Experience vol 1 2016 17

2016-2017 | volume 1

Experience

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contents CONCERT EXPERIENCE Robert Moody, Principal Conductor ......................................................................................................... 4 Orchestra Roster................................................................................................................................................ 6 Opening Weekend: Welcome Robert Moody! ...................................................................................... 9 Dvorak & Copland ...........................................................................................................................................17 Beethoven’s Fifth ............................................................................................................................................ 21

PATRON EXPERIENCE MSO Governance and Staff ........................................................................................................................44 Memphis Symphony League......................................................................................................................46 B:8.75”

S:8”

T:8.5”

The Circle ............................................................................................................................................................48 Supporting Partners ...................................................................................................................................... 51

Symphony Fund ...............................................................................................................................................52 Contributors.......................................................................................................................................................54 Tributes ................................................................................................................................................................64 Patron Information.........................................................................................................................................68 Advertiser Listing ............................................................................................................................................70

The Memphis Symphony Orchestra, Inc. is a qualified 501(c)(3) tax deductible organization funded by gifts from you, ticket sales and contracted services. We are recipients of grants from ArtsMemphis and the Tennessee Arts Commission. ©2016|2017 Memphis Symphony Orchestra 610 Goodman Rd., Memphis, TN 38152 Your attendance constitutes consent for the use of your likeness and/or voice on all video and/ or audio recordings and in photographs made during Symphony events.

FOR TICKETS (901) 537-2525 | MEMPHISSYMPHONY.ORG

MEMPHIS SYMPHONY ORCHESTRA | 3

ROBERT MOODY Principal Conductor

Robert Moody has been Music Director of the Winston-Salem Symphony (North Carolina) since 2005, Artistic Director of Arizona Musicfest since 2007, and Music Director of the Portland Symphony Orchestra (Maine) since 2008. He is thrilled to begin his tenure as Principal Conductor of the MSO! Mr. Moody’s 2015-2016 season included debuts with the Vienna Chamber Orchestra and Columbus Symphony, as well as return engagements with the Memphis and Pacific Symphonies, and the Oklahoma City Philharmonic.

His most recent guest conducting appearances include the Chicago Symphony at Ravinia, and the Los Angeles Philharmonic at the Hollywood Bowl, in addition to the symphonies of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Louisville, and, in Europe, the Slovenian Philharmonic. Summer festival appearances include Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Eastern Music Festival, PortOpera, and the Oregon Bach Festival.

Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He has gone on to conduct at the opera companies of Santa Fe, Rochester, Hilton Head, and the Brevard Music Center.

He also assisted on a production of Verdi’s Otello at the Metropolitan Opera, conducted by Valery Gergiev. He debuted with the Washington National Opera and North Carolina Opera in 2014.

Moody served as Associate, then Resident Conductor, of The Phoenix Symphony (AZ) from 1998 through 2006. There he conducted a wide variety of concerts, including Classics, Chamber, Pops, Family, Handel’s Messiah, and the New Year’s Eve gala. His

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ability to speak with ease from the podium helped new converts to classical music and enthusiasts alike to gain a greater appreciation for orchestral music. Audiences at his concerts grew considerably during his time in Phoenix. Moody also founded The Phoenix Symphony Chorus, and for seven years was Music Director of the Phoenix Symphony Youth Orchestra.

Prior to Phoenix, Maestro Moody served as Associate Conductor for the Evansville (IN) Philharmonic Orchestra, and Music Director (and founder) of the Evansville Philharmonic Youth Orchestra. Moody conducted the first professional performance of a work by the brilliant young composer Mason Bates, now Composer-in-Residence with the Chicago Symphony Orchestra, and was instrumental in the commissioning and premiere performances of several of his important new works for orchestra.

Maestro Moody has accompanied many of the world’s greatest performing artists, including Yo-Yo Ma, Itzhak Perlman, Renee Fleming, Denyce Graves, Andre Watts, Nadja Salerno-Sonnenberg, Midori, Lynn Harrell, Doc Severinsen, Time for Three and Chris Thile.

His work can be heard on several commercially released compact disc recordings.

He collaborated with the Canadian Brass for their “Bach” and “Legends” CDs; he is also the conductor for the CD “4th World,” highlighting the music of Native American recording artist R. Carlos Nakai (available on the Canyon Record label); and in 2010, the Winston-Salem Symphony released their performance (live from 2009) of Beethoven’s Symphony No. 9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012.

MEMPHIS SYMPHONY ORCHESTRA | 5

Memphis Symphony Orchestra ROBERT MOODY, PRINCIPAL CONDUCTOR VIOLIN I

CELLO

Barrie Cooper, Concertmaster The Joy Brown Weiner Chair Marisa Polesky, Assistant Concertmaster Diane Zelickman Cohen, Assistant Principal Wen-Yih You, Assistant Principal Paul Turnbow Jessica Munson Greg Morris Long Long Kang*

Ruth Valente Burgess, Principal The Vincent de Frank Chair Iren Zombor, Assistant Principal Phyllis Long, Assistant Principal Jonathan Kirkscey Jeffrey Jurciukonis Hannah Schmidt Mark Wallace

VIOLIN II

Scott Best, Principal Chris Butler, Assistant Principal Sean O’Hara Andrew Palmer Timothy Weddle Jeremy Upton Sara Chiego

BASS Gaylon Patterson, Principal The Dunbar and Constance Abston Chair Heather Trussell, Assistant Principal Erin Kaste, Assistant Principal Christine Palmer* Ann Spurbeck Lenore McIntyre VIOLA Jennifer Puckett, Principal The Corinne Falls Murrah Chair Michelle Pellay-Walker, Assistant Principal Irene Wade, Assistant Principal Beth Luscombe Karen Casey Kent Overturf

FLUTE Karen Busler, Principal The Marion Dugdale McClure Chair Chris James PICCOLO Chris James OBOE Joseph Salvalaggio, Principal Saundra D’Amato Shelly Sublett, Assistant Principal

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ENGLISH HORN

TROMBONE

Shelly Sublett

Greg Luscombe, Principal Wes Lebo

CLARINET

Mark Vail

Andre Dyachenko, Principal Rena Feller

BASS TROMBONE

Nobuko Igarashi

Mark Vail

BASS CLARINET

TUBA

Nobuko Igarashi

Charles Schulz, Principal

BASSOON

TIMPANI

Susanna Whitney, Principal

Frank Shaffer, Principal

Michael Scott Christopher Piecuch

PERCUSSION David Carlisle, Principal

CONTRABASSOON

Ed Murray, Assistant Principal

Christopher Piecuch HARP HORN

Marian Shaffer, Principal

Caroline Kinsey, Principal

The Ruth Marie Moore Cobb Chair

The Morrie A. Moss Chair Robert Patterson

PIANO/CELESTE Adrienne Park, Principal

TRUMPET

The Buzzy Hussey and Hal Brunt Chair

Scott Moore, Principal The Smith & Nephew Chair Susan Enger

*Currently on leave

J. Michael McKenzie

MEMPHIS SYMPHONY ORCHESTRA | 7

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M A S T E R W O R K S Opening weekend: Welcome Robert Moody!

Saturday, October 1, 2016 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, October 2, 2016 at 2:30 pm at Germantown Performing Arts Center

PRESENTED BY

ROBERT MOODY, CONDUCTOR JESSE KASINGER, VIOLIN

ARTURO MARQUEZ (1950 - ) Danzon No. 2 PABLO DE SARASATE (1844 - 1908) Fantasy on Bizet’s Carmen for Violin and Orchestra, Opus 25 INTERMISSION HECTOR BERLIOZ (1803 - 1869) Symphonie fantastique, Opus 14 I. Reveries and Passions: Largo - Allegro agitato e appassionato assai II. A Ball: Waltz - Allegro non troppo III. In the Country: Adagio IV. March to the Scaffold: Allegretto non troppo V. Dream of the Witches’ Sabbath: Larghetto - Allegro

“KNOW THE SCORE” a pre-concert presentation sponsored by

begins 1 hour prior to showtime.

Saturday, October 1 6:30 pm Morgan Keegan Lobby Sunday, October 2 1:30 pm Ballet Room

MEMPHIS SYMPHONY ORCHESTRA | 9

Program Notes Opening Weekend: Welcome Robert Moody! by: Ken Meltzer ARTURO MARQUEZ (1950 - ): Danzón No. 2 (1994) Duration: approximately 10 minutes Arturo Márquez was born in Álamos, Sonora, Mexico, on December 20, 1950. The first performance of Danzón No. 2 took place at Mexico’s National Autonomous University in Mexico City, Mexico, on March 5, 1994, with Francisco Savín conducting the Orchestra Filarmonica de la UNAM. Danzón No. 2 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, claves, snare drum, suspended cymbal, guiro, three tom-toms, bass drum, piano and strings.

The contemporary Mexican composer Arturo Márquez is noted for incorporating the popular music of his native country into his concert works. Marvelous examples are his various Danzónes, based upon music from Cuba and the Veracruz region of Mexico. In particular the brilliant Danzón No. 2 has become immensely popular. The work known as “Mexico’s second national anthem” has enjoyed a notable presence in concert halls around the world and on recordings.

The composer provided the following comments on his Danzón No. 2: The idea of writing the Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzónera Orchestra. I was fascinated, and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No. 2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its

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intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.

PABLO DE SARASATE (1844 - 1908): Fantasy on Bizet’s Carmen for Violin and Orchestra, Opus 25 Duration: approximately 13 minutes Pablo de Sarasate was born in Pamplona, Spain, on March 10, 1844, and died in Biarritz, France, on September 20, 1908. In addition to the solo violin, the Fantasy on Bizet’s Carmen is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two cornets, three trombones, timpani, harp, tambourine, and strings.

Approximate performance time is twelve minutes.

Pablo de Sarasate, one of the greatest violinists of the 19th century, inspired such composers as Camille Saint-Saëns, Max Bruch, Edouard Lalo, Joseph Joachim, Henryk Wieniawski, and Antonín Dvořák to write pieces for the Spanish virtuoso. Sarasate, too, was an accomplished composer who fashioned many works he played to rapturous acclaim in his legendary concerts. Sarasate frequently called upon Spanish themes as the basis for many of his most popular concert pieces. One of these is the brilliant Carmen Fantasy for Violin and Orchestra, Opus 25 (1883).

Georges Bizet’s 1875 opera Carmen, set in and around Seville, employs numerous Spanish motifs and musical forms, many of which are found in Sarasate’s adaptation for violin and orchestra. The Carmen Fantasy opens with the vibrant music that serves as the Entr’acte to the opera’s fourth and concluding act, set outside the bullring in Seville. Next is Carmen’s sultry Habanera, in which the Gypsy offers her philosophy: “Love is a rebellious bird that no one can tame…If you do not love me, I love you, and if I love you, beware!”

Carmen’s taunting of the officer Zuniga, as well as the motif of the fate that binds Don José to Carmen, serve as a bridge to the next main section. It is based upon Carmen’s Seguidilla, the moment in which her seduction of Don José is complete. Sarasate’s Carmen Fantasy concludes with the breathless Gypsy Dance, heard at the start of the opera’s second act.

