarcastic facets that had already manifested themselves in other works. His First Violin Concerto strikes a wonderful balance between the violin’s cantabile qualities and the excitement of a brilliant player giving free rein to sheer bravura technique.
Prokofiev waited five years to hear this concerto performed. He left America for France in the early 1920s, but could not persuade a French violinist to learn his concerto. Finally, in 1923, he found a soloist: Marcel Darrieux, the concertmaster of Serge Koussevitzky’s specially recruited orchestra. Koussevitzky conducted the première at the Paris Opéra on 12 October, 1923. The press sniffed at the new concerto, dismissing it as Mendelssohnian. As Prokofiev’s biographers Laurence and Elizabeth Hanson have written, “If there is one thing that disconcerts the intellectual Frenchman, it is genuine emotion openly expressed.” Perhaps what the critics meant by “Mendelssohnian” was lyrical and melodious. Fortunately the audience also included such luminaries as painter Pablo Picasso, ballerina Anna Pavlova, composer Karol Szymanowski, pianist Artur Rubinstein, and – most important – violinist Joseph Szigeti. The Hungarian virtuoso was thrilled with Prokofiev’s concerto. Within a year Szigeti was touring with the piece all over Europe. Szigeti surely responded to Prokofiev’s winning combination of lyricism and sparkle. The soloist’s opening theme is marked sognando [“dreamily”], over a shimmering, divided viola section. A poetic, magical quality wafts forth, both seductive and innocent, entwining us in a musical tale that unfolds at leisure. Prokofiev’s central scherzo is wild, dissonant, sardonic, a reminder that this is no one-dimensional composer. Still, his finale brings back both melodic elements and the gentle spirit of the first movement, embellished by elaborate trills, thrilling passage work and the sweetest of sounds. This is a concerto to take to the heart for many repeat hearings.
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Courtney Bryan Bridges 15 minutes
A biography of Ms. Bryan may be found on page 43. The Jacksonville Symphony has only performed Composer-in-Residence Courtney Bryan’s music once before. That makes this weekend’s premiere performances of Bridges doubly exciting, because it is her first commissioned work written for our orchestra. She has graciously provided the following introductory note to her new piece. *** Bridges is a tribute to the city of Jacksonville, its diverse communities, and the bridges that bring them together. As Mary Carr Patton Composer-in-Residence with the Jacksonville Symphony, I have had the opportunity to learn about Jacksonville (and St. Augustine) by visiting museums and galleries, historic landmarks, educational institutions, and by meeting with contemporary artists, art supporters and residents. A central inspiration for the music comes from my visits to several schools in different neighborhoods of Jacksonville where the young students improvised sounds of their neighborhoods, particularly sounds of water, weather and traffic. Bridges begins with an acknowledgement of the early cultural encounters of Northeast Florida along the St. Johns River from the time of Ossachite to Cowford to Jacksonville, including the Timucua (Saturiwa), French, Spanish, West African, British, Seminole and Americans. Following this are musical responses to my
experiences while visiting Jacksonville. While bridges may separate the city, this piece celebrates how through people’s intentions and actions, they can bring the city together. -Courtney Bryan*
Sergei Rachmaninoff (1873-1943) Symphony No. 2 in E minor, Op.27 60 minutes
Serge Rachmaninoff is deservedly celebrated for his splendid contribution to the piano literature. His Second Piano Concerto and Rhapsody on a Theme by Paganini remain perennial favorites. Somewhat lesser known are Rachmaninoff's strictly orchestral compositions, which include two undisputed masterpieces: the late Symphonic Dances, Op.45 (1940) and the symphony we hear at these performances. The Second Symphony was an easy sell for Rachmaninoff, and one that he badly needed to assuage damaged self-confidence. Excepting an unfinished youthful symphony, his first effort in the genre was a Symphony in D minor from 1895. Its failure was so disastrous that Rachmaninoff hardly composed for three years following, and it was nearly 12 years before he saw fit to complete another symphony. Fortunately, the success of the Second Piano Concerto and a number of smaller works did much to restore his faith in his own talent.
He began work on the Second Symphony in October 1906 while living in Dresden, where he and his family had moved in the aftermath of the failed Russian revolution of 1905. The piece gave him problems. He labored over the first movement alone for nearly three months. He spoke little of the work; most of his friends believed him to be immersed in a new opera. Somewhat frustrated by symphonic form, Rachmaninoff set the manuscript aside after completing the draft in April 1907. Back in Russia during the summer, he turned to orchestration, but remained very tight-lipped about having completed the score, and confiding to friends in letters that he was displeased with it. He managed to work through his dissatisfaction, and returned to St. Petersburg to conduct the premiere early in 1908. A Moscow premiere followed in mid-February. The Symphony was a great success in both cities, and the Russian academy hastened to formally recognize Rachmaninoff's achievement by awarding him the Glinka Prize for his new work in December 1908.
1976 hit “Never Gonna Fall in Love Again.” (Carmen lifted his theme from Rachmaninoff’s slow movement). Raw emotional power in this work points to mature Rachmaninoff; at the same time, it links him more strongly to his predecessor Tchaikovsky than probably any other composition. While each of the four movements has its share of the broad lines, arching melodies and sometimes ecstatic expression that characterize this work, the brilliant Scherzo merits special mention. At approximately nine minutes it is certainly the shortest of the four, but the composer has compressed a wealth of ideas in that brief span. The orchestration is impeccable (listen for the sparkle of the glockenspiel), and Rachmaninoff's command of counterpoint in the central fugato is impressive. Also noteworthy is the exuberant opening of the finale, which matches the opening to Strauss’ Don Juan in its evocation of newly-popped champagne bubbling over. Laurie Shulman ©2019
The music is lush and relaxed. This is an expansive symphony in the late Romantic vein: heartfelt, emotional and long. More than one writer has compared it to the Schubert Ninth, the "Great" C-major. It shares with that work an embarrassment of melodic riches, including at least one Rachmaninoff theme that has found its way into the popular canon via Eric Carmen’s
*Courtney Bryan would like to give a special thanks to Mary Carr Patton; Courtney Lewis and the Jacksonville Symphony staff, committees and musicians; the National Endowment for the Arts; Piotr Szewczyk; Douglas Anderson School of the Arts; Whitehouse Elementary School; The Bolles School; KIPP Jacksonville Elementary; Switzerland Point Middle School; LaVilla School of the Arts; Ulysses Owens and Don’t Miss a Beat; Ritz Theatre and Museum; Museum of Science and History; Space 42; Yellow House; Cummer Museum of Art & Gardens; Lincolnville Museum and Cultural Center; Dr. Leslee Keys at Flagler University; Lightner Museum; American Beach Museum; Kingsley Plantation; the beaches, rivers and bridges; and to the artists and art supporters of Jacksonville, Florida.
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MASTERWORKS SERIES Friday and Saturday, April 26 & 27, 2019 | 8 pm Sunday, April 28, 2019 | 3 pm “Insight” one hour prior to each Masterworks concert
Thank you for joining us!
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
MOZART’S JUPITER Nathan Aspinall, conductor Maurice RAVEL
Le Tombeau de Couperin
Wolfgang Amadeus MOZART
Symphony No. 41 in C major, K. 551, “Jupiter”
Prélude Forlane Menuet Rigaudon
Allegro vivace Andante cantabile Allegretto Molto allegro
INTERMISSION Edward ELGAR
Enigma Variations, Op. 36
Enigma: Andante Variation I: C.A.E. Variation II: H.D.S. - P. Variation III: R.B.T. Variation IV: W.M.B. Variation V: R.P.A. Variation VI: Ysobel Variation VII: Troyte Variation VIII: W.N. Variation IX: Nimrod Variation X: Dorabella Variation XI: G.R.S. Variation XII: B.G.N. Variation XIII: *** - Romanza Variation XIV: E.D.U.
Fun Facts
Did you know? Composer Fact: As well as being responsible for creating some of the most beloved English music of all time, Sir Edward Elgar was also a keen amateur chemist. He was known to spend hours in his shed tinkering away at little experiments, but the culmination was most certainly his invention of the Elgar Sulphuretted Hydrogen Apparatus, which was a device for synthesizing hydrogen sulfide that briefly went into production. Who knew?
This program runs approximately 1 hour 45 minutes.