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Program Notes Opening Weekend: Welcome Robert Moody! by: Ken Meltzer (continued) HECTOR BERLIOZ (1803 - 1869): Symphonie fantastique, Opus 14 (1830) Duration: approximately 49 minutes Hector Berlioz was born in La Côte-Saint-André, Isère, France, on December 11, 1803, and died in Paris, France, on March 8, 1869. The Symphonie fantastique is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, four bassoons, four horns, two trumpets, two cornets, three trombones, two tubas, timpani (two players), bass drum, cymbals, suspended cymbals, snare drum, low bells (offstage), two harps, and strings.

In September 1827, Hector Berlioz, then a 23-year-old student at the Paris Conservatory, attended productions by an English touring company of Shakespeare’s Hamlet and Romeo and Juliet. In those performances, Harriet Smithson, a beautiful and young Irish actress, portrayed the tragic heroines, Ophelia and Juliet. Berlioz immediately fell in love with her.

Berlioz did everything within his power to try to get Smithson to take notice of him, but without success. In February of 1830, Berlioz wrote to his sister: “I am about to commence my grand symphony (Episode in the Life of An Artist), in which the development of my infernal passion will be depicted.” On April 16 of that same year, Berlioz announced that his Symphony was complete.

The premiere of the Symphonie fantastique took place at the Paris Conservatory on December 5, 1830, with François-Antoine Habeneck conducting the Orchestra of the Société des Concerts du Conservatoire. The drama, innovation, and sheer audacity of the young composer’s vision stunned the audience. By the time Harriet Smithson returned to Paris in 1832 and attended a performance of the Fantastic Symphony, it seemed the actress was the only person in the entire city who didn’t realize she was the inspiration for the music. When Smithson discovered the truth, she finally agreed to meet Berlioz. After a brief courtship, the two wed on October 3, 1833. Franz Liszt and Heinrich Heine served as witnesses. However, the marriage deteriorated, and in the early 1840s, Smithson and Berlioz separated.

Even after the acrimonious conclusion of their marriage, Berlioz acknowledged his

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artistic kinship with Harriet Smithson, and the profound influence she exercised upon his development as an artist. Toward the end of her life, Smithson suffered paralysis. After Harriet Smithson’s death in 1854, Liszt wrote to Berlioz: “She inspired you, you loved her and sang your love, her mission was fulfilled.”

Berlioz, a gifted and prolific writer, provided the following program notes for his Symphonie fantastique.

A young musician of morbidly sensitive temperament and lively imagination poisons himself with opium in an attack of lovesick despair. The dose of the narcotic, too weak to kill him, plunges him into a deep slumber accompanied by the strangest visions, during which his feelings, his emotions, his memories are transformed in his sick mind into musical images. The Beloved herself becomes for him a melody, a cyclical theme (idée fixe) that he encounters and hears everywhere.

(Annotator’s note: The idée fixe is introduced approximately five minutes into the opening movement by the flute and first violins.)

I. Reveries, Passions (Largo; Allegro agitato e appassionato assai)—At first he recalls that sickness of the soul, those intimations of passion, the apparently groundless depression and intoxication he experienced before he met the woman he adores; then the volcanic love that she inspired in him, his delirious anguish, his furious jealousy, his return to tenderness, his religious consolation.

II. A Ball (Valse. Allegro non troppo)—He meets his beloved again in the midst of the tumult of a glittering fête.

III. Scene in the Country (Adagio)—On a summer evening in the country, he hears two shepherds piping back and forth a ranz des vaches (the traditional melody of Swiss shepherds for summoning their flocks); this pastoral duet, the peaceful landscape, the rustling of the trees gently rocked by the wind, some prospects of hope he recently found—all combine to soothe his heart with unusual tranquility and brighten his thoughts. But she reappears, he feels his heart tighten, he is smitten with sad foreboding: what if she were to prove MEMPHIS SYMPHONY ORCHESTRA | 13

Program Notes Opening Weekend: Welcome Robert Moody! by: Ken Meltzer (continued) false?…One of the shepherds resumes his simple tune; the other no longer responds. The sun sets…distant roll of thunder…solitude…silence.

IV. March to the Execution (Allegretto non troppo)—He dreams he has murdered his Beloved, that he has been condemned to death and is being led to the scaffold.

The procession advances to the sound of a march that is now somber and agitated, now brilliant and solemn, in which the muffled sound of heavy steps is suddenly juxtaposed with the noisiest clamor. At the end, the idée fixe returns for a moment like a final thought of love, suddenly interrupted by the death blow.

V. Dream of a Witches’ Sabbath (Larghetto; Allegro)—He imagines himself at a Witches’ Sabbath, among a hideous throng of ghouls, sorcerers and monsters of every kind, assembled for his funeral. Ominous sounds, groans, bursts of laughter, distant cries that other cries seem to answer. The Beloved’s melody reappears, but it has lost its noble and timid character; it has become a vulgar dance tune, unworthy, trite and grotesque: there she is, coming to join the Sabbath…A roar of joy greets her arrival…She takes part in the infernal orgy…

The funeral knell, a burlesque parody of the Dies irae…the witches’ round…the dance and the Dies irae are heard together.

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jesse kasinger violin

Violinist Jesse Kasinger recently received his B.M. from the University of Memphis, magna cum laude, under Dr. Soh-Hyun Park Altino. During his undergraduate studies, Jesse was recipient of The Distinguished Performer’s Scholarship and The Presser Award. Winner of the MTNA Southern and Regional Divisions, Jesse has held concertmaster positions at the Nashville Summer Institute Orchestra, The University of Memphis Symphony Orchestra, Brevard Music Center Sinfonia Orchestra, Memphis Repertory Orchestra, and Balmoral Chamber Orchestra.

Solo performances include The Balmoral Chamber Orchestra, Nashville Philharmonic Orchestra, Paducah Symphony Orchestra, and Brevard Music Center.

Jesse has performed in masterclasses given by Ani Kavafian, Vadim Guzman, Violaine Melançon, Stefan Jackiw, and Noah Bendix-Bagley. He has also performed in chamber masterclasses given by James Buswell, Oleh Krysa, and The Atlantic Ensemble Trio.

Jesse is currently pursuing his M.M. with Paul Kantor at Rice University’s Shepherd School of Music.

MEMPHIS SYMPHONY ORCHESTRA | 15

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PAUL & LINNEA BERT

Classic Accents Dvorak & Copland Sunday, October 23, 2016 at 2:30 p.m. at Germantown Performing Arts Center

ROBERT MOODY, CONDUCTOR

PRESENTED BY

BRETT DIETZ, COMPOSER

BRETT DIETZ (1981) Headcase: Opera Introspective INTERMISSION ANTONIN DVORAK (1841 - 1904) Serenade in D minor, Opus 44 I.

Moderato quasi marcia

II.

Menuetto - Trio: Presto

III.

Andante con moto

IV.

Finale: Alegro molto

AARON COPLAND (1900 - 1990) Suite from Appalachian Spring (1944 original orchestration)

MEMPHIS SYMPHONY ORCHESTRA | 17

brett dietz composer

Brett William Dietz is Associate Professor of Percussion at the Louisiana State University School of Music. He is the music director of Hamiruge (the LSU Percussion Group). He earned the Bachelor of Music in Percussion and the Master of Music in Composition/Theory from the Mary Pappert School of Music at Duquesne University. In 2004, Dietz earned his Doctorate of Music from Northwestern University.

He has studied percussion with Jack DiIanni, Andrew Reamer, Stanley Leonard, and Michael Burritt while his principal composition teachers include Joseph W. Jenkins, David Stock, and Jay Alan Yim. An avid composer, Dietz’s music has been performed throughout the United States, Europe, East Asia and Australia by numerous ensembles including the Detroit Symphony Orchestra, Portland Symphony Orchestra, Winston Salem Orchestra, Dallas Wind Symphony, Eastman Wind Ensemble, National Wind Ensemble, New Music Raleigh, Pittsburgh New Music Ensemble, River City Brass Band, Northwestern University Wind Symphony, Louisiana State University Wind Ensemble, Duquesne University Symphonic Wind Ensemble, the University of Scranton Wind Symphony, the Northwestern University Percussion Ensemble, Ju Percussion Ensemble, Malmo Percussion Group, and the University of Kentucky Percussion Ensemble.

His compositions have been featured at the 1998 College Band Directors National Association Eastern Division Conference, and the 2001, 2002, 2004, 2005, 2007 Percussive Arts Society International Convention. Dietz’s composition, Pandora’s Box received its New York Premiere at Carnegie Hall by the National Wind Ensemble conducted by H. Robert Reynolds. His opera Headcase was premiered in Pittsburgh, Pennsylvania. Called “haunting and powerful – a remarkably sophisticated score that blends words, music and visual displays to touch the heart and mind” by the Pittsburgh Tribune Review, the opera relives the story of the stroke Dietz suffered in 2002.

In addition to his work at Louisiana State University, he has also served on the music faculties of Duquesne University, Westminster College (New Wilmington, PA), and the Merit School of Music in Chicago. Dietz endorses Pearl/Adams Percussion, Vic Firth Sticks, and Zildjian Cymbals. When not composing, performing, or teaching, he spends all of his free time with his wife Jennifer, his son Owen, and working on his golf game!

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Magic of Memphis Holiday Spectacular!

Sunday, December 4, 2016 • 3:00 pm • Cannon Center for the Performing Arts presented by

Cirque de la Symphonie’s acrobats will leave you breathless, dazzling the eye and the ear, as the Memphis Symphony performs glittering holiday favorites - LIVE! Step right up for the greatest holiday show around - perfect for the whole family!

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45 Years of Fine Chamber Music CO NCE RT S 2016 - 2017 Season INTERNATIONAL

Wu Han and David Finckel Thursday, October 13, 2016

Dali Quartet with Vanessa Perez Tuesday, January 24, 2017

Philharmonia Quartett Berlin Thursday, March 9, 2017

Stephanie Tatum Executive Director

Ceruti Quartet Monday, October 31, 2016

Cuarteto Casals Thursday, February 16, 2017

Dmitry Sitkovetsky and Cathal Breslin Thursday, May 11, 2017

Julie Schap Artistic Director

For tickets call 901-527-3067 or visit concertsinternationalmemphis.org

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M A S T E R W O R K S beethoven’s fifth Saturday, November 12, 2016 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, November 13, 2016 at 2:30 p.m. at Germantown Performing Arts Center ROBERT MOODY, CONDUCTOR MARY BOEHLKE WILSON, SOPRANO SIDNEY OUTLAW, BARITONE MEMPHIS SYMPHONY CHORUS,

“KNOW THE SCORE” a pre-concert presentation sponsored by

DR. LAWRENCE EDWARDS, ARTISTIC DIRECTOR

LUDWIG VAN BEETHOVEN (1770 - 1827) Symphony No. 5 in C minor, Opus 67 I.

Allegro con Brio

II.

Andante con moto

III.

Allegro

IV.

Allegro

INTERMISSION

begins 1 hour prior to showtime.

Saturday, November 12 6:30 pm Morgan Keegan Lobby Sunday, November 13 1:30 pm Ballet Room

DAN FORREST (b. 1978) in paradisum...

RALPH VAUGHAN WILLIAMS (1872 - 1958) Dona Nobis Pacem I.

Agnus Dei

II.

Beat! Beat! Drums!

III. Reconciliation IV. Dirge for Two Veterans V.

The Angel of Death

VI.