Presented by and
Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
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Nathan Aspinall Associate Conductor Nathan Aspinall is currently the associate conductor of the Jacksonville Symphony. Recent performances in this position have included Handel’s Messiah, Prokofiev’s complete ballet Cinderella, and a highly-acclaimed masterworks subscription week and tour featuring pianist Bezhod Abduraminov performing Rachmaninoff’s Third Piano Concerto along with Shostakovich’s Fifth Symphony. Kevin Wilt of the Palm Beach Daily News noted, “In recent years, the Kravis Center has heard performances by the Chicago Symphony, the Royal Philharmonic, the Philadelphia Orchestra and more. This one was just as polished as any of those.” Formerly, Aspinall held the position of young conductor with the Queensland Symphony Orchestra where he assisted chief conductor Johannes Fritzsch and visiting guest conductors, and conducted concerts for the education series. He studied French horn and Conducting at the University of Queensland and upon graduation was awarded the Hugh Brandon Prize. In 2012 he attended the Aspen Music Festival studying with Robert Spano and Hugh Wolff. He was awarded the Robert J. Harth Conducting Prize, inviting him to return to Aspen in 2013. Tiffany Manning
Aspinall has conducted the Atlanta, Sydney, Adelaide, Queensland and Tasmanian Symphony Orchestras, the Queensland Conservatorium Chamber Orchestra and has acted as Assistant Conductor for Opera Queensland. Festival master classes and appearances have included the Cabrillo Festival of Contemporary Music, Oregon Bach Festival and the Tanglewood Music Center Conducting Seminar. In summer 2019, Aspinall will attend Tanglewood as one of two conducting fellows. During the 2018-2019 season, Aspinall will lead the Jacksonville Symphony in his third masterworks subscription appearance and return with the orchestra and organist Cameron Carpenter to the Kravis Center in West Palm Beach, Florida. Nathan studied Orchestral Conducting with Hugh Wolff at New England Conservatory in Boston.
This month marks my last subscription appearances as associate conductor of the Jacksonville Symphony and I couldn’t be happier that this Masterworks program features some of my very favorite music. Elgar’s Enigma Variations has always fascinated and touched me. It’s so much more than a set of variations on an original theme; it is a piece of immense beauty and richness. Throughout the piece Elgar paints musical pictures of his family and friends encapsulating their talents and imperfections with love and humanity. I couldn’t think of better music to end my tenure here in Jacksonville. Mozart’s final symphony is always exhilarating to conduct. The combination of formal invention and motivic spontaneity is a musical miracle. Combined with Ravel’s understated Tombeau de Couperin, this program is a wonderful feast of delicacy and depth. It has been an incredible four years here in Jacksonville. There have been many special concerts that I’m so proud of and I can’t thank the wonderful musicians of the Jacksonville Symphony enough for their generosity, openness and musicianship. It has been such a joy to share the stage with this orchestra and to see our relationship grow. This, however, is not goodbye. I will be returning next season in the Masterworks series as a guest conductor with Rachmaninoff’s powerful orchestral showpiece, Symphonic Dances, so I look forward to seeing you all there on December 20 and 21, 2019! Until then, know that Jacksonville will always hold a special place in my heart. -Nathan Aspinall
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PROGRAM NOTES By Laurie Shulman
Wolfgang Amadeus Mozart
Maurice Ravel (1875-1937)
Symphony No. 41 in C major, K. 551, “Jupiter”
Le Tombeau de Couperin 17 minutes
France has rich cultural traditions in cuisine, language, viticulture and of course the visual and performing arts. In music, France has always revered the great composers of its golden Baroque era: from Jean-Baptiste Lully in the late 17th century to François Couperin “Le Grand” and Jean-Philippe Rameau in the first half of the 18th century. Maurice Ravel was educated with great respect and love for this rich musical legacy. His Le Tombeau de Couperin is a collection of dances and other musical forms that reached their apogee in the compositions of his Baroque predecessors. The piece originally appeared in 1918 as a six-movement suite for solo piano. The following year, Ravel orchestrated four of its movements in the version we hear. The word tombeau, as its spelling suggests, means tomb or grave; however, the French term connotes ‘homage’ or ‘tribute’ as well. Ravel was paying his respects not only to Couperin, but also to French Baroque heritage. His neoclassical choice of older dance forms as an instrumental suite are obvious bows to the earlier era. Preludes were a standard opening movement to an instrumental suite. The forlane is an Italian dance with possible Slavic roots as well; it is related to the gigue and passamezzo and shares their 6/8 meter. The rigaudon is an ancient Provençal dance that was beloved to Ravel, and the menuet needs no introduction. There is another layer of meaning in Le Tombeau de Couperin: each movement bears a dedication to a friend of Ravel's who died in combat during the First World War. A melancholy streak is particularly evident in the two inner movements, Forlane and Menuet. Ravel's musical language is contemporary, although he adheres to the formal demands of the older dances. His remarkable gift for orchestration brings Le Tombeau de Couperin vividly to life with deft touches of instrumental color, particularly in the woodwinds and brass.
(1756-1791)
31 minutes
For many years the source of the nickname “Jupiter” for Mozart's last symphony was unknown. An arrangement of the work for piano, four-hands was published in England around 1820 with the sobriquet, but with no explanation. Mozart's symphony is mentioned in the diaries of Vincent and Mary Novello, a 19th-century English couple who traveled widely and interviewed the composer’s widow Constanze in 1829. According to them, the nickname was bestowed by Johann Peter Salomon, the entrepreneur responsible for Haydn’s two visits to London in the 1790s. No doubt Salomon was struck, as we must be, by the ceremonial and grand effects of this C major symphony. Assertive and forthright from its opening, it is music of majesty and sweep, convincingly bringing to mind the king of the ancient Roman gods. The slow movement is a standout. Ivor Keys calls it the apotheosis of the ornate song which bewitched Mozart since his Italian days. To the beauty of sound of the muted violins is added the woodwind counterpoint featured in so many concertos, but added to this is a new rhythmic dimension sometimes highlighted by unexpected harmony. Mozart’s syncopations and unexpected accents add to the effect. The “Jupiter” is justly famed for its finale. Mozart had developed an interest in the music of Bach and Handel, which manifested itself in the contrapuntal fabric of this splendid conclusion. The finale is a complex amalgam of double fugue and a sonata movement. Miraculously, Mozart makes this formidable intricacy sound perfectly wonderful. His superb craft reaches its peak in the magnificent coda, where five principal themes are interwoven in one of music’s greatest triumphs.
Sir Edward Elgar (1857-1934) Enigma Variations, Op. 36 31 minutes
During the 19th century, German and Austrian musicians referred disparagingly to England as “das Land ohne Musik” – the land without music. Most of the great composers who flourished in England, such as Handel, J.C. Bach and Mendelssohn, had come from the continent. Elgar was a pivotal figure in the renaissance in English composition. His Enigma Variations made him a national celebrity. This remarkable score bears the inscription “Dedicated to my friends pictured within.” Over the first page, the word “Enigma” appears. Each of the 14 variations is titled either with a monogram or a nickname referring to members of Elgar’s circle. Thus “C.A.E.” of the first variation is his wife, Caroline Alice Elgar; Variation II’s “H.D.S.-P.” is Hew David Steuart-Powell, pianist in Elgar’s trio (along with “B.G.N.,” Basil Nevinson, the cellist and subject of Variation XII), and so forth. Many of his Worcestershire friends thereby achieved a measure of immortality. Collectively Elgar’s musical portrait gallery is a treasure trove of brilliant character sketches, despite his insistence that his work was absolute music to be considered independently of those who had inspired it. William Meath Baker, the “W.M.B.” of Variation IV, is said to have been a decisive, athletic man who went about life with great physical flourishes punctuating his activities; his variation is appropriately resolute. Isabel Fitton, the “Ysobel” of Variation VI, was a viola student of Elgar's; her lyrical, gentle variation features a viola solo and allegedly satirizes technical problems in her string playing that she never overcame. Contemporaries described Arthur Troyte Griffith (“Troyte,” Variation VII) as an argumentative type. Elgar paints him with vigorous timpani, then brasses in animated dialogue with rapid violin triplets; this is a true virtuoso variation, enough to convince us that Troyte was a formidable opponent in debate!
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“Dorabella” (Variation X) was Elgar’s pet name for Dora Penny, the youngest member of his circle included in the Enigma Variations. Her nickname was a conscious allusion to Mozart’s Così fan tutte; her variation has the airy delicacy of the ballet music from Ponchielli’s La Gioconda or Tchaikovsky’s Swan Lake. Sprightly, chirping fillips of woodwinds and strings in “Dorabella” invite choreography; it comes as no surprise that Frederick Ashton created a ballet from Elgar’s piece in 1968.
The central variation, “Nimrod,” refers to August Johannes Jaeger, Elgar’s advocate at the London music publishing house of Novello (“Jaeger” means hunter in German). “Nimrod” is said to have been inspired by an evening walk during which Jaeger waxed poetic about Beethoven’s slow movements. Surely it is no accident that Elgar placed this variation in E-flat major, Beethoven’s heroic key. Many listeners perceive a strong similarity between the “Nimrod” variation and the famous slow movement to Beethoven’s “Pathétique” Sonata.