O Man, Greatly Beloved

MEMPHIS SYMPHONY ORCHESTRA | 21

Program Notes Beethoven’s Fifth by: Ken Meltzer LUDWIG VAN BEETHOVEN (1770 - 1827): Symphony No. 5 in C minor, Opus 67 (1808) Duration: approximately 31 minutes Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Fifth Symphony took place in Vienna at the Theater an der Wien on December 22, 1808, with the composer conducting. The Symphony No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani and strings.

Beethoven’s immortal Fifth Symphony is music that continues to astonish listeners with its elemental power, taut drama, and, above all else, a sense of absolute inevitability.

And yet, there was nothing inevitable about the process of the work’s creation. The composition of the Fifth Symphony took place over a span of approximately four years (1804-1808). During that time, Beethoven wrote and rewrote passages, filling sketchbook upon sketchbook with ideas for the Symphony, which he finally completed in the spring of 1808. At its premiere, Beethoven served as both conductor and pianist in a marathon program, featuring almost four hours of his music.

Perhaps a music lover who had access to a time machine might choose this concert as his first destination. Imagine the opportunity to witness Beethoven performing several of his greatest masterworks! By all accounts, however, the event was far from a triumph. A lack of sufficient rehearsal time, coupled with Beethoven’s failings as a conductor, led to performances that were haphazard at best, and disasters at worst. Further, the audience endured this marathon concert—held in the dead of winter—in an unheated theater.

Today, of course, the Beethoven Fifth maintains its status as one of the greatest and most popular Symphonies. However, the extraordinary power and revolutionary nature of the Beethoven Fifth at first inspired confusion, awe, and even fear on the part of some music lovers.

In his Memoirs, Hector Berlioz recalled an 1828 performance of the Beethoven Fifth in Paris, attended by one of the young French composer’s teachers at the Conservatoire, Jean-François Lesueur. After the concert, Berlioz rushed to Lesueur, anxious to learn his professor’s opinion: I went striding up and down the passage with flushed cheeks. “Well, dear

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master?”...“Hush! I want air; I must go outside. It is incredible, wonderful! It stirred and affected and disturbed me to such a degree that when I came out of the box and tried to put on my hat I could not find my own head! Do not speak to me until tomorrow.”...

The next day I rushed off to his house, and we at once fell to talking about the masterpiece which had stirred us so deeply...It was easy to see that I was talking to a quite different being from the man of the day before, and that the subject was painful to him. But I persisted until Lesueur, after again admitting how deeply the symphony had affected him, shook his head with a curious smile, and said, “All the same, such music ought not to be written.” To which I replied, “Don’t be afraid, dear master, there will never be too much of it.”

The Fifth Symphony’s volcanic opening movement (Allegro con brio) begins with a proclamation of the famous “short-short-short-long” motif—the seed from which the entire work will grow (Anton Schindler quoted the composer as describing this passage in the following manner: “Thus fate knocks at the door!” The authenticity of this quote has long been a subject of dispute). The second movement (Andante con moto) is in the form of variations on two themes, the latter incorporating the central four-note motif. The third-movement scherzo (Allegro) proceeds to a breathtaking transitional passage, in which the timpani softly repeats the four-note motif. The first violins intone echoes of the scherzo, as the orchestra moves inexorably to the glorious finale (Allegro), which follows without pause. Now, the central motif is transformed into a triumphant celebration, reinforced by the introduction of piccolo, contrabassoon, and trombones— all making their first appearance in a Beethoven Symphony. A quiet reprise of the scherzo resolves to the work’s glorious presto conclusion, where all is bathed in the brightest sunlight.

DAN FORREST (b. 1978): in paradisum... (2008) Duration: approximately 11 minutes Dan Forrest was born in Elmira, New York, on January 7, 1978. The first performance of in paradisum… took place at Bob Jones University in Greenville, South Carolina, on May 2, 2008. in paradisum… is scored for mixed chorus, piccolo, two flutes (one doubling on alto flute), two oboes (one doubling on English horn), two B-flat clarinets, two bassoons; four horns, three trumpets, three trombones, tuba, timpani,

MEMPHIS SYMPHONY ORCHESTRA | 23

Program Notes Beethoven’s Fifth

by Ken Meltzer (continued) two percussion, harp, organ (optional), and strings. in paradisum…, (originally) for wind band and chorus, takes its title more from Scripture than from the liturgical “In Paradisum” Requiem movement. This setting uses a wide diversity of Scriptural texts, which, though written thousands of years apart, all speak to mankind’s burning desire to glimpse the afterlife by revealing the compassionate character and precious promises of God to His people. The opening bars present massive chords in a highly animated texture; these “pillars” not only represent the unshakeable truths which follow, but also serve as a musical basis from which most of the rest of the piece is constructed. The first main section sets “Precious in the sight of the Lord…” text, as well as “I go to prepare a place for you…”. A second section (which uses portions of Revelation) uses the flatted seventh scale degree (taken from the opening “pillar chords”) to symbolize sorrow, pain, and tears. This flatted seventh gives way, symbolically, to the raised seventh scale degree, picturing God’s tenderly “wiping away all tears”. Eventually, the “pillar chords” return, this time setting the one occurrence of the phrase “in paradise” from Scripture (Christ’s words from the cross to the dying thief) which provides a thrilling glimpse into eternity. Near the end of the piece, one more glimpse of the “tears” idea appears, but it quickly (and again, symbolically) disappears into the settled rest of the closing section, which includes a “new song”, calling from eternity “on high.” http://danforrest.com/music-catalog/in-paradisum/ Precious in the sight of the Lord is the death of His saints. (Psalm 116:15) I go to prepare a place for you. And if I go and prepare a place for you, I will come again, and receive you unto myself; that where I am, ye may be also. (John 14:2-3) And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away. (Rev 21:4) Verily, I say unto thee, Today thou shalt be with me in paradise. (Luke 23:43) RALPH VAUGHAN WILLIAMS (1872 - 1958): Dona Nobis Pacem, A Cantata for Soprano and Baritone Soli, Chorus and Orchestra (1936)

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Duration: approximately 36 minutes Ralph Vaughan Williams was born in Down Ampney, England, on October 12, 1872, and died in London, England, on August 26, 1958. The first performance of Dona nobis pacem took place at the Huddersfield Town Hall in Huddersfield, England, in on October 2, 1936. Albert Coates conducted the Hallé Orchestra and Huddersfield Choral Society, which commissioned the work as part of the celebration of its 100th anniversary. At the time, storm clouds were gathering throughout Europe with the rise of the Nazis and Fascists. War seemed more and more inevitable with each passing day.

Dona Nobis Pacem is scored for soprano and baritone soloists, mixed chorus, piccolo, three flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, four trumpets, four trombones, bass trombone, tuba, timpani, side drum, triangle, tenor drum, orchestra bells, cymbals, suspended cymbal, tam-tam, bass drum, tambourine, chimes, harp, organ, and strings.

Ralph Vaughan Williams was a first-hand witness to the horrors of armed conflict.

Following the outbreak of World War I, Vaughan Williams, 42 years old, enlisted in the Army. Vaughan Williams worked in the field ambulance unit, transporting the wounded from the battlefield in the Neuville-Saint-Vaast region.

Toward the end of his life, Vaughan Williams said of the great American poet, Walt Whitman (1819-1892): “I’ve never got over him, I’m glad to say.” Prior to the outbreak of World War I, Vaughan Williams set Whitman’s Civil War poem, Dirge for Two Veterans, for chorus and orchestra. The Dirge became the centerpiece of the 1936 cantata, Dona nobis pacem.

For the remainder of the cantata’s text, Vaughan Williams incorporated two more Whitman Civil War poems, a portion of a House of Commons speech by John Bright given during the Crimean War, and excerpts from the Old Testament. In addition, a portion of the Latin Mass serves as a recurring leitmotif, and the source of the work’s title.

The trajectory of the text and music of Dona Nobis Pacem reflects hope for a brighter future. That optimism was sorely tested by the events of World War II. Vaughan Williams conducted Dona nobis pacem several times in England during the War and

MEMPHIS SYMPHONY ORCHESTRA | 25

Program Notes Beethoven’s Fifth

by Ken Meltzer (continued) the music was, according to his widow, Ursula, “full of particular meaning for those days.” Events since that time have done nothing to diminish the power, beauty, and relevance of Vaughan Williams’s composition, or the haunting eloquence of the soprano’s repeated prayer to “grant us peace.”

1. Agnus Dei (Soprano and Chorus) Agnus Dei, qui tollis peccata mundi, Dona nobis pacem.

(Lamb of God, that taketh away the sins of the world, grant us peace.)

2. “Beat! beat! drums!” (Chorus) Beat! beat! drums!—blow! bugles! blow!

Through the windows—through the doors—burst like a ruthless force, Into the solemn church, and scatter the congregation, Into the school where the scholar is studying; Leave not the bridegroom quiet—no happiness must he have now with his bride, Nor the peaceful farmer any peace, ploughing his field or gathering in his grain, So fierce you whirr and pound you drums—so shrill you bugles blow.

Beat! beat! drums!—blow! bugles! blow!

[Over the traffic of cities —over the rumble of wheels in the streets; Are beds prepared for sleepers at night in the houses?

No sleepers must sleep in those beds, No bargainers’ bargains by day—would they continue?

Would the talkers be talking? would the singer attempt to sing?

Then rattle quicker, heavier drums—you bugles wilder blow.

Beat! beat! drums!—blow! bugles! blow!

Make no parley—stop for no expostulation, Mind not the timid—mind not the weeper or prayer, Mind not the old man beseeching the young man, Let not the child’s voice be heard, nor the mother’s entreaties, Make even the trestles to shake the dead where they lie awaiting the hearses,

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So strong you thump O terrible drums—so loud you bugles blow.

—Walt Whitman 3. Reconciliation (Baritone and Chorus) Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost, That the hands of the sisters Death and Night incessantly, softly, wash again, and ever again this soiled world; For my enemy is dead, a man divine as myself is dead, I look where he lies white-faced and still in the coffin—I draw near, Bend down and touch lightly with my lips the white face in the coffin.

—Walt Whitman Dona nobis pacem 4. Dirge for Two Veterans (Chorus) The last sunbeam Lightly falls from the finished Sabbath, On the pavement here, and there beyond it is looking Down a new-made double grave.

Lo, the moon ascending, Up from the east the silvery round moon, Beautiful over the house-tops, ghastly, phantom moon, Immense and silent moon.

I see a sad procession, And I hear the sound of coming full-keyed bugles, All the channels of the city streets they are flooding, As with voices and with tears.

I hear the great drums pounding, And the small drums steady whirring And every blow of the great convulsive drums,

MEMPHIS SYMPHONY ORCHESTRA | 27

Program Notes Beethoven’s Fifth

by Ken Meltzer (continued) Strikes me through and through.

For the son is brought with the father, In the foremost ranks of the fierce assault they fell, Two veterans son and father dropped together, And the double grave awaits them.

And nearer blow the bugles, And the drums strike more convulsive, And the daylight o’er the pavement quite has faded, And the strong dead-march enwraps me.

In the eastern sky up-buoying, The sorrowful vast phantom moves illumined, ‘Tis some mother’s large transparent face, In heaven brighter growing.

O strong dead-march you please me!

O moon immense with your silvery face you soothe me!

O my soldiers twain! O my veterans passing to burial!

What I have I also give you.