Technically, what makes the Enigma Variations so marvelous is a combination of splendid orchestration, careful gauging of key changes, and brilliant transitions from one variation to the next. Spiritually, what binds it is the overriding affection Elgar had for his friends. Variation XIV, “E.D.U.” (Alice’s pet name for her husband was “Edu”) binds the set together in exuberant conclusion, as if to say “Lucky me, that my life is enriched by these wonderful people.” Whether heard as an independent piece of music or in the context of Elgar’s musical portrait gallery, the Enigma Variations is one of the masterpieces of the repertoire, and Elgar’s finest composition. Laurie Shulman ©2019
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YOUTH ORCHESTRAS SERIES Monday, May 6, 2019 | 7 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
JSYO FESTIVAL OF STRINGS Jump Start Strings - John Wieland, conductor Communities in Schools Patrice Evans, conductor Selections to be announced Jump Start Strings TRADITIONAL arranged by SONG
David Song, conductor French Folk Song
Jean SIBELIUS arranged by GILABERT
A Song of Peace (Finlandia)
Ludwig van BEETHOVEN arranged by SONG
Ode to Joy from Symphony No. 9 in D minor
Foundation Strings Emile WALDTEUFEL arranged by PHILLIPS
Rose Francis, conductor Bella Bocca Polka
George Frideric Larghetto HANDEL arranged by DABCZYNSKI Brian BALMAGES
Burst! INTERMISSION
Encore Strings Helen Morin, conductor Giuseppe Brindisi from La Traviata VERDI arranged by CAPONEGRO
Ignatz PLEYEL arranged by CHIN
Allegro in G major
Pharrell WILLIAMS arranged by MOORE
“Happy” (from Despicable Me 2)
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About the Jacksonville Symphony Youth Orchestras The Jacksonville Symphony Youth Orchestras (JSYO) are Northeast Florida’s premier developmental orchestral ensembles. Last season, the JSYO served more than 300 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, there are six ensembles which rehearse and perform under the direction of JSYO Principal Conductor and Symphony Assistant Conductor, Deanna Tham and her team of music educators. These professional conductors, along with Jacksonville Symphony musicians, nationally recognized soloists, and other professional educators in the community, enable the JSYO to serve the needs of each young musician with individualized, ability-level specific instruction. JSYO members are afforded unique musical experiences, in addition to the exposure to and performance of orchestral masterworks. For example, JSYO ensembles perform in the TimesUnion Center’s Jacoby Symphony Hall during the season as well as the annual Major/Minor concert, which will be conducted by Jacksonville Symphony Music Director Courtney Lewis. At this concert, finalists in the annual Young Artists Concerto Competition showcase their exceptional talents by performing with the Jacksonville Symphony. The JSYO also perform free community engagement concerts, both in Jacoby Symphony Hall and at various First Coast locations. Last season, the JSYO Philharmonic participated in their first-ever tour to the Los Angeles International Music Festival where they performed at the Walt Disney Concert Hall. For more information visit jaxsymphony.org/jsyo
YOUTH ORCHESTRAS SERIES
Premier Strings Johann PACHELBEL arranged by CHIN
Helen Morin, conductor Canon in D major
Tifffany Manning
Ludwig van Minuet in D major BEETHOVEN arranged by LONGFIELD Hans Pirates of the Caribbean: At World’s End ZIMMER arranged by BULLA
Tifffany Manning
Please see insert for student roster and conductor biographies. This program runs approximately 1 hour 10 minutes.
Presented by
Sponsored in part by
Cummer Family Foundation Rice Family Foundation Rowe Charitable Foundation Brady S. Johnston Perpetual Charitable Trust
Tifffany Manning
Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
Support for the JSYO is provided in part by: THE PLAYERS Cummer Family Foundation Rice Family Foundation Publix Super Markets Charities Rowe Charitable Foundation Brady S. Johnston Perpetual Charitable Trust Florida State College at Jacksonville
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YOUTH ORCHESTRAS SERIES Friday, May 10, 2019 | 8 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
MAJOR/MINOR
Thank you for joining us!
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
Courtney Lewis, conductor Haskell Endowed Chair
Deanna Tham, conductor Winston Family Endowed Chair
Repertory Orchestra Giuseppe VERDI Jean SIBELIUS
Deanna Tham, conductor Overture to Nabucco
Nikolai RIMSKY-KORSAKOV
Procession of the Nobles from Mlada
Young Artist Competition Soloists
Finlandia, Op. 26
Deanna Tham, conductor Please see insert for selections INTERMISSION
Philharmonic Gustav MAHLER
Courtney Lewis, conductor Symphony No. 1 in D major, “Titan”
Langsam schleppend Kräftig bewegt Feierlich und gemessen Stürmisch bewegt
Please see insert for student roster and conductor biographies. This program runs approximately 1 hour 45 minutes.
Presented by
Sponsored in part by
Cummer Family Foundation Rice Family Foundation Rowe Charitable Foundation
Tickets: 904.354.5547 JaxSymphony.org
Brady S. Johnston Perpetual Charitable Trust Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
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MASTERWORKS SERIES Friday and Saturday, May 17 & 18, 2019 | 8 pm Sunday, May 19, 2019 | 3 pm “Insight” one hour prior to each Masterworks concert
Thank you for joining us!
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
BRAHMS SYMPHONY NO. 1 Courtney Lewis, conductor Haskell Endowed Chair
Robert SCHUMANN
Overture to Genoveva, Op. 81
Witold LUTOSŁAWSKI
Cello Concerto INTERMISSION
Johannes BRAHMS
Symphony No. 1 in C minor, Op. 68
Un poco sostenuto; Allegro Andante sostenuto Un poco allegretto e grazioso Adagio; Più andante; Allegro non troppo, ma con brio
This program runs approximately 1 hour 45 minutes.
Presented by Masterworks guest artists are sponsored by Ruth Conley Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
Fun Facts
Did you know?
Composer Fact: Brahms loved the outdoors. When he wasn't travelling around Europe for concert tours, he was fond of travelling to the hills of Italy for walking holidays and to retreat for solitary composing.
Hayley Young
Joshua Roman, cello
Joshua Roman, cellist Joshua Roman has earned an international reputation for his wideranging repertoire, a commitment to communicating the essence of music in visionary ways, artistic leadership and versatility. As well as being a celebrated performer, he is recognized as an accomplished composer and curator, and was named a TED Senior Fellow in 2015. During the 2017-2018 season, Roman made his Detroit Symphony Orchestra debut and performed his own Cello Concerto, Awakening, with the Princeton Symphony in collaboration with conductor Teddy Abrams. In Europe, Roman performed one of his favorite 20th century cello concertos, that of Polish composer Witold Lutosławski, with the Szczecin Philharmonic of Poland. Other season highlights included performances of Tornado with the JACK Quartet with San Francisco Performances, Town Hall Seattle, Interlochen and numerous presenters throughout the country.
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Notable events from the 2016-2017 season include the premiere of Tornado, a new work composed by Joshua Roman and commissioned by the Music Academy of the West and Town Hall Seattle. The lauded premiere took place with the JACK Quartet at the Music Academy of the West in June of 2017. He also gave his debut at the Spoleto Festival in Charleston, comprised of not only performances with high caliber musicians from the St. Lawrence String Quartet and other corners of the chamber music world, but a performance of his solo piece Riding Light. Orchestral highlights of the season included performances of the Mason Bates Cello Concerto with the Portland, Berkeley, Spokane and Memphis Symphonies. The concerto is dedicated to the cellist, who gave its “world-class world premiere” (Seattle Times) with the Seattle Symphony in 2014, and has since performed it with orchestras around the U.S. In November of 2016, Roman’s musical response to the tension around the U.S. Presidential election – “Let’s Take A Breath” – brought almost one million live viewers to TED’s Facebook page to hear his performance of the complete Six Suites for Solo Cello by J.S. Bach. Before embarking on a solo career, Roman spent two seasons as principal cellist of the Seattle Symphony, a position he won in 2006 at the age of 22. Since that time he has appeared as a soloist with the San Francisco Symphony, Seattle Symphony, Los Angeles Philharmonic, BBC Scottish Symphony, Moscow State Symphony and Mariinsky Orchestra, among many others. An active chamber musician, Roman has collaborated with Cho-Liang Lin, Assad Brothers, Christian Zacharias, Yo-Yo Ma, the JACK Quartet, the Enso String Quartet and Talea Ensemble.