The moon gives you light, And the bugles and the drums give you music, And my heart, O my soldiers, my veterans, My heart gives you love.

—Walt Whitman V. “The Angel of Death” (Soprano, Baritone and Chorus) The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings.

There is no one as of old . . . to sprinkle with blood the lintel and the two side-posts of our doors, that he may spare and pass on.

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—John Bright Dona nobis pacem We looked for peace, but no good came; and for a time of health, and behold trouble!

The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones; for they are come, and have devoured the land, and those that dwell therein. . . .

The harvest is past, the summer is ended, and we are not saved…

Is there no balm in Gilead?; is there no physician there?

Why then is not the health of the daughter of my people recovered?

—Jeremiah: 8:15-22 VI. “O man greatly beloved” (Baritone, Soprano and Chorus) O man greatly beloved, fear not, peace be unto thee, be strong, yea, be strong.

Daniel: 10:19 The glory of this latter house shall be greater than the former… and in this place will I give peace.

—Haggai 2:9 Nation shall not lift up a sword against nation, neither shall they learn war any more.

And none shall make them afraid, neither shall the sword go through the land.

Mercy and truth are met together; righteousness and peace have kissed each other.

Truth shall spring out of the earth, and righteousness shall look down from heaven.

Open to me the gates of righteousness, I will go into them.

Let all the nations be gathered together, and let the people be assembled; and let them hear, and say, it is the truth.

MEMPHIS SYMPHONY ORCHESTRA | 29

Program Notes Beethoven’s Fifth

by Ken Meltzer (continued) And it shall come, that I will gather all nations and tongues.

And they shall come and see my glory. And I will set a sign among them, and they shall declare my glory among the nations.

For as the new heavens, and the new earth, which I will make, shall remain before me, so shall your seed and your name remain for ever.

Glory to God in the highest, and on earth peace, good-will toward men. —Adapted from Micah 4:3, Leviticus 26:6, Psalms 85:10 and 188:19, Isaiah 43:9 and 66: 18-22, and Luke 2:14 Dona nobis pacem.

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MEMPHIS SYMPHONY ORCHESTRA | 31

mary wilson soprano

Soprano Mary Wilson is acknowledged as one of today’s most exciting artists, with Opera News heralding her first solo recording, Mary Wilson Sings Handel, as one of their “Best of the Year.” Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire, Wilson recieves critical acclaim from coast to coast.

In high demand on the concert stage, she has most recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Singapore Symphony, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, National Symphony of Costa Rica, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Eugene Symphony, Buffalo Philharmonic, Pacific Symphony, Colorado Symphony, Dayton Philharmonic, Memphis Symphony, Colorado Music Festival, IRIS Chamber Orchestra, VocalEssence, Berkshire Choral Festival, and at Carnegie Hall and the Hollywood Bowl. She has frequently worked with conductors Jeffrey Thomas, Nicholas McGegan, Bernard Labadie, Martin Pearlman, Martin Haselböck, Robert Moody, JoAnn Falletta, Michael Stern, Anton Armstrong, and Leonard Slatkin. With the IRIS Chamber Orchestra, she sang the World Premiere of the song cycle “Songs Old and New” written especially for her by Ned Rorem. She was named an Emerging Artist by Symphony Magazine in the publication’s first ever presentation of promising classical soloists on the rise.

On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World Premiere performances of Dove’s Flight, Glass’ Galileo Galilei, and Petitgi-rard’s Joseph Merrick dit L’Elephant Man. A national finalist of the 1999 Metropolitan Opera National Council Auditions, she has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Opera Memphis, Southwest Opera, the Brooklyn Academy of Music and the Goodman Theatre.

An accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She is an Assistant Professor of Voice at the University of Memphis, and resides in Memphis, Tennessee, with her husband, son, and two dogs.

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Sidney Outlaw baritone

Lauded by The New York Times as a “terrific singer” and the San Francisco Chronicle as an “opera powerhouse,” Sidney Outlaw was the Grand Prize winner of the Concurso Internacional de Canto Montserrat Caballe in 2010. A graduate of the Merola Opera Program and the Gerdine Young Artist Program at Opera Theatre of Saint Louis, this rising American baritone from Brevard, North Carolina recently added a GRAMMY nomination to his list of accomplishments for the Naxos Records recording of Darius Milhaud’s 1922 opera trilogy, L’Orestie d’Eschyle in which he sang the role of Apollo.

Mr. Outlaw has been a featured recitalist with Warren Jones at Carnegie Hall and performed Elijah with the New York Choral Society. He traveled to Guinea as an Arts Envoy with the U.S. State Department, where he performed a program of American music, in honor of Black History Month and in remembrance of Dr. Martin Luther King. Recent engagements include Dallapiccola’s Il Prigioniero with the New York Philharmonic, Schaunard in La bohème with the Ash Lawn Festival, and Guglielmo in Mozart’s Cosi fan tutte with North Carolina Opera.

A sought-after concert singer and recitalist, Mr. Outlaw made his Schwabacher Recital debut at the San Francisco Opera Center. His concert and recital appearances include debuts of renowned works at major concert halls: Messiah at Carnegie Hall, Beethoven’s Symphony No. 9 at Avery Fisher Hall, Mahler’s Lieder eines Fahrenden Gesellen with Music Academy of the West and “Wednesday At One” at Alice Tully Hall, John Stevens in the world premiere concert of H. Leslie Adam’s opera Blake at the prestigious Schomburg Center for Research in Black Culture in Harlem, and the world premiere of Wayne Oquin’s A Time to Break Silence: Songs inspired by the Words and Writings of Martin Luther King, Jr., commissioned by The Juilliard School.

Mr. Outlaw won 2nd Prize in the Walter W. Naumburg Foundation’s International Competition, 2nd Prize in the 2011 Gerda Lissner Foundation Awards, National semi-finalist in the Metropolitan Opera National Council Auditions, semi-finalist in the Francisco Viñas International Singing Competition, finalist in both Concours International Musical de Montreal and George London Foundation, and grand prize in the Florida Grand Opera/YPO Vocal Competition. He holds a Bachelor in Music Performance from the University of North Carolina at Greensboro and a Master of Vocal Performance from The Julliard School.

MEMPHIS SYMPHONY ORCHESTRA | 33

memphis symphony chorus LAWRENCE EDWARDS, Artistic Director LIZ PARSONS, Accompanist The Memphis Symphony Chorus has performed many of the greatest works of choral music with the Memphis Symphony Orchestra for the past 50 years. The Symphony Chorus is led by Artistic Director, Dr. Lawrence Edwards, and performs between 2 and 5 concerts per season with the Memphis Symphony Orchestra.

Since its formation in 1965, the Memphis Symphony Chorus is composed of 100+ dedicated excellent, volunteer vocalists from around the Mid-South. In a perfect collaboration of orchestral and vocal musicians, the chorus has performed major works across the entire spectrum of classical choral music, opera choruses, and concert pops repertoire. This group of dedicated volunteer vocalists celebrated its 50th anniversary during the 2015-16 season.

Chorus membership grows through a twice-yearly audition process supervised by Dr. Edwards. Being a professional vocalist is not a prerequisite for acceptance; however, one must have in equal proportion vocal skill, ability to read music, a love for great choral music, as well as the time and energy to devote to a weekly Monday rehearsal schedule during the season. Each new season for the Chorus begins in the late summer and lasts through their final performance, usually in May. For more info on the chorus, auditions, or fundraisers, please visit our website at www.memphissymphonychorus.org. Email info@memphissymphonychorus.org for more information.

Memphis Symphony Chorus Board of Directors Steve Alsobrook

Sharon McDonough

Jack Seubert

Cindy Armistead

Lindsey McLennan

Jackie White

Pam Gold

Lisa Mendel

Al Whitney

Anita Hester

Terron Perk

*Liz Parsons

Jim McClanahan

Shane Rasner

Cindy McCool

Eugene Reyneke

*with special thanks to Balmoral Presbyterian Church for providing rehearsal space

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Dr. Lawrence Edwards Artistic Director, Memphis Symphony Chorus Dr. Lawrence Edwards has been the Artistic Director of the Memphis Symphony Chorus since 1988, and he often conducts both the orchestra and the chorus. Dr. Edwards is also Coordinator of Choirs for the University of Memphis ’ Department of Music, a position he has held since 1987. He directs the University Singers and the group Sound Fuzion, and teaches undergraduate choral conducting. He also serves as advisor/teacher for graduate choral conducting students. During the summers he teaches graduate conducting at Villanova University in Philadelphia , and is active as a choral clinician throughout the country, working with junior and senior high honor choirs.

Dr. Edwards received his undergraduate degree in music from Seattle Pacific University where he directed the Seattle Pacific Singers. He holds both Masters and Doctoral degrees in Music from the University of Illinois at Champaign where he studied orchestral conducting with the Romanian conductor, Mircia Cristescu. Prior to assuming his position at the University of Memphis , Dr. Edwards was Director of Choral Activities at West Virginia University in Morgantown.

MEMPHIS SYMPHONY ORCHESTRA | 35

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In addition to its 430 spacious guest rooms and 20 luxurious suites, The Guest House is home to more than 25,000 square feet of meeting, theater and pre-function space, offering ample room to accommodate groups of nearly 1,800 attendees. With state-of-the-art amenities for conferences, meetings, corporate events and more, The Guest House includes a variety of flexible and unique venues to host nearly any event, large or small.

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The gifts of music and visionary thinking have the power to inspire, transform and connect the world. We’re proud to support the Memphis Symphony Orchestra and everyone who helps to make the world a better place.

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149 Union Avenue, Memphis, TN 38103 • 901.529.4000 • peabodymemphis.com MEMPHIS SYMPHONY ORCHESTRA | 43

Governance and Staff Board of Directors OFFICERS Gayle S. Rose Chairman EVS Corporation Belinda Anderson Vice Chair - Diversity Jen Bradner Interim President & CEO MSO Carol Johnson Vice Chair - Education Louise Barden Secretary Trustmark Bank Pam Guinn Treasurer St. Mary’s Episcopal School BOARD Ben Buffington Hi-Speed Industrial Service

Shea Flinn Greater Memphis Chamber Dr. Suzanne Gronemeyer St. Jude Children’s Research Hospital Mark Glover Baker, Donelson, Bearman, Caldwell Scott Heppel Retired Louis Jehl Carlisle Corporation Greg Luscombe MSO Musicians Dr. Lisa Mendel University of Memphis MSO Chorus Gloria Nobles Arts Advocate Laretha Randolph

Nancy Coe Dominion Partners

Ashley Remmers Diversified Trust

Mark Crosby

John Speer Bass, Berry, and Sims, PLC

Michael Douglas Gerber Taylor Jason Farmer

Phil Stevenson Pinnacle Financial Partners

Donna Flinn Memphis Symphony League

44 | MEMPHIS SYMPHONY ORCHESTRA

Tish Towns Regional One Health Jim Vining Retired Isabelle Welch PAST CHAIRS Dunbar Abston, Jr. Newton P. Allen, Esq.* Walter P. Armstrong, Jr. * Leo Bearman, Jr., Esq. Paul A. Bert Jack R. Blair Robert L. Booth, Jr. Judge Bailey Brown* Robert E. Cannon* George Cates Eric A. Catmur* Charles P. Cobb, Esq.* Nancy R. Crosby* Mike Edwards George E. Falls, Jr. David B. Ferraro Lewis E. Holland William F. Kirsch* Martha Ellen Maxwell* Dr. Joseph Parker* G. Dan Poag Thomas M. Roberts* Jeff Sanford P.K. Seidman* Michael Uiberall Joseph Weller Dr. Russel L. Wiener* *deceased

Staff Jen Bradner

Brandy Gann

Interim President & CEO

Business Manager

Eva Beckemeyer

Lauren Hales

Executive Assistant

Marketing & Development Coordinator

Calley Anderson

Erin Kaste

Diversity & Inclusion Manager

Personnel Manager

Jason Barnett

Vicki Kirchoff

Communications & Public Relations Manager

Interim Director of Marketing

Kaitlyn Barnhill

Douglas Mayes

Development Manager

Production Manager

Spencer Blank

Jane Mims

Director of Operations

Corporate Sales & Sponsorships

Rhonda Causie

Irene Wade

Director of Innovation and Impact

Orchestra Librarian

Sandy D’Amato

Rodney Gilchrist

Education Coordinator

Technical Support

The Memphis Symphony Orchestra is a proud member of the League of American Ochestras.

MEMPHIS SYMPHONY ORCHESTRA | 45

memphis symphony league LETTER FROM THE PRESIDENT I am so excited about the 2016-2017 season with our fantastic and talented Memphis Symphony Orchestra! A warm welcome, as well, to the incomparable Robert Moody, our new Principal Conductor. A few of my personal reasons for supporting the Memphis Symphony Orchestra include:

•

• • • • • • •

A dynamic arts and cultural foundation has been shown to support job growth, stimulate commerce and stabilize neighborhoods in communities fortunate enough to have these engaging and energizing amenities The new joint venture between the University of Memphis and the Memphis Symphony Orchestra is a groundbreaking innovation that will place Memphis as the premier destination for all types of musical ventures The sweeping and erudite vocal power of the Memphis Symphony Chorus Acrobats and cookies at the Magic of Memphis Holiday Spectacular in December!!!

The beautiful Cannon Center for Performing Arts with its world class acoustics and easy access parking Reasonable ticket prices that draw music lovers from across the Mid-South Dynamic performances that inspire future generations of musicians As the universal language, music can benefit the listener and performer: physically, mentally, emotionally and spiritually. It’s good for you!

Please consider joining the Memphis Symphony League, the primary support group for the MSO! See the form below. Thank you for your patronage to the Memphis Symphony Orchestra, which has continuously performed exhilarating and brilliant programs since 1952!

Musically Yours, Donna Flinn (Mrs. Carl), President of the Memphis Symphony League “Where words fail, music speaks.” - Hans Christian Andersen

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BOARD OFFICERS Donna Flinn President Eula Horrell First Vice President Betty Weiss Second Vice President for Education Dinah Makowsky Recording Secretary Nancy Lou Jones Corresponding Secretary Sue Saltiell Treasurer Isabelle Welch Nominations Chair Florence Leffler Parliamentarian BOARD OF DIRECTORS Mary Beth Bryce Scottie Cobb Honey Cannon Alice Dudas Jean de Frank Mary Lawrence Flinn

Kathy Gardner Billie Jean Graham Gail Kimball Sissy Long Amy Meadows Gloria Nobles Tommie Pardue Julie Smith Shelly Sublett Lura Turner Joy Brown Wiener LIFETIME MEMBERS Abraham, Rev. Dr. Jane Anderson, Ms. Pat Bohon, Scott E. Burnett, Alice and Phil Clark, Kenneth Coe, Nancy Hughes Dudas, Alice Whitten and John Duignan, Kate and Chris Peck Flinn, Mary Lawrence Gerard, Jere Halloran, Ann and Pat Handorf, Miriam and Charles King, Kathryn A.

Liles, Kay Taylor Loeb, Katherine Manning Maroda, Dr. and Mrs. Stephen J., Jr. McDow, Phillip McDow, Mary Ellen Meadows, Amy and Dr. Dan T. Mims, Jane Montesi, Pam Nunn, Madeline (Mrs. Stewart L.) Orgill, Irene and Joe Pardue, Ms. Tommie Parker, Lyda G. Perry, Sally (Mrs. Alan L.) Pritchard, Elizabeth A. and John E. Shields Rose, Gayle S. Savell, Sara T. Singh, Ms. Vicki Smith, Irene and Fred Smith, Julie Spangler, Cynthia Hubard and Charles Earl Askew Turner, Lura and Steve Turner, Ryan Turner, Megan Vaccaro, Maris T. Webb, Gina Welch, Isabelle and Lee

2016-2017 MEMPHIS SYMPHONY LEAGUE MEMBERSHIP FORM (Please Print) Name

Spouse

Address City

State

Phone (home) Fax

(work)

Zip (cell)

Email

Payment: I have enclosed a total of $ (Single $50; Couple $75; President’s Circle $100; President’s Circle of Lifetime Members $1,000)

Check # Credit Card: AMEX/Visa/Mastercard CC# Signature

Exp. Date MEMPHIS SYMPHONY ORCHESTRA | 47

the Circle In the past, Mei-Ann’s Circle of Friends (MACF) was a formidable group of over 200 diverse women who pledged to serve as an instrument of inclusion through performing arts. In its new formation, MSO has recently adopted three pillars that reflect what the organization aims to foster: Diversity, Education, and Legacy. In attempts to mirror this image and remain relevant, the MACF leadership has chosen to reflect what MSO has set forth through its own three pillars: Inclusion, Wisdom, and Mentorship. To reflect these pillars, MACF will take on a new name as well—The Circle. It will draw into its energy those women who have a sense of social consciousness and passion to improve the quality of life in the community through the power of music.

CO-CHAIRS Carolyn Hardy Ellen Rolfes Lori Spicer Robertson FORMER CO-CHAIRS Becky Wilson Belinda Anderson Gayle S. Rose Julie Ellis Leticia Towns Mary McDaniel Ritche Bowden MEMBERS Alice Nishiwaki Alice Burnett Anise Belz Anita Vaughn Ann Hawkins Ashley Remmers Ashley Tobias Barbara Hyde

Barbara Holden Nixon Barbara Perkins Barbara Williamson Becky West Buzzy Hussey Beryl Brown Beverly Robertson Beverly Sakauye Blanche Deaderick Brooke Morrow Dr. Carol R. Johnson Calley Anderson Carol Lee Royer Carol Prentiss Carolyn Heppel Cindy Dobbs Cynthia Ham Daphene McFerren Deborah Hester Harrison Deborah Northcross Deidre Malone

48 | MEMPHIS SYMPHONY ORCHESTRA

Diane Rudner Dinah Makowsky Dorothy Kirsch Dorothy Pounders Edith Kelly-Green Elise Daniel Elizabeth Rouse Ellen Cooper Klyce Erica Stiff-Coopwood Dr. Ethelyn Williams-Neal Gloria Nobles Isabelle Welch Dr. Jan Young Janas Jackson Rev. Dr. Jane Abraham Jane Mims Dr. Jayna Kelly Jeanette Cooley Jeanne Gray Carr Dr. Jeanne Jemison Jeanne Varnell

Jen Bradner Jenny Koltnow Jocelyn Wurzburg Joey Beckford Joy Brown Wiener Ann Vining Julia Manning Kaitlyn Barnhill Karen Carlisle Karen Clawson Karen Shea Kathy Buckman Gibson Katie Smythe Kathleen Blair Kathleen Gardner Kimmie Vaulx Lana Prosterman Lauren Keras Laurie Tucker Laurita Jackson Lauryce Graves Lillian Brown Lisa Jehl Lura Turner

Lynda Mead Shea Madeleine Taylor Margaret Welford Tabor Martha Boyd Mary Alice Quinn Mary Freeman Mary Tate-Smith Mei-Ann Chen Mimi Grossman Monica Wharton Myra Whitney Dr. Nancy Chase Nancy Menzies Nancy Hughes Coe Olivia Bursey Ward Pam Guinn Tricia Dudley Dr. Peggy Bodine Phyllis Berz Rebecca Wilson Rita Sparks Rose Johnston Rose Merry Brown Dr. Rosie Phillips Bingham

Ruby Wharton Dr. Sandra Reed Sarah Colley Sarah Carpenter Ognibene The Rev. Senter Crook Shaenea McKinney Snow Morgan Summer Hardy Susan Stephenson Tonja-Sesley Baymon Tracey Stallings IN MEMORIAM Bonnie Smith Dr. Cynthia Pitcock Maxine Smith Meg Dunbar Turner Ronell Brindell

MEMPHIS SYMPHONY ORCHESTRA | 49

supporting partners The Memphis Symphony Orchestra is fortunate to have many generous companies whose commitment to the arts in Memphis enables us to present the quality concerts and community programs our patrons have come to expect. At this printing of Experience, the following corporations join us. $100,000+

HARDIN CHARITABLE TRUST $50,000 - $99,999

$15,000 - $49,999

PAUL & LINNEA BERT

$10,000 - $14,999

$5,000 - $9,999

50 | MEMPHIS SYMPHONY ORCHESTRA

SCOTT AND CAROLYN HEPPEL

$2,500 - $4,999

UP TO $2,499

GREAT WHITE PAWS

IN KIND

FOUNDATIONS The Memphis Symphony Orchestra is fortunate to have many generous foundations whose commitment to the arts in Memphis enables us to present community programs. At this printing of Experience, the following institutions will join us for the 2015-2016 season.

TM

THE ANDREW W. MELLON FOUNDATION BELZ FAMILY FOUNDATIONS HOHENBERG FOUNDATION JENIAM CLARKSON FOUNDATION PATTON FAMILY FOUNDATION

PLOUGH FOUNDATION BRIGGS FOUNDATION ASSISI FOUNDATION GETTY FOUNDATION KEMMONS WILSON FOUNDATION MEMPHIS SYMPHONY ORCHESTRA | 51

symphony fund 2016 - 2017 As a community-supported organization committed to Memphis, the MSO depends on the generosity of donors who make it possible for us to make meaningful experiences through music. We are pleased to offer the following benefits in response to your support: STRADIVARIUS CIRCLE ($25,000+) Stradivarius Circle donors receive premium recognition and customized benefits, as well as priority ticketing. In addition to all the Maestro’s Circle benefits, Stradivarius Circle donors also receive recognition as a host for a program that matches their personal interests, including:

• • •

A visiting artist A concert or a series An education or community program

MAESTROS CIRCLE ($10,000+)

• • • • • •

Invitation to a backstage tour and toast Invitation to a luncheon with orchestra musicians Special VIP seating for Summer Symphony at the Live Garden Invitations to Open Rehearsals Two free ticket vouchers and a two-for-one ticket voucher Plus all of the privileges below

BENEFACTOR’S CIRCLE ($5,000+)

• • • • •

Invitation to dinner featuring a special performance by members of the MSO Special VIP seating for all MSO performances at the Dixon Gallery and Gardens Opportunity to donate 10 Masterworks concert tickets to a charity of your choice Invitation to special guest artist reception at someone’s private home Plus all of the privileges below

52 | MEMPHIS SYMPHONY ORCHESTRA

PATRON’S CIRCLE ($2,500+)

• • •

Priority access to Memphis Symphony Orchestra VIP patron tours Receive a 20% discount on all single ticket purchases Plus all of the privileges below

GOLDEN CIRCLE ($1,000+)

• • •

Admission to the donors-only VIP backstage reception during intermission at Masterworks concerts VIP parking passes for all concerts at the Cannon Center for the Performing Arts Plus all of the privileges below

ASSOCIATE’S CIRCLE ($500+)

• • •

Invitation to a backstage tour of the Cannon Center for the Performing Arts Two VIP parking passes for the Cannon Center for the Performing Arts (upon request) Plus all of the privileges below

MEMBER’S CIRCLE ($300+)

• • •

Access to MSO open rehearsals One VIP parking pass for the Cannon Center for the Performing Arts (upon request) Plus the privilege below

FRIEND’S CIRCLE ($100+)

•

Acknowledgement in one volume of Experience, the MSO concert magazine

Consider a gift to the Symphony Fund today!