PROGRAM NOTES By Laurie Shulman Robert Schumann (1810-1856) Overture to Genoveva, Op. 81 10 minutes
In French legend, Genevieve of Brabant was married to Count Siegfried. When he parted for the south to fight Saracen invaders, he entrusted his beautiful wife to his steward Golo, who was secretly in love with Genevieve. When she rebuffed Golo’s advances, he sought vengeance by entrapping her with another man and accusing her of adultery. Upon learning of her alleged infidelity, Count Siegfried condemned his wife to death. For Robert Schumann, the virtuous Genevieve was the idealized woman. Throughout the 1840s he had sought a suitable subject for an opera. This topic fit the bill. The Genevieve legend was popular in Germany and had the added advantage of a medieval setting and some supernatural elements that appealed to romantic sensibilities. Genoveva was premiered in Leipzig and other German cities, as well as elsewhere in Europe; however, a weak libretto and a lame happy ending kept it from achieving a place in the repertoire. Its overture deserves better. Schumann composed it in a white heat: over a scant five days in April 1847. A tightly knit sonata form, it consists of a slow introduction, a brisk allegro with clearly
contrasted themes, and a triumphant coda. Hans Gál calls the Overture to Genoveva “an inspired, beautifully eloquent piece of music.” It embodies the opera’s narrative of ominous foreboding, crisis, false accusations and ultimate deliverance. From the anguished opening chord, we sense a powerful drama unfolding. A sighing, recitative-like figure in the violins is important to the substantial slow introduction and recurs in the allegro. Schumann’s vigorous first theme focuses on the strings, but he entrusts the bold second theme to a trio of hunting horns. Their motive provides grist for the mill of the development and entwines nicely with the principal allegro theme for the radiant coda that closes the work, signaling the triumph of faith, Genoveva’s redemption and her reunion with her husband.
Witold Lutosławski (1913-1994) Cello Concerto (1970) 24 minutes
When he died 25 years ago, Witold Lutosławski was the senior statesman among Poland's composers. Along with his younger contemporary Krzysztof Penderecki (b.1933), he led a 20thcentury Renaissance in Polish music, drawing international attention to new music behind the Iron Curtain during the most stifling years of Communist rule.
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Lutosławski earned his reputation as a formalist. He retained it as a master orchestrator and daring experimenter over the course of a long and fruitful life. His career took some surprising turns, not only because of political upheaval in Poland, but also because he was open-minded. He shifted directions several times, continually exploring. Microrhythms, microtones and the coloristic potential of various instrumental combinations are some of the areas he addressed in his music. Some of his early works, such as the popular Concerto for Orchestra (19501954) embraced Polish folk music and a neo-Bartókian synthesis of ethnic material into a personal musical language. His middle-period works employed serialism, chance operations, and a re-thinking of tonality, but never at the expense of formal clarity. Late in life, he developed a new process he called ‘chain technique,” with overlapping strands of musical material. He composed the Cello Concerto in 1969 and 1970 for Mstislav Rostropovich, in fulfillment of a commission from London’s Royal Philharmonic Society. It falls on the cusp of his experimentation with chance elements and alternative organizational techniques, also calling for sliding pitches and quarter tones.
Comprising a single movement of 24 minutes, the concerto opens with an extended solo passage for cello starting with a repeated D (marked indifferente). Is it a heartbeat? An ominous warning? A walking pace? The cello wanders through a wide spectrum of moods, ranging from skittish and capricious to introspective. Those repeated D’s recur periodically, rather like an underlying Leitmotif. More than four minutes in, the orchestra makes its first appearance: a series of bleats from the trumpets. As other instruments enter, the interruptions to the cello become more insistent and confrontational. The music travels through wide-ranging episodes that gradually fuse together, culminating in an apocalyptic passage for full orchestra. We are not quite certain who has won the argument. Structurally, the concerto divides into four sections: the opening cello cadenza; a series of episodes with brass interruptions; a cello cantilena in unison with the orchestral strings, and a finale with coda. What you will remember are the fierce exchanges between soloist and orchestra, and the dramatic ways in which their conflicted dialogue escalates to organized chaos. Toward the end, it sounds like a chase scene. Ultimately the cello has the last word.
Johannes Brahms (1833-1897) Symphony No. 1 in C minor, Op. 68
triumph and victory. Brahms’ First bears equal comparison to the Beethoven Ninth (Beethoven’s other minor mode symphony), primarily because of the obvious parallel in hymn-like finales.
The moniker “Beethoven’s Tenth” has long been attached to Brahms’ First Symphony. The eminent conductor, pianist and composer Hans von Bülow (1830-1894) is responsible for thus dubbing the C minor Symphony. He was recognizing Brahms’ fulfillment of a prophecy articulated nearly a quarter century before, when Robert Schumann hailed then 20-year-old Brahms as Beethoven’s successor.
Brahms’ good friend Theodor Billroth likened the C-minor symphony’s first movement to “a kind of Faustian overture” that might be thought of as a grand introduction to the whole work. Indeed, its complicated chromatic themes and inexorable timpani at the opening are hardly the stuff of which popular “singable” tunes are made.
45 minutes
Brahms took the legacy of Beethoven very seriously. He was a brutal critic of his own compositions, and destroyed a large number of sketches and completed works that did not satisfy him. Nowhere was his self-criticism more merciless than in the realm of orchestral music, because he was keenly aware that his first symphony would be compared to Beethoven. “You do not know what it is like hearing his footsteps constantly behind one,” Brahms wrote. As early as 1854, probably with Robert Schumann’s encouragement, Brahms was at work on symphonic sketches. Two decades elapsed before that music found its way into any permanent form. He waited until the age of 43 to contribute to the symphonic canon. Von Bülow had good reason to hail the symphony as “the Beethoven Tenth.” Because of its heroic stance and C-minor tonality, the work is most often compared with Beethoven’s Fifth Symphony. Both pieces have a general progression from tragic struggle to
One unusual feature of this symphony is the presence of two slow introductions, each signaling something portentous and monumental. It is a measure of Brahms’ genius that the effect is entirely different in the two: ushering in heroic conflict in the opening movement; then serene exaltation in the finale. By contrast, the inner movements are both shorter and lighter in emotional weight. In the slow movement, Brahms indulges in some orchestral decoration, embroidering his already rich music with a rare, breathtakingly lovely violin solo. Here and in the graceful Un poco allegretto we have a welcome emotional breather between the mighty pillars of the outer movements. If there were any shortage of melodies early on, Brahms compensates with abundance in the expansive finale. From the magical horn call to the majestic closing chords, unforgettable tunes vie with one another, providing this noble movement with some of his most beloved original themes. Laurie Shulman ©2019
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POPS SERIES
PRESENTED WITH
COFFEE SERIES Friday, May 24, 2019 | 11 am Friday and Saturday, May 24 & 25, 2019 | 8 pm
Thank you for joining us!
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
PATRIOTIC POPS Nathan Aspinall, conductor
Calvin and Ellen Hudson Charitable Trust Endowed Chair
Sandalwood High Air Force JROTC Color Guard JFRD Pipes and Drums
John Stafford SMITH arranged by SKROWACZEWSKI
The Star Spangled Banner*
Richard RODGERS arranged by BENNETT
Victory at Sea*
Samuel WARD arranged by REED
America the Beautiful*
Morton GOULD
American Salute
John Phillip SOUSA
Semper Fidelis*
Aaron COPLAND arranged by BEELER
Lincoln Portrait
INTERMISSION
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Tickets: 904.354.5547 JaxSymphony.org
POPS SERIES
PRESENTED WITH
COFFEE SERIES
John WILLIAMS
Hymn to the Fallen
TRADITIONAL arranged by LOWDEN
Armed Forces Salute*
Irving BERLIN arranged by HEALEY
God Bless America*
Piotr Ilyich TCHAIKOVSKY
1812 Overture*
* Coffee Concert selection This program runs approximately 1 hour 50 minutes.
Thank you for joining us!
If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
Sponsored in part by
Students at the Symphony is sponsored in part by The DuBow Family Foundation Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
Tickets: 904.354.5547 JaxSymphony.org
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SYMPHONIC NIGHT AT THE MOVIES Friday, May 31, 2019 l 7 pm Sunday, June 2, 2019 l 3 pm Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
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If this is your first time here, welcome and feel free to flip to the newcomers’ guide on page 16. We hope to see you again.
A SYMPHONIC NIGHT AT THE MOVIES “OZ WITH ORCHESTRA” Deanna Tham, conductor Winston Family Endowed Chair
Cast
CONDUCTOR Deanna Tham
SCREENPLAY Noel Langley Florence Ryerson Edgar Allan Woolf
DIRECTED BY Victor Fleming PRODUCED BY Mervyn LeRoy MUSIC BY Harold Arlen (songs) Herbert Stothart
Judy Garland Frank Morgan Ray Bolger Bert Lahr Jack Haley Billie Burke Margaret Hamilton Charley Grapewin Clara Blandick and The Munchkins
Dorothy Gale Prof. Marvel Emerald City Doorman The Cabbie The Wizard’s Guard The Wizard of Oz Hunk/The Scarecrow Zeke/The Cowardly Lion Hickory / The Tin Man Glinda, the Good Witch Miss Gulch/ The Wicked Witch Uncle Henry Auntie Em
When a tornado rips through Kansas, Dorothy (Judy Garland) and her dog, Toto, are whisked away in their house to the magical land of Oz. They follow the Yellow Brick Road toward the Emerald City to meet the Wizard, and en route they meet a Scarecrow (Ray Bolger) that needs a brain, a Tin Man (Jack Haley) missing a heart and a Cowardly Lion (Bert Lahr) who wants courage. The wizard asks the group to bring him the broom of the Wicked Witch of the West (Margaret Hamilton) to earn his help.