To donate, please visit the MSO office, go online to www.memphissymphony.org, call Kaitlyn Barnhill, Development Manager at (901) 537-2522, email kaitlyn.barnhill@ memphissymphony.org, or mail to: Memphis Symphony Orchestra, University of Memphis, 610 Goodman Street, Memphis, TN 38152

MEMPHIS SYMPHONY ORCHESTRA | 53

contributors Thank you! Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission, and others make annual contributions to support the Memphis Symphony Orchestra. Because the MSO, like other orchestras throughout the country, obtains less than 30% of our income from ticket sales, these gifts and grants are crucial to our ability to provide music of the highest quality. The following community members have expressed their support for the Memphis Symphony Orchestra in FY16, between July 1, 2015 and June 30, 2016. We are most appreciative.

VIRTUOSO’S CIRCLE ($100,000+): Anonymous FedEx Corporation Helen & Jabie Hardin Charitable Trust Hyde Family Foundations The Poplar Foundation IMPRESARIO’S CIRCLE ($50,000+): Anonymous Assisi Foundation AutoZone, Inc. First Tennessee Foundation Mr. & Mrs. Frederick W. Smith Paul & Linnea Bert Plough Foundation Scott & Carolyn Heppel Tennessee Arts Commission The Andrew W. Mellon Foundation The Peabody Hotel Wil & Sally Hergenrader

STRADIVARIUS CIRCLE ($25,000+): Anonymous Baker Donelson Bearman Caldwell & Berkowitz Belz 2008 Foundation Belz Enterprizes Jack & Marilyn Belz Ron & Anise Belz Kitty Cannon & Jim Waller George & Bena Cates Harriet and Thomas Stern Foundation Buzzy Hussey & Hal Brunt Gayle S. Rose Honey & Rudi Scheidt MAESTRO’S CIRCLE ($10,000+): Anonymous Bass Pro Shops Carmen Bond Charles & Nancy Coe Michael & Maria Douglass The Estate of Jane Dutcher Elvis Presley Enterprises, Inc. Graceland

54 | MEMPHIS SYMPHONY ORCHESTRA

Laura & Lowry Howell Dorothy O. Kirsch Michael & Joan Lightman NewSouth Capital Management Orphanos Foundation Mary Alice Quinn Bryson & Laretha Randolph Raymond James Morgan Keegan & Co., Inc. Estie Sheahan Ham & Katie Smythe Thomas W. Briggs Foundation Ann & Jim Vining Patricia Walker Mr. & Mrs. Joseph C. Weller Joy Brown Wiener BENEFACTOR’S CIRCLE ($5,000+): Anonymous Avery & Meadows, D.D.S., PC. Scott E. Bohon Boots & Maggie Boyd Alice & Phil Burnett Kenneth Clark

Draper’s Catering Duncan-Williams, Inc. Getty Foundation Dr. Suzanne Gronemeyer & Mr. Ellis Delin Pam & Steve Guinn Larry Hardy Dr. & Mrs. Masanori Igarashi International Paper Foundation Carol Johnson Bene Kaplan Kirby Pines Retirement Community Leslie & Nathaniel Landau Sylvia Goldsmith Marks Mr. & Mrs. Alexander D. McLean Dr. & Mrs. Dan Meadows Ann L. Powell Mr. & Mrs. Robert J. Quinn John & Cristina Speer Bruce & Gillian Steinhauer SunTrust Bank Mrs. Charles E. Walker Jack & Cristina Ward Becky & Spence Wilson PATRON’S CIRCLE ($2,500+): Baptist Memorial Health Care Corp.

Louise & Will Barden Jack & Kathleen Blair

Boyle Investment Co. Mr. & Mrs. Mark Crosby Mr. & Mrs. John Evans Farrell Calhoun, Inc. Shea Flinn Janice Garrison & Barry White Dr. Phillip George Mrs. Katherine Buckman Gibson Jim & Lucia Gilliland Donna & Mark Glover Mason & Ann Hawkins Rose Johnston Ben & Lauren Keras Ellen Klyce Mr. Edwin Koshland III LeMay+Lang, LLC Dr. & Mrs. William Long Evelyn & Jerome Makowsky Arsen & Liz Manugian J. W. McAllister Zoe & Alan Nadel Captain & Mrs. Robert R. Proctor, USN (Ret.) Barbara & Bill Runyan Chuck & Susan Schadt Ron & Linda Sklar Southern Sun Asset Management Andie & Michael Uiberall Roland & Milisa Valliere Dr. & Mrs. Otis South Warr III Watkins Uiberall, PLLC

Mr. & Mrs. Charles L. Wurtzburger GOLDEN CIRCLE ($1,000+): Rev. Dr. Jane Abraham Peter & Fran Addicott Belinda & Calvin Anderson Kay & Keith Anderson Anonymous Carol & Bert Barnett Reed Baskin & Alice Nishiwaki Joy & Leo Bearman Ron & Anise Belz Stanley & Dorothy Bilsky Fiona & Lance Binder Rosie Bingham David & Betty Blaylock Peggy Bodine Joseph Boeckmann, Jr. Karen Bowyer Janis Boyd Jen Bradner J. Richard Briscoe Walter Brown Mary Beth Bryce David & Marion Burton Joanne & George Buzard Canale Foundation Henry & Christy Cannon Jeanne Gray Carr Dr. Fenwick W. Chappell Gloria & Irvine Cherry

MEMPHIS SYMPHONY ORCHESTRA | 55

contributors Karen Clawson Donna & Jeff Coat Ms. Jeanette S. Cooley Bill & Foy Coolidge David & Barbara Crippen Senter Crook Dr. Loren & Elaine Crown Carol Cummings Dr. & Mrs. Ray Curle Mike & Blanche Deaderick DelBrocco & Associates, PLLC Alice & John Dudas Lawrence Edwards & Shane Rasner Carolyn & Michael Edwards David & Susan Ellison George & Jackie Falls Bobbie & Dave Ferraro Donna Fisher Jim & Susan Fletcher Fred & Mary Lawrence Flinn Barbara & Hiram Fry Donna & Robert Goodman GP Cellulose Jerrold & Martha Graber Lauryce & Harrison McIver Paula Crocker Albert & Elizabeth Grobmyer Mimi Grossman Heather & Henry Grosvenor Dr. & Mrs. Charles R. Handorf Page Price Henrion Emil Henry Deborah Hester Harrison

Highwoods Properties, Inc. David Hill Bill & Marian Himmelreich Sara Holmes Susan & Frank Inman Janas L. Jackson Lisa & Louis Jehl Frank & Jeanne Jemison Happy Jones Mr. & Mrs. Robert K. Jones Susan Kingston Yoriko Kitai Preston & Sally Klinke KPMG Peat Marwick Florence Leffler Al & Janet Lyons Dinah & Gary Makowsky Deidre Malone Debra McAdoo Marion McClure Phillip & Mary Ellen McDow Daphene McFerren Dr. Shanea McKinney T. W. Medlin Memphis Boychoir & Chamber Choir Memphis Opportunity Scholarship Trust, Inc Nancy & Rodgers Menzies Bob & Jane Mims Pam & Fred Montesi Carey & Rick Moore Henry & Snowden Morgan Gloria Nobles

56 | MEMPHIS SYMPHONY ORCHESTRA

Sarah & Dr. Frank Ognibene Marianne Parrs Patricia Gray & Robert Patterson Martha Pearson-Wesson Chloee and G. Dan Poag Lana & Gary Prosterman Ann Ray Dr. Sandra Reed Regional One Health Ashley & John Remmers Mrs. Linda W. Rhea Anne Roane Lori & Eric Robertson Ellen Rolfes Elizabeth Rouse Carol Lee & Joe Royer Emily Ruch Bev & Ken Sakauye Albert & Susan Saltiel Andrea & Dr. Craig Sander John Pickens & Suzanne Satterfield Mary & Joe Scheuner Scott & Pohlman, P.C. Eric & Connie Scott Karen B. Shea Lynda Shea Bruce R. & Jane Scharding Smedley Irene & Fred Smith Graham & Jennifer Smith Julie Smith Charles Askew & Cynthia

Spangler Rita Sparks Phil & Leigh Ann Stevenson Reginald Coopwod & Erica Stiff-Coopwood Irvin & Pat Tankersley Leon & Madeleine Taylor Deanna Langfitt & Paul Thomas Ryals & Gwendolyn Thomas Deborah Tipton Ashley & Todd Tobias Tish Towns Laurie Tucker Lura & Steve Turner James Newcomb & Susan Van Dyck Jeanne Varnell Dr. Robert Vidulich & Ms. Diane Sachs Owen & Margaret Tabor Dawn Vincent Lee & Mary Wardlaw Graham & Megan Warr Gina Webb Jules & Elizabeth Weiss Lee & Isabelle Welch A C & Ruby Wharton Dr. Benton M. Wheeler Alvin & Myra Whitney Evelyn B. Wofford Jocelyn Wurzburg Jan Young Lyn and Gordon Yukon

ASSOCIATE’S CIRCLE ($500+): Ben & Kathy Adams Anonymous Edward & Margaret Apple Don Voth & Carol Beachey Memphis Music Initiative Nancy Bogatin Lillian Brown Shannon & Beryl Brown Dr. & Mrs. Paul Burgar Robert & Sheila Cohen Emily Davis Richard & Ellen Dixon Lewis Donelson Dr. Michael R. Drompp Jane & John Dulin Dr. & Mrs. Joseph Fisher Pat Flynn & Jerry Heston Kathleen C. Gardner Luther & Dot Gause Dr. James Gholson, Sr. Sharon J. Gilbert Kristy Gipson Goodwyn Joanne & Willis Hackman Louis Hamric Mrs. O. Brewster Harrington John and Sandra Jones Nancy Lou & Mott Jones Father Albert Kirk Chris Knott-Craig Janie & Martin Kocman Barbara & George Lapides Lester and Roslyn Lit

Carolnie MacQueen Jean Maher Montgomery & Laura Martin John & Jo Maxwell Mary Allie & Denton McLellan Tina McWhorter Memphis Urban League Jan & Scott Morrell Lane Music Max B. Ostner, Sr. Endowment Fund Jennifer & Jack Sammons Sara T. Savell W. Rowlett Scott Shelley Shanaman Charles & Nino Shipp Maida Pearson Smith Trish & Richard R. Spore III Tracey Williams Stallings Mr. & Mrs. William M. Vaughan, Jr. Don Vollman Dick & Shirley Vosburg Bill Weppner C. & Katherine Whitman Mrs. David G. Williams, Sr. Gary & Noell Wilson MEMBER’S CIRCLE ($300+): Anonymous Kaitlyn & Cody Barnhill John & Wanda Barzizza

MEMPHIS SYMPHONY ORCHESTRA | 57

contributors Curtis Bickers George & Linda Bond Jerry & Marjorie Bowman Martha & Jim Boyd Jennifer Brady Leigh Chiles Mr. & Mrs. Charles P. Cobb, Jr. Jim & Pat Corbitt Laura Crane Gay Daughdrill Boyd James & Susan Ferguson Heather Fleming Juan Fuentes John Gilmer & Catherine Willner Mary Evelyn Goodwin Billie Jean Graham Daniel Michael Green Phyllis & Thomas Guenter John and Loredana Haeger Julie & Michael Harreld Joanna Hwang David & Lisa Jennings William Keiser J.D. Kelly Bill & Lynda Kettinger Mr. & Mrs. Jerry D. Kirkscey Gregory Lake Sara Lam Leticia Lindsey Leonard & Jennifer Lyons Jerry & Elizabeth Marshall Linda Milbradt

Dr. & Mrs. David M. Mirvis Robert Neimeyer & Kathryn Story Johanna & Peter Pranica Joel & Eileen Prout Kerry Regen Curtis & Patricia Ringold Barbara & Harry Soldan Katharine Sorenson Charles & Mary Stagg Harold & Margie Steinberg Jill & Kenneth Steinberg Donald Tucker Page & Gail Williamson Virgina Wilson Jerry Wolfe FRIEND’S CIRCLE ($100+): Dunbar & Connie Abston Jane Adam Dr. Rob & Mrs. Brenda Adams William & Sylvia Adams Mr. & Mrs. Jim Alexander Alison Wetter David Alperin Ruble Anderson Anonymous (2) Frank Anthony Jane Antrobus Murphy Appling Bill & Jeanne Arthur Mari Askew

58 | MEMPHIS SYMPHONY ORCHESTRA

William & Linda Austin Dr. & Mrs. George I. Balas Andrew Balogh E.W. & Nancy Barnett Dr. & Mrs. Allen O. Battle Mr. Herbert Battle Becky Bayless Gary Beard Thomas Beasley Jack & Marilyn Belz Linda Bennett William & Annette Bickers Dr. Hal D. & Mrs. Peggy Bishop Delano & Lynette Black Sharis Blackburn Modine & Lee Bolen Charles & Mary Booker Ruby Bright Jonathan Brody Charles Brown David Brown Michael & Gwen Bruno Melinda Buchanan Charles & Judy Burkett Phyllis Burkett Charles Caldwell Doris & Irvin Califf Ms. Nell Cannon Elvin Carlson Joyce & Richard Carter Daniel Case Karen J. Casey Paula Casey

Jackie Cash William & Rhonda Causie Nancy A. Chase, M.D. Mei-Ann Chen Ruby Chittenden David & Carol Ciscel Sue & Marshall Clark Christina Collier Bob & Elaine Colmer Steve & Kathy Counts Alfred & Betty Cowles Stan & Carol Craig Elizabeth Cranwell Michelle Cronk Dale & Gina Cunningham Eric Daub Dr. Ira Davis Steve Davis Gerald & Marcelle De Corte Mrs. Vincent De Frank Phili & Terry Deboo David & Cheri DelBrocco Mr. Dave & Dr. Joan F. Dermon Curtis & Jean Rittmueller Elizabeth Domico Dr. Jayna Kelly Jed Dreifus Delories A. Duncan Bryan & Mary Ann Eagle Bill Eddings Clyde Elder Lew and Patricia Ellis V. Lynn Evans

Susan & Tom Fagan Jeremy Feinstone Edward & Gloria Felsenthal Brooke & Nita Faye Ferris David Burton & Tanya Fitts David & Jackie Flaum Gregory Fletcher Dr. & Mrs. Carl Flinn Katherine Fox Leigh R. Frazier Joan Freund Caroline Fruchtman Kelley Funderburg Gail Gaddie Don Gallant Robert Gilbert Mary Lee & Charles Gilliland III Joan Gips Marylon R. Glass Dr. & Mrs. Emmel B. Golden, Jr. Kristi Goldsmith Capt. & Mrs. James P. Googe, Jr. Diane Gordon Devon Gosnell Marie Goulet Arthur & Nancy Graesser Genie & Ralph Gray Don & Sheri Grear Laura Greinke Ralph & Teresa Gusmus Nicholas Halk

Mr. & Mrs. Marshall F. Hall, Jr. Pamela & David Hallin Clarence & Harriett Halmon Bill & Claudia Haltom Suzanne Hammons Jerry & Carol Harber Summer Hardy Forrest Harrell Charles Hartwig Albert & Nancy Harvey Diane Hawks Jean Hayden Judith & Howard Hicks Bliss & Jan Hicky Larry Hilbun Glenn Hodges Lunida & Lewis Holland Howard & Janice Horn Rob & Eula Horrell Alice & David Howard Josh Howard Julia Howell Jack & Laurinda Ingram Karen Isaacman Kenny & Margaret Jabbour Carl Jackson Mr. & Mrs. L. R. Jalenak, Jr. Braden Jensen James & Theresa Johnson Rob & Jean Johnston Ms. Lynn J. Jones Mrs. W. Wise Swepston Jones

MEMPHIS SYMPHONY ORCHESTRA | 59

contributors Warren & Betty Lu Jones Edward Kasper Jason & Kelli Kelly Randy & Rhinda Kesselring Kathryn A. King Nadine King Delores Kinsolving Carol Kirk Robert Kirk John & Betty Klinke Kitty Kosman Reva Kriegal Barbara Burch Kuhn & Barry W. Kuhn Robert S. Kulinski, MD Jerome Kutliroff Kitty Lammons Gay & Pierre Landaiche Bruce & Susanne Landau Ms. Demetra Lawrence Scott & Kathy Ledbetter Lucy & Tom Lee Mr. Shelby R. Lee III Sandra Leftwich David & Cecile Leggett Jim & Kay Liles Philip & Arina Lim Sandy & Clifton Lipman Aron Livnah & Rose Merry Brown Betty & David Llewellyn LaVerne & Margaret Lovell Babbie Lovett Melissa Luck & William Payson

Charlton Lyons Jerry Lyons Mr. & Mrs. William Barton Mallory III Uzi & Helen Mann Julia & Vann Manning Randy & Carol Martin Mr. & Mrs. Ramon A. Marus, Jr. Douglas Mayes Mrs. Eloise Mays Courtenay McAllister Thomas McCalla Joseph & Cheryl McCormack Charles & Janie McCrary Norma McCrory Mr. & Mrs. James West McDonnell, Jr. Jeffrey & Emily McEvoy Holley & Lucius McGehee Dan McGuire Virginia McLean Gary Meece Simone & Logan Meeks Diane Meess Memphis Wire & Iron Works, Inc. Rita Mercille Green Barbara H. Migliara Sonja Miller Mr. & Mrs. John and Carolyn Minton Shamim Moinuddin Kent & Laurie Monypeny Ray Moore

60 | MEMPHIS SYMPHONY ORCHESTRA

Karen Morrise Nancy & Steve Morrow Dr. R. J. & Susan Moskop, Jr. Ed & Anne Motley Ann Mullis Monika & Thomas Nenon Pamela Nix Deborah Northcross Cecile & Frederick Nowak Maxine Oliver Elizabeth & Mark O’Malley Elvira Ormseth Joy Ozbirn Cindy Pace Lyda Parker Christina and Timothy Parrott Keith Parsons William Patton Mr. & Mrs. Clyde Lee Patton III Ande Payne Dr. & Mrs. William Peer Helen Phillips Billy and Lauren Pickens Johnny & Kim Pitts Pat Plumlee Suzanne Plyer Selden Popwell Mary Kate Potts Howard & Libby Pritchard Franklin Ray Max Ray Nancy Reed Betsy Reeder

Larry & Joy Rice Gerald Risher Howard & Beverly Robertson Dr. & Mrs. Brown Robertson Dr. & Mrs. E. William Rosenberg Elena & Tom Ross Chuck & Diane Rowe Caroline Royal-Evans Ron & Joni Rukstad Brandon Saint Joseph Samaha Barbara Sax Harry Sayle Sandy & Beth Schaeffer Mildred Schiff Laura Schriner Richard D. Seymour Douglas Seymour Erin Shackelford Frank & Marian Shaffer Elaine Shanley Fran & Phil Shannon Carol Sharpe Elizabeth Pritchard & John Shields Jacob Shiloah Carl & Susan Shorter Ms. Evonne Siemer Bill Siler Liz & Rouben Simonian Kimberley Simpson Jane G. Slatery John Sligh

David Slocum Bryan Smith Polly & Charles Smith Hue Smith Robyn Snow Lisa & Bayard Snowden Robert Spiecha Lisa St. Clair James Stafford Sheila & Gary Hahn Claudia Stenberg Denise & Kenneth Stewart Lois Stewart-Wiebe Stephanie Storgion Cynthia & John Straton Clarence & Lynn Strickland Oma R. Strickland Henry & Lois Strock Shelly Sublett Steve & Brenda Swan Jeannie Tabor David & Elizabeth Tate Mr. & Mrs. Sledge Taylor III Jerold Teachey Gayle &Terry Templeton Mr. & Mrs. C. Michael Thompson, Sr. Dr. David A. Tipton Harold & Beth Truebger Kelly & Sharon Truitt Calvin Turley Ann & Darrell Turner J. Elaine Turner Robert & Shirley Turner

Fred Turverey Pam & Robert Van Doren Mariet & Sam Rogers Lucy & Mims Van Zandt Gib & Margaret Vestal Shelly Vincent Mr. & Mrs. Pete Voehringer James & Joan Vogel Robert Waldo Dolores Waldrup Eugenia Walker Gerald & Julie Walton Ann Warner Kathleen Waters William Watson Lawrence Weeda Ira & Deborah Weinstein Jacqueline & Joseph White Chuck Fox & Mary Wilder Erma & Bennie Williams Bob Williams Patricia Wilson John & Darlene Winters Mr. Winston Wolfe Mike & Willie Wood Dorothy Work Bindy & Robert Snyder John & Peggy Wroten Susan Yount Herbert Zeman & Jeffrey Harwood Qihong Zhou

MEMPHIS SYMPHONY ORCHESTRA | 61

Some are born with

in their souls If authenticity had a soul, you would find it at the UofM Rudi E. Scheidt School of Music. Here, our performances elevate the art of music in unforgettable ways.

If you were born with music in your blood, you belong at a UofM concert.