Tickets: 904.354.5547 JaxSymphony.org
Film Courtesy of Warner Bros. Entertainment Inc. Producer: John Goberman Original orchestrations reconstructed by: John Wilson and Andrew Cottee The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations). A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists.
The Jacksonville Symphony’s Symphonic Night at the Movies Series is presented in part by Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
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MASTERWORKS SERIES Friday and Saturday, June 7 & 8, 2019 | 8 pm “Insight” one hour prior to each Masterworks concert Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts
SEASON FINALE! MAHLER FIVE Haskell Endowed Chair
32 minutes
Rondo: Andante - Hymn: Sostenuto Ostinato: Allegro Lied Der Lulu: Comodo Variationen: Moderato – Thema: Subito tempo moderato Adagio: Sostenuto – Lento – Grave
INTERMISSION Gustav Symphony No. 5 in C-sharp minor MAHLER PART I Trauermarsch
Stürmisch bewegt
PART II
PART III
Scherzo: Kräftig, nicht zu schnell
Adagietto Rondo-Finale
This program runs approximately 2 hours 5 minutes.
Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. PRI Productions is the proud Event Production Partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.
Fun Facts
PROGRAM NOTES By Laurie Shulman Suite from Lulu
Suite from Lulu
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Alban Berg (1885-1935)
Courtney Lewis, conductor Alban BERG
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Did you know?
Composer Fact: Gustav Mahler discovered a piano in his grandmother's attic when he was six years old. Just four years later, he gave his first public performance.
Lyricism and poetry are terms rarely associated with 12-tone music. In Alban Berg’s case, they are appropriate. Only in his last five compositions did Berg employ his teacher Arnold Schoenberg’s new system. His approach to dodecaphonic technique was different from those of Schoenberg or his fellow student Anton Webern. Berg was sensitive, romantic and essentially lyrical, adapting the new technique to an approachable musical vocabulary. He manipulated musical pitches in such a way that we hear clear connections to tonality. He is usually categorized as an Expressionist, music’s analog to the movement in the visual arts. (Think Edvard Munch’s ‘The Scream.’) Emotion runs rife in Berg’s music. Lulu was his second and final opera. He worked on it intermittently from 1928 until the end of his life, setting it aside twice to fulfill two commissions, most notably the Violin Concerto. When he died in December 1935, he had only orchestrated Acts I and II; Act III remained incomplete except in short score (a sort of musical shorthand). He had projected eight excerpts as an instrumental Lulu Symphony. Prior to his death, he assembled ‘Symphonic Pieces from the opera Lulu,’ in order to furnish something to his publisher. They are known today as the Lulu Suite. Lulu is a dark opera, about a seductive streetwalker who captivates one man after another as she claws her way to wealth and success. Eventually, her fortunes reverse, and she comes to a violent end at the hands of Jack the Ripper. Essentially the plot deals with moral disintegration.
Tickets: 904.354.5547 JaxSymphony.org
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The Suite is bookended by two lengthy movements. They enclose a pair of inner movements that whoosh by with astounding intensity and brevity. Berg’s opening Rondo comprises misty, almost smeared sounds. It is not exactly tonal, but so romantic that one hardly suspects that Berg is applying 12-tone technique. Alto saxophone, piano and vibraphone add startling splashes of orchestral color. The two sections – Andante and Hymn – flow seamlessly one to the other, in a spacious 15-minute span. The Ostinato that follows functions as a scherzo: an explosive, heart-pounding 3-1/2 minutes of spooky, sinister sounds. Berg was focused on the dark side of human nature. Next is a concise theme and variations movement. Brasses blare the pompous C major theme; this is the most diatonic segment of the Suite. The four variations unfold without pause: one is a funeral march, and the last one introduces a tawdry street waltz. Berg’s concluding Adagio is strongly reminiscent of Mahler. In the opera, Lulu is a demonic earth creature. Her themes are dance-like, with ominous undertones. An apocalyptic chord ushers in the chilling ending, as the anti-heroine meets her doom.
Gustav Mahler (1860-1911) Symphony No. 5 in C-sharp minor 68 minutes
Like Beethoven, Mahler completed nine symphonies during his lifetime, and was at work on a tenth when he died in 1911. His Fifth, Sixth and Seventh Symphonies are generally grouped together as “middle symphonies.” As a trilogy, they are related in that all three are strictly instrumental, using no soloists or chorus. The decision to forego vocal resources in the Fifth Symphony was an affirmation of his commitment to absolute music, and he denied that any specific programme applied to the music of the Fifth. The background of the Fifth Symphony is intimately tied to Mahler’s courtship of Alma Maria Schindler (1879-1964). When they met in November 1901, he was 41; she was 22. She was the daughter of a prominent Austrian landscape painter. Well-educated, well-born and musically talented, Alma was also considered
to be one of Vienna’s great beauties. Mahler was smitten, and the love affair developed rapidly. Barely four months later she was already pregnant when they married. Mahler proposed to Alma by sending her this symphony’s Adagietto. The movement is his love song to his bride, and the entire work is at least in part inspired by the passion Alma elicited in Mahler. The newlyweds spent their first summer together in Maiernigg, Austria, where Mahler continued work on the symphony. He completed the orchestration the following winter. In its first version the work was premiered in Cologne, Germany late in 1904. As had been the case with all his previous symphonies, Mahler was dissatisfied, and went about revising the work. A letter to Alma dated October 16, 1904 reads: The Scherzo is the very devil of a movement! I see it is in for a peck of troubles! Conductors for the next 50 years will all take it too fast and make nonsense of it; and the public – oh, heavens, what are they to make of this chaos? ... Oh, that I might give my symphony its first performance 50 years after my death! He was to continue the revision process for the rest of his life, never entirely satisfied with the work as it stood. The Fifth Symphony shares certain characteristics with all of Mahler’s work. One is the enormous orchestra, used with great imagination and often taxing the normal ranges of the individual instruments. Another is harmony. Mahler stretches traditional tonality to its limits; it is no accident that his most influential protegés were Arnold Schoenberg and Alban Berg. Another Mahlerian trademark is the variety in the form of the symphony: Mahler’s score designates three parts and five movements to the symphony. The first two movements are bound together in spirit and by their musical material; they constitute the first part. The central scherzo is the second part. The last two movements are played without pause, thus forming the third part.
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Psychologically the Fifth proceeds from tragedy to triumph. It opens with a lone trumpet announcing a funeral march. Mahler’s music wails with grief. He paints a huge canvas of cosmic emotion, using enormous brushstrokes of sound for the largest possible gesture. The second movement grows directly out of the first, functioning as a huge development section. Its emotional climax occurs with a spacious chorale in D major, prophetic of hope and sunshine amidst the relentless clouds of the funeral music. Mahler’s Scherzo marries Austrian Laendler to Viennese waltz, with a sprinkling of operetta for good measure. At 16 minutes, it is one of the longest scherzi in the repertoire. One needs its spaciousness in order to fully emerge from the trauma of the first two movements. Sometimes flirtatious, often peasant-like, the Scherzo provides an opportunity for every section in the orchestra to shine; a solo horn is featured. Tender and dreamy, the Adagietto alters the work’s psychological makeup. Mahler scored it for strings and harp, creating an intimate atmosphere. Its emphasis on strings and a newfound lyricism foreshadow Mahler’s later work. The Adagietto provides the catharsis through which the triumph and ecstasy of the finale become possible. D-major returns to conclude the symphony. Formally it is a rondo. Through its several sections it binds together the energy of the first two movements, suffusing it with the positive warmth of the Scherzo and the tenderness of the Adagietto. Mahler opens the finale with diatonic, singable melodies that he later merges with the transcendent chorale from the second movement. He weaves these musical threads together into a larger, stronger fabric. The effect is electrifying: brilliant polyphonic writing and a magnificent orchestral sonority. The dramatic weight has shifted from the first movement to the last movement; the emergence of triumph over tragedy is complete. Laurie Shulman ©2019
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CA DE N Z A
SOCIETY
An invitation to play your part in the future of our Symphony
Cadenza Society members are a group of dedicated supporters who have made a future financial commitment to ensure that the orchestra you love will be able to keep making vibrant music for generations to come.
Membership is easy. No immediate donation is necessary. You simply need to name Jacksonville Symphony as a beneficiary in your will, trust, insurance policy, donor advised fund or foundation. Cadenza Society Members receive recognition in Encore as well as invitations to: • An exclusive Cadenza Society gathering with Music Director Courtney Lewis
• Onstage Open Rehearsals
• Annual Donor Appreciation Night
Kaye Glover 904.354.9136
JaxSymphony.org/legacy Annual Cadenza Society Luncheon
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 Ms. Laura Bailey 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 Patrick and Linda Clyne Mike and Naomi Coffey Luther and Blanche Coggin Elizabeth Schell Colyer Ruth P. Conley Caroline S. Covin Mr. and Mrs. Robert A. Cowden Dr. Amy Crowder in memory of Carole V. Ewart Sara Alice Bradley Darby* Stephen and Suzanne Day Ann Derby Chris and Stephanie Doerr Mr. and Ms. Pete Doolittle Jeff Driggers* Julian Farris and James A. Montgomery, MD. Brock Fazzini Josephine Flaherty Mr. and Mrs. David Foerster Friend of the Symphony (4) Mr. and Mrs. George D. Gabel, Jr. Mr. and Mrs. Allan Geiger John L. Georgas* Linda Barton Gillis Margaret Gomez Rabbi Robert and Marilyn Goodman
Sue Gover Mary T. Grant* Camille Clement Gregg Charitable Remainder Trust in memory of Ruthwood Craven Samek Dr. Dan W. Hadwin and Dr. Alice Rietman-Hadwin Suna Hall Preston H. Haskell Mr. and Mrs. Bill Hetzel Richard Hickok and Andrea Ashley Bev and Bill Hiller Calvin and Ellen Hudson Charitable Trust Wes and Beth Jennison Virginia Johnsen Rebecca and Randolph Johnson Mrs. Rita H. Joost Robert and Cynthia Kastner Elizabeth Kerr Frances Bartlett Kinne, Ph.D. Norman and Dolores Kramer Dr. and Mrs. Ross T. Krueger E. Michael and Heidja Kruse Mrs. Edward W. Lane, Jr. Mr. and Mrs. Ronald Lindsey Dr. D’Anne and Mr. Daniel Lombardo Leyse Lowry Jean Lumpkin* Dr. Joseph Marasco Doug and Laura* Mathewson Ambassador Marilyn McAfee Allison McCallum Frances Watts McCurry Lee and Bobbie Mercier Roxie Merrill Robert A. and Fay Mills* Sherry Murray*
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Mr. and Mrs. E. William Nash, Jr. Christine Ng and Herbert Wolfsen Janet and Joseph Nicosia Lloyd Hamilton Oakes Charitable Remainder Trust in memory of Ruthwood Craven Samek Mr. Val Palmer Mr. and Mrs. Joe Peters Ruth (Rusty) Pierce Richard and Leslie Pierpont William Ptak JoAnne Reilly J. William Ross Ruthwood C. Samek* Carol and Bob Shircliff Mrs. Sally Simpson Ann H. Sims* Mr. and Mrs. Al Sinclair* Helen Morse and Fritz Skeen Ana and Hal Skinner Virginia Smith* David and Linda Stein Mary Love Strum Mary Virginia Terry Chip and Phyllis Tousey Rev. W. Glenn Turner Mary Jane and Jack Uible Tom Vickery and Elizabeth McAlhany Mark O. and Cheryl A. Walter Stephen R. Wickersham Stephen Williams Renee Winkler Quentin E. Wood Thomas C. Zimmermann* *Designates deceased
The Jacksonville Symphony Association gratefully acknowledges the generosity of the following individuals, businesses and foundations: Gifts to the Annual Fund between July 1, 2017 and January 6, 2019 Δ Designates a gift in-kind * Designates deceased CONDUCTOR’S CLUB PLATINUM $10,000 - $24,999
ARIAS Arts Consulting Group Δ Sandra Sue Ashby Baker Family Advised Fund Biscottis Δ Joanne & Doug Booher The Richard and Barbara Borzilleri Family Foundation Brooks Rehabilitation G. Howard Bryan Endowment Fund Sandra and Phillip Burnaman Mr. and Mrs. A. R. “Pete” Carpenter Dr. Elizabeth Lovett Colledge CSX Transportation, Inc. Cummer Family Foundation Sally and Tyler Dann Dr. Sandra Every Dean and Mr. Michael Dean Mr. and Mrs. Michael Drexler Driver, McAfee, Peek & Hawthorne, P.L. Drummond Press Jess & Brewster J. Durkee Foundation Jon A. Ebacher and Jill T. Wannemacher Fifth Third Bank Mr. and Mrs. George W. Gibbs III Mrs. Mary Godley Margaret Gomez Paul and Nina Goodwin Ann and David Hicks Foundation Dr. Anne H. Hopkins Michael and Maryann Imbriani Jacksonville Symphony Association Endowment Fund Rebecca and Randolph Johnson Charlie and Anne Joseph The Thomas M. Kirbo and Irene B. Kirbo Charitable Trust Michel and Heidja Kruse Mrs. Edward W. Lane, Jr. Trevor Lee Judy and Scott McCue and the Elizabeth F. Cheney Foundation Mrs. Frances W. McCurry National Endowment for the Arts Lee and Darlene Nutter Publix Super Markets Charities Rice Family Foundation Riverplace Capital Management, Inc. Mr. and Mrs. Robert T. Shircliff Samuel Shorstein Mr. and Mrs. Ross Singletary Smith, Gambrell & Russell, LLP Δ Stein Mart, Inc. David and Linda Stein Jay and Deanie Stein David and Elaine Strickland SunTrust Bank John and Kristen Surface Carl S. Swisher Foundation Erlane D. and John E. Tait
Bob Tonsfeldt Chip and Phyllis Tousey Jim and Joan Van Vleck Tom Vickery and Sarah McAlhany George and Ellen Williams Edna Sproull Williams Foundation The Winston Family Foundation Quentin and Louise* Wood Mrs. Martha Yohe
CONDUCTOR’S CLUB GOLD $5,000 - $9,999 aetna
Arkest LLC Drs. Julie R. and James D. Baker, III Sally and Jim* Baldwin Bank of America Baptist Health John and Cherie Billings Annette and Bill Boling Borkowski Family Foundation Paul and Kathy Bosland Nancy and Ted Burfeind Mary Ann Burns and Suzanne Burns Dalton Carl and Rita Cannon Dr. John D. and Mrs. Chung-Hae Casler CenterState Bank Linda L. and Patrick W. Clyne Sharon and Martin Connor Cornehl Family Foundation Tom and Jesse Dattilo Susan P. Davis Edward* and Susan Doherty Alice and O’Neal Douglas Duval Motor Company Andrew Farkas John and Flavel Godfrey Cynthia and Walter Graham, Jr. Becky and Tommy Grimes Betty Lu Grune Harbinger Sign Company Mr. and Mrs. Andrew Harold Joe and Renate Hixon Calvin and Ellen Hudson Mr. and Mrs. Victor A. Hughes, Jr. John Ievalts and Lise Everly Ira and Eva Jackler Jacksonville Regional Chamber of Commerce, Inc. Lillian and Bunky Johnson Mr. and Mrs. J. Malcolm Jones Lawrence & Kathy Kanter Philanthropic Fund of the JCF Peter and Kiki Karpen Bob and Cindy Kastner Dr. Frances B. Kinne Patty and Jim Kleck Mr. and Mrs. Eugene J. Kovarik Dr. and Mrs. Ross T. Krueger Mrs. Anne Kufeldt Dave and Mary Pat Kulik
Kustura Technology Δ Magnolia Foundation Bill and Barbara Maletz Main Street America Group Martin Coffee Δ Julie and Michael McKenny Sheila McLenaghan and Duke Butler Margaret Leu Means Dr. Christine Ng – ngderm.com Janet and Joseph Nicosia Robert and Flo Anne O’Brien Deborah and David Pierson Mr. and Mrs. Thomas Pippin Mr. and Mrs. Raymond A. Ross, Jr. Sheila and Louis Russo Susan and John Ryzewic Saunders & Company Ed and Whitney Selover Stephen and Joan Shewbrooks Mr. Benjamin Shorstein and Ms. Nicole Nissim Mr. and Mrs. Richard L. Sisisky Helen Morse and Fritz Skeen Kent and Marie Smith Dr. Mark A. Spatola and Dr. Mihaela Ionescu Joseph and Anna Spiak The McMichael Family Foundation Tom Bush BMW Jacksonville Gwynne* and Bob Tonsfeldt V Pizza Δ Vicar’s Landing Carol and Manuel Wallace Ms. Barbara W. Webster Warner and Sherrie Calvert Webb Wells Fargo Foundation Dr. and Mrs. Scott Wiedenmann Stephen Williams Dr. and Mrs. Charles N. Winton Woodcock Foundation for the Appreciation of the Arts Dr. and Mrs. Tim Woodward Carleton and Barbara Zacheis