UPCOMING EVENTS Sep 19 Opening Night at the Scheidt Oct 4 Southern Comfort Jazz Orchestra Oct 17 UofM Symphony Orchestra Oct 28 Faculty and Friends Oct 31 Ceruti Quartet presented by Concerts International Nov 6 University Singers and Chamber Choir Nov 18 UofM Opera: Strauss Die Fledermaus Nov 20 UofM Opera: Strauss Die Fledermaus Nov 28 UofM Chamber Orchestra Nov 29 UofM Wind Ensemble Feb 17 Faculty and Friends Mar 4 Southern Comfort Jazz Orchestra Mar 23 UofM Wind Ensemble Mar 26 Ceruti Quartet Mar 27 UofM Symphony Orchestra Apr 21 UofM Opera: Gianni Schicchi and Giacomo Puccini Suor Angelica Apr 23 UofM Opera: Gianni Schicchi and Giacomo Puccini Suor Angelica memphis.edu/music 901.678.2541

62 | MEMPHIS SYMPHONY ORCHESTRA

MEMPHIS SYMPHONY ORCHESTRA | 63

tributes Gifts received in honor of Bobby Archer:

Gifts received in memory of Andrew Clarkson:

Gifts received in memory of David Goldberger:

Lyn & Gordon Yukon

Larry Hardy

Brenda Landman

Gifts received in honor of Barbara Beckemeyer:

Memphis Symphony Orchestra Board, Musicians, & Staff

Fredrika & Joel Felt

Gifts received in honor of James Cole:

Gifts received in memory of Louis Gompertz:

Lyn & Gordon Yukon Gifts received in memory of Charlotte Bernsen: Marcia Bicks Dolores A. Duncan Blanchard Gardner Mr. & Mrs. L. R. Jalenak, Jr. Carol & Eugene Katz

Lyn & Gordon Yukon Gifts received in memory of Sue Douglass: David & Betty Blaylock Cissy & Waldrup Brown

Patricia Westland

John Emmett

Gifts received in honor of Paul Bert:

Pam & Steve Guinn

Leonard & Jennifer Lyons Memphis Symphony Orchestra Board, Musicians, & Staff Gifts received in honor of Spencer Blank: Frank & Marian Shaffer Gifts received in honor of Jennifer Bradner: Frank & Marian Shaffer Memphis Symphony Orchestra Board, Musicians, & Staff

Stephen Goodwin Jan & Marc Hanover Lisa Mallory Elizaveth Sights Linda St. Clair Betsy Wilson Gifts received in memory of James Ferguson: Judy Dorsey Julie Muhsmann Gifts received in memory of James Gates: Nancy & Rodgers Menzies

64 | MEMPHIS SYMPHONY ORCHESTRA

Faye Levine Becky Ravinett

Joan Gips Gifts received in honor of Jean Ann Goodson: Lyn & Gordon Yukon Gifts received in memory of H. Goodwin: Mary Evelyn Goodwin Gifts received in honor of Suzanne Gronemeyer: Anonymous Memphis Symphony Orchestra Board, Musicians, & Staff Gifts received in memory of Margaret Halle: Scott & Carolyn Heppel Gifts received in memory of Louis Hamric: Lakethia Glenn Bob & Jane Mims

Gifts received in honor of Barbara Hanemann: Lyn & Gordon Yukon Gifts received in memory of Marilyn Heppel: Buzzy Hussey & Hal Brunt Gifts received in honor of Scott Heppel: Genie & Ralph Gray Gifts received in honor of Eula Horrell: Genie & Ralph Gray Bill & Foy Coolidge Gifts received in honor of Zelda Kaplan: Lyn & Gordon Yukon Gifts received in honor of Dorothy Kirsch: Jen Bradner Gifts received in memory of Sheldon Korones: Judy Korones Gifts received in honor of George Lapides: Jack & Kathleen Blair Gifts received in honor of Florence Leffler:

Gifts received in honor of Mr. and Mrs. William Long:

Gifts received in honor of Robert Moody:

Billie Jean Graham

Memphis Symphony Orchestra Board, Musicians, & Staff

Dr. & Mrs. Edward Kaplan Gifts received in honor of Vann Manning: Billy & Foy Coolidge Gifts received in memory of Barbara Marshall: Doris Thomas Hill Gifts received in memory of James McClure: Pam & Steve Guinn Gifts received in honor of the Memphis Symphony Orchestra Musicians & Staff: Jen Bradner Gifts received in memory of Betty Milford: Martha & Jim Boyd Ron & Linda Sklar

Frank & Marian Shaffer

Gifts received in honor of Barbara Nixon: Amanda & Rick Rough Gifts received in honor of Gloria Nobles: Bill & Foy Coolidge Gifts received in honor of Max Ostner: Lyn & Gordon Yukon Gifts received in honor of Rae Plitman: Lyn & Gordon Yukon Gifts received in honor of Dan Poag: Lyn & Gordon Yukon Gifts received in honor of Jennifer Puckett:

Gifts received in honor of Jane Mims: Billie Jean Graham

Curtis Bickers

James & Joan Vogel Gifts received in honor of Dodson Roberts: Lyn & Gordon Yukon

Dr. & Mrs. William Long Mary Alice Quinn

MEMPHIS SYMPHONY ORCHESTRA | 65

tributes Gifts received in honor of Laretha & Bryson Randolph: Kaitlyn & Cody Barnhill Gifts received in memory of Louis Roman: Nancy & Rodgers Menzies Gifts received in honor of Gayle Rose: Ruby Bright Memphis Symphony Orchestra Board, Musicians, & Staff Gifts received in honor of Jane Rousseau: William & Annette Bickers Gifts received in honor of Douglas Mayes: Good Show Gifts received in honor of Sam Shuster: Dan McGuire Gifts received in honor of Walter Sommers:

Gifts received in honor of Bob Walker: Lyn & Gordon Yukon Gifts received in honor of Graham Warr: Nancy Lou & Mott Jones Gifts received in memory of Mary Tisdale Wells: Carole Freeman Gifts received in memory of Russel Wiener: Delano & Lynette Black Charles Brown Gloria Nobles Gifts received in honor of Jim Wittington: Lyn & Gordon Yukon Gifts received in honor of Martha Young: Lyn & Gordon Yukon Gifts received in honor of Herbert Zeman: Keith Parsons

Lyn & Gordon Yukon Gifts received in honor of William Strong: Lyn & Gordon Yukon

66 | MEMPHIS SYMPHONY ORCHESTRA

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PATRON INFORMATION Your attendance constitutes consent for use of your likeness and/or voice on all video and/or audio recordings and in photographs made during Symphony events.

BEFORE THE CONCERT Box Office Location/Hours: The Box Office is located at 610 Goodman Road on the University of Memphis campus in Newport Hall. We are open weekdays 9 a.m. to 5 p.m.

The Box Office at the concert venue opens 90 minutes prior to each performance and remains open until intermission begins. Please note that for concerts at the Cannon Center on the night of, concert tickets must be purchased through the Ticketmaster Box Office located in the east hallway. Services and Will Call for MSO patrons are located near the Box Office at each venue.

Venues: Saturday Masterworks and Memphis Symphony Pops concerts are performed at the Cannon Center for the Performing Arts, 255 North Main Street in Downtown Memphis. Paid parking is available in the Cook Convention Center garage or surface lots. Masterworks Sundays and Paul & Linnea Bert Classic Accent Series on Sundays are performed at the Germantown Performing Arts Center (GPAC), 1801 Exeter Road in Germantown. Free parking is available at GPAC. DURING THE CONCERT Cameras and Recording Devices: No photos or video recordings are allowed during the performance due to potential injury to performers on stage.

Concert Preview: Free pre-concert discussions begin one hour prior to each Masterworks series performance. Join us in the Cannon Center Morgan Keegan Mezzanine Lobby and the GPAC Ballet Room to get the inside scoop on the upcoming performance.

Wheelchair Seating: Wheelchair seating is available upon request at each of our concert venues. Please call our Box Office for more information.

TICKET INFORMATION Single Tickets: Tickets for all events are available through the MSO Box Office by phone, (901) 537-2525, in person, or online at www.MemphisSymphony.org. Please note that vouchers and coupons may only be redeemed at the MSO Office and must be done in person.

68 | MEMPHIS SYMPHONY ORCHESTRA

Gift Certificates: Give the gift of music! Gift certificates to the Memphis Symphony Orchestra may be purchased in any denomination. Please call the Box Office at (901) 537-2525 for details.

Refunds/Exchanges: There are no refunds or exchanges on single ticket purchases or returned tickets. Subscribers have the benefit of exchanging their subscription tickets. All subscription ticket exchanges are subject to availability. Ticket exchanges must be made at least 24 hours before the date of the original performances.

Lost Tickets: Subscribers can have lot tickets reprinted by calling the Box Office at (901) 537-2525 or visiting the Box Office prior to the concert.

Student/Child Tickets: Student Tickets are available for $10.00 (plus applicable processing fees) to regular series concerts based on availability. Please come to the Box Office prior to the performance. Students must show a valid student ID. A maximum of one ticket per ID is available. All discount tickets are subject to availability.

Donate Tickets: Prior to a performance, you may return tickets to the MSO and receive credit for their value as a tax deductible charitable contribution.

OTHER INFORMATION Please turn off all cell phones and pagers when the performance begins.

Food and beverages are not allowed in the concert halls.

Lost and Found is located at the Box Office at each venue. Management is not responsible for lost, stolen, or damaged property.

Restrooms are located off the main floor, lobby, and balcony areas of the concert hall.

Facilities for wheelchair bound patrons are also available in each main floor restroom.

FIRST AID Contact an usher for assistance.

Emergency Evacuation: In case of a fire or other emergency, please use the exit nearest to your seat, indicated by a lighted Exit sign. This is the shortest route out of the performing arts center. Please be sure to walk to the exit - do not run.

All concerts, guest artists, and times are subject to change.

ADVERTISERS ArtsMemphis.............................................................39 Busters Liquor............................................................67 Chez Philippe..............................................................43 Ciao Bella.....................................................................36 Concerts International..........................................20 Crescent Club.............................................................16 Draper’s Catering......................................................37 Duncan-Williams......................................................38 Ear, Nose and Throat Group...................................31 EM Printing...................................................................16 Feathers Spa..............................................................43 FedEx.............................................................................41 First Tennessee............................................................8 Graceland...................................................................40 Grey White Paws.......................................................37 Hog & Hominy.............................................................67 India Hicks...................................................................37

KPMG..............................................................................42 Roadshow BMW...................... Front Inside Cover Shred-it.........................................................................42 Sissy’s Log Cabin....................................Back Cover University of Memphis.........................................62

Would You Like to be a Host Family?

A host family agrees to host one or more musicians for the several days prior to, and during a scheduled performance (usually 3-4 days) The optimal host family can provide a private bedroom and bathroom and an area where practice can be done.

Providing meals and libation is not required but very much appreciated.

The musicians provide their own transportation.

It is a wonderful way to get to know a musician from another city and show them great Memphis hospitality.

70 | MEMPHIS SYMPHONY ORCHESTRA

TR IPLE THE I MPAC T OF YO U R SU PP OR T OF THE MEMPHIS SYMPHONY ORCHE S TR A! A A generous generous donor donor has has offered offered to to match match any any new new or or increased increased gifts gifts to to the the MSO MSO up up to to $20,000! $20,000!

MONTHLY GIFTS OF $10 OR MORE WILL BE MATCHED $2 TO $1! YOUR GIFT OF $10 OR MORE PER MONTH WILL HAVE TRIPLE THE IMPACT! Increased Increased one one time time gifts gifts will will be be matched matched dollar dollar for for dollar! dollar!

We We need need your your help help to to meet meet this this challenge! challenge!

To To donate, donate, call call (901) (901) 537-2500 537-2500 or or visit visit www.memphissymphony.org/donate www.memphissymphony.org/donate

PLEDGE FORMS ARE AVAILABLE IN THE LOBBY.

MEMPHIS MEMPHIS SYMPHONY SYMPHONY ORCHESTRA ORCHESTRA || 71 71