CONDUCTOR’S CLUB SILVER $2,500 - $4,999 Mr. and Mrs. Norman R. Adams Mark and Rita Allen David and Beth Arnold Teri and Jim Babcock Stephen E. and Phyllis C. Bachand Mr. and Mrs. Don Baldwin Claudette and Richard Barker Dr. and Mrs. Dwight S. Bayley Byron and Cynthia Bergren Joyce R. Blackburn Mr. and Mrs. James C. Blanton Sandy and Jack Borntraeger Mr. and Mrs. Raymond W. Boushie John and Cletia Bowron Mr. and Mrs. David B. Boyer Rod and Pat Brock
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Mark and Beth Brockelman Cecilia Bryant and Richard Lipsey Jim and Carol Bryce Mr. & Mrs. Ronald T. Buckingham Mr. Stanley W. Cairns Mrs. Diane Cannon Jack and Dorothy Cernik Warren and Clarissa Chandler Sandra and Andrew Clarke Patricia Clegg in Memory of George F. Clegg Mike and Naomi Coffey Meade and Alvin Coplan Caroline Covin in Memory of Robert Covin Mr. John P. Cranston In Memory of Larry Karasic, M.D. Peter Dalmares Mr. and Mrs. Bruce R. Darnall Ms. Emily J. Davis Mr. and Mrs. Thomas P. Davis Douglas Anderson School of the Arts In Memory of Shirley Collupy Dr. and Mrs. James W. Dyer Edward Waters College Enterprise Holdings Foundation Greg and Helen Euston Randy and Lynn Evans Mr. Mark R. Evans Mr. and Mrs. Thomas A. Fernley III Mrs. Betty Fipp Mr. and Mrs. David Foerster Dr. Daniel Fulmer and Kim Vermillion Michael Furick Clark and Lauretta Gaylord Pat and Fred Gieg Lawrence and Phyllis Goldberg Mr. and Mrs. Roland and Sara-Ann Gomez Rabbi Robert and Marilyn Goodman Mel and Debbie Gottlieb Dr. William H. Haas and Ms. Brenda B. Verbeck Dr. Dan Hadwin and Dr. Alice Rietman-Hadwin Mr. Rushton W. Hays Bill and Nancy Hetzel The Holmes Organization Private Client Group – Stacy Derr & Marty Jones Dr. Diane DeMell Jacobsen Andrew and Gurmeet Keaveny David and Sally Ketcham Don and Donna Kinlin Dr. Annette Laubscher Janine Leland and Thomas Larson Harriet LeMaster Mr. Courtney Lewis Carolyn Marsh Lindsay Mrs. John R. Mackroth Robert Massey and Lisa Ponton Rachel T. Maddox Memorial Fund of The Greater Cincinnati Foundation Ann and Bob Maxwell Mayse-Turner Fund for Public Performance of Classical Music Alison McCallum Davis and Sandra McCarty Marcia Mederos Merrill Lynch Wealth Management Mrs. Jeanne Moomaw Dr. Lesley Morgan
Linda Crank Moseley Robert and Monica Mylod Newman Family Foundation John and Dorothy Nutant Capt. John and Mrs. Carol O’Neil, Jr. (USN Ret.) Mr. Valfrid E. Palmer Marie and Joel Pangborn Dr. Mark Parkulo and Dr. Marie Deruyter The Honorable Mayor John Peyton & Dr. Kathryn P. Peyton PNC Kathryn S. Robbie – Attorney at Law Bruce Rosborough and Judy Ham Herb and Ann Rowe Charitable Foundation Mr. Harry Ruhsam Peter Ryan in Memory of Sandra J. Ryan Dr. and Mrs. Ralph A. Sawyer Mrs. Miyuki Scheidel Mrs. Lorraine Scruby Mr. and Mrs. Joseph E. Sherin Mr. and Mrs. Mark J. Shorstein Steve and Judy Silverman Hal and Ana Skinner Mr. Richard G. Skinner III and Ms. Pat Holihan Dr. Edward and Mary Ellen Smith Rev. and Mrs. J. Perry Smith Townsend Smith Ms. Debbie J. Snyder Diane P. Soha In Loving Memory of Margaret B. Partridge Dr. Mandell and Rita Diamond Stearman Mr. and Mrs. Benson I. Stein Marianne and Ben Stein Robert and Patricia Stichweh Mrs. C. G. Strum Ivy Suter Mr. and Mrs. John Tancredi Mireille and Robert Threlkel Mr. and Ms. James M. Tilley Ron and Maureen Townsend Mr. and Mrs. Richard Tufaro Mrs. Georgia Wahl Mary V. and Frank C. Watson Drs. Lowell and Leslie Weiner Ms. Barbara C. West Westminster St. Augustine Westminster Woods on Julington Creek Arlene and Phil Wiesner Mr. and Mrs. Chester Witczak Mr. and Mrs. A. Daniel Wolff III Hon. Gwen Yates and Lt. Col. Alton Yates, Ret. Carolyn and Elliot Zisser
CONCERTMASTER’S CIRCLE $1,000 - $2,499
Sahar Aboudan, MD Mrs. Linda R. Alexander Mr. Thomas Argyris Dr. and Mrs. George F. Armstrong, Jr. Barbara H. Arnold Berman Family Foundation Mr. and Mrs. Charles Berman Mr. and Mrs. Francesco Borghese Laura and William Boxer Mr. and Mrs. Peter Bragan John and Hilary Breen
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Karen and Mark Brown Lori Burman Jim and Mary B. Burt Mrs. Lynn Cabrera Mr. Henry C. and Mrs. Jessica Carnegie Jeff and Lee Ann Clements Luther and Blanche Coggin Elizabeth Schell Colyer Dr. and Mrs. James J. Conners Ms. Mary Ann Carroll Bill and Kathy Cosnotti Mr. and Mrs. Robert A. Cowden Mr. John A. Darby and Dr. Barbara Darby Mr. and Mrs. Bernard S. Datz Mr. and Mrs. Walter H. Drew Dr. and Mrs. A. R. Eckels Mr. and Mrs. Richard Ezequelle Mr. and Mrs. Michael S. Favo Mr. Richard Cullen and Mr. Robert Finnerty, Jr. Bill and Judy Franson Dr. John Gallo Mr. and Mrs. James Giblin Mr. Wayne Greenberg and Mrs. Elizabeth Shahan Mr. and Mrs. Otis C. Gregg, Jr. Gisela Haemmerle Suna Hall Bill and Kent Hamb Jack and Grace Hand Harriet Hart Mr. and Mrs. Keith Hayes Dr. Hazem Herbly Mr. and Mrs. Thomas Hodgkins Paula and Kenneth Horn The Brady S. Johnston Perpetual Charitable Trust Mr. and Mrs. Burton V. Kagen Luke and Sandy Karlovec Mr. and Mrs. Charles Keller Ruth and Jack Kelly Richard and Nancy Kennedy Mr. Henry C. Kocmond Sunny and Harold Krivan David Lakari James and Karen Larsen Dr. Charis Lau Norman and Mary Ellen Ledwin Alison R. Leonard Eleanor L. Lotz Mr. and Mrs. David Lovett Hal and Frances Lynch Mr. and Mrs. Donald W. Maley Gayle Manning Judith and Ray Mantle Mr. and Mrs. Ron M. Masucci Mr. Patrick Mayhew and Ms. Helen Kirkpatrick Mrs. Rose C. McCall Mr. and Mrs. Harold F. McCart, Jr. Rosemary and Allan McCorkle Dr. J. Mark McKinney Mr.& Mrs. Frederick W. McNabb Jr. P. L. McWhorter Mr. and Mrs. George Medill Lee and Bobbie Mercier Barbara and Lance Mora James McGuffin and Kathleen Mullen Mrs. Dorothea E. Neinstedt Tom and Harriet Nesbitt Mrs. Laurel New
Dr. Robert Nuss and Dr. Ann Harwood-Nuss David and Kathryn Olson Mary Ellen Young and Donald Owen Mr. and Mrs. Geoffrey Parker Dr. and Mrs. Matthew C. Patterson Charles Peter Richard G. Pohlig Mrs. Jane Preston Mr. and Mrs. Robert Quinby Rayonier Advanced Materials Foundation Rev. and Mrs. John S. Rogers Claudia and Steve Russey Dr. and Mrs. Wilbur C. Rust Anne and John Ruvane Faith Schonfeld Tom and Jane Schmidt Ms. Ruth Schwarzmann Mr. and Mrs. Chris Seubert Shacter Family Association Nathan Shearn Mr. and Mrs. Wheaton Simis Harold K. Smith Charitable Fund Dewey Sparks Mr. and Mrs. Benson I. Stein The Stellar Foundation Prof. and Mrs. G. J. Rod Sullivan Elsie Thompson Mr. and Mrs. Michael Tierney Rolf and Neely Towe Susan and James Towler Gabriele Van Zon Billy J. and Nettie T. Walker John Tobias and Rebecca Wells Mr. and Mrs. Thomas Whittemore Dr. and Mrs. Daniel Wohl Zimmerman Family Foundation Mary Jean Zimmerman
$500 - $999
A-B Distributors, Incorporated Robin Allen Ms. Linda Anderson Glenda Anthony Mr. B. David Avery Dr. William and Linda Ann Bainbridge Janean C. Baker Mr. and Mrs. George Banks Ms. Martha E. Barrett Robert Bell Mr. Timothy B. Bell Rebecca Black Dr. and Mrs. James P. Bolling Mr. and Mrs. William Braddock Mr. and Mrs. Charles Bray Teresa Brewer Col. and Mrs. E. M. Brisach Ms. Crystal Broughan Ms. Sandra Bryant Caren and Dennis Buchman Dr. and Mrs. William Bullock Michael Byrd Dr. and Mrs. William H. Caldwell David and Lynne Campbell Mr. and Mrs. John B. Canarina Ian M. Charlton Gary and Barbara Christensen Charles Christian and Molly Rinehart Mr. and Mrs. Joe Clare Ron Clark
Mrs. Linda Cliff Jonathan Coles Mrs. Lucille Conrad Tom and Pat Conway Linda J. Cooper Mrs. Sandra Corbett Ms. Peggy Cornelius Mr. and Mrs. John D. Corse Mrs. Alice M. Coughlin Mr. and Mrs. Michael Curto Ms. Annabel Custer Bill and Mary Cutler Harriett L. Dame Noel and Mildred Dana Jerry W. Davis, Jr. Ms. Elise S. Day Dr. and Mrs. Julius Dean Stephanie Delgado Mr. Robert J. Devers Mr. and Mrs. Henry D’Hulst Marian Dickson in Memory of Steve Dickson Donald Dinwiddie Mr. and Mrs. Thomas W. Donovan Margie and George Dorsey Ms. Margaret Douglas Ms. Barbara J. Drake Mr. and Mrs. James F. Duffy Charles and Virginia Dunn Ms. Trace Duryea Julia M. Edgerton Mr. David Eismont Virginia M. Elliott Patricia Ezell Julian Farris and James A. Montgomery, MD Pamela Ferry-Tsitos Ms. Apryl French Mr. and Mrs. Michael S. French Mr. and Mrs. Ben Frisch Mr. and Mrs. J. R. Fullerton Mr. Stephen M. Gahan Geneva Garrison Yves Genre Drs. Thomas Gonwa and Mary Alice Westrick Theresa Gonzalez de Acevedo Page Gordon Cheryl Grabenstein Mr. and Mrs. James R. Griffiths Dr. and Mrs. John A. Grisnik Richard Habres Howard Haims and Carole Cooper-Haims Mr. Glenn and Mrs. Denise Hansen Malcolm and Joyce Hanson Karen Harris Mr. and Mrs. Coleman Hawk Ms. Barbara A. Haws Marion Haynes Ms. Terri Henderson Bill and Helen Hendrich Mr. and Mrs. Philip R. Henrici Aimery Hernandez Alan and Frances Herzog Mr. and Mrs. William Hill Mr. and Mrs. H.C. Holderfield Derek and Debbie Holmes Mr. and Mrs. Darryl Houseman Ms. Evelyn Howard Mrs. LaRay E. Hrytzay
Mrs. Martha Huntley-Robertson Mr. Arthur H. Hurwitz Ms. Jo Carol S. Hutchins Pam and Mike Jackson Barbara Johnson Ms. Gloria E. Johnson Mr. and Mrs. Terrence D. Jones Stanley and Sharon Kantor Mr. and Mrs. Peter E. Kaplan William Kastelz, Jr. in Memory of Sandra Keith Kimball Ruth and Richard Klein Mr. Ronald Koblitz Karen and Fred Koch Mr. and Mrs. Ronald E. Kolar Mr. and Mrs. Jim Langer Mr. Ted Larson Ms. Merle Lear Mark and Mary Lemmenes Wayne Letizia Dr. Leonard J. Lipkin Mr. Todd and Dr. Shannon Lockwood Richard Lombardi Jim and Robin Love Leyse Lowry Mr. and Mrs. William MacLeod Jim Maher and Richard Sykes Faith Martin Dr. Mike and Marilyn Mass Mr. and Mrs. Joseph E. McCauley Lydia Saris, M.D. and Daniel Mechenbier Myron and Ellen Mensh Mr. and Mrs. Alex Meyer Douglas and Jane Miller Lisa Miller Sue Mills Mr. and Mrs. Francis Monaco Mr. and Mrs. Gary Moore Paul and Donna Nelson John and Kathie Nevin Mr. and Mrs. J. Kenneth E. Noon Mr. and Mrs. Wayne Novak Thomas Orr Trevor Paris Mr. Parker and Ms. Diane Hale Mr. Howard N. Parks Audrey B. Patterson Mr. and Mrs. Lawrence Pereira Suzanne C. Perritt Mr. and Mrs. Joe Peters Mr. and Mrs. John Petersen Mr. and Mrs. Rickie Petersen Mr. and Mrs. Earl S. Poitevent III Nancy and Ted Powell in recognition of Dori and Bill Walton Joseph and Phyllis Power Mr. Jack* and Dr. Miriam Price Michael Ranne and Julia Suddath-Ranne Mrs. Judith J. Ratcliffe Ms. Valerie W. Redmon Wynn Redmon Giles Renaud and Gladys Draper-Renaud Ina W. Richter Drs. Lorraine Rodriguez and Kyle P. Etzkorn Dr. Daniel S. Yip and Teresa Rodriguez-Yip Mr. Neil Rose and Dr. Jeannie Rose Mr. and Mrs. George E. Ross Mr. and Mrs. John Ryder ENCORE 75
Colleen Andrea Sanchez Mr. and Mrs. Gary F. Sass Mr. and Mrs. Jeffrey Schembera The Schultz Foundation, Inc. Becky Schumann Mr. and Mrs. Richard Seiter Dr. Ralph W. Sevelius Mr. and Mrs. Harry Skilton Robin Smathers Dr. Carolyn H. Smith Raul Soto-Acosta, MD George and Shirley Spaniel Dr. Suzanne Spanier Dr. David A. Spring Kimber E. Strawbridge Esq Mr. James Stronski Mr. and Mrs. Mark A. Sur
Mr. David G. Sutliff Linda and Jim Sylvester Mr. Ralph Talbott and Ms. Suzanne Plaine Dorcas G. Tanner Carol Tegho Mr. and Mrs. Randall Tinnin Mr. Hugh Tobias Ms. Carol C. Todd Jacqueline Tomassetti Mr. and Mrs. Thomas Torres Alice and John Trainer Mrs. Phyllis Turner Mr. Rudolf E. Urban Mr. Carl Utter Sherilyn Van Orden Ivan Vinnick
76 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2019
Ms. Grace L. Voyles and Ms. Mary E. Voyles Cornelia and Olin Watts Endowment Fund Dr. and Mrs. Robert S. Walton William and Elizabeth Weitzel Mr. Kevin Wezniak Mr. and Mrs. Neil J. Wickersty Linda F. Wilkinson Robert and Dianne Wilson Jamie Woodward and Max Chmura Tim and Evelyn Woodward Ms. Mary Wysong and Ms. Sylvia G. Cotner Drs. Steven G. and Linda Younkin Mr. and Mrs. Sergei Zelenkov
ENCORE 77
JACKSONVILLE SYMPHONY ADMINISTRATION EXECUTIVE OFFICE
David Strickland, Chair/Interim CEO Andreea Vineyard, Executive Assistant & Board Liaison
ARTISTIC OPERATIONS
Roger Wight, Vice President & General Manager Artistic Administration Tony Nickle, Director of Artistic Administration Ileana Fernandez, Staff Accompanist Linda Holmes, Ballet Coordinator Jill Weisblatt, Chorus Manager Orchestral Operations Bart Dunn, Principal Librarian Ray Klaase, Stage Manager Jim Neglia, Orchestra Personnel Manager Ross Triner, Manager of Artistic Operations Shamus McConney, Technical Director James Pitts, Stage Associate Kenneth Every, Assistant Orchestra Personnel Manager Debby Heller, Assistant Librarian Annie Hertler, Bowing Assistant Education & Community Engagement Brian Ganan, Education & Community Engagement Manager
MARKETING
Peter Gladstone, Vice President of Marketing Christie Helton, Assistant Director of Marketing & Patron Experiences Scott Hawkins, Senior Patron Services Manager Anna Birtles, Digital Marketing Manager Christina Reyes, Sales Manager Sydney Schless, Marketing & Communications Manager Ken Shade, Graphic Designer Betty Byrne, Patron Services Associate Kaela McLendon, Patron Services Associate Tara Paige, Patron Services Associate Robin Robison, Patron Services Associate Cori Roberts, House Manager
DEVELOPMENT
Jennifer Barton, Vice President of Advancement Kaye Glover, Major & Planned Giving Officer Celeste Hart, Director of Individual Giving Jessica Mallow, Director of Corporate Relations Terri Montville, Director of Grants and Reporting Colin Walker, Development Associate – Prospect Management Ann Marie Ball, Patron Systems Associate Maureen Cockburn, Assistant to the Vice President of Advancement
FINANCE & ADMINISTRATION
Deborah Forsberg, Chief Financial Officer Mark Crosier, Controller Sydna Breazeale, Staff Accountant Ashley Green, Office Manager
78 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2019