June/July 2012
Pictured from left to right: Matthew harrison Vice President Relationship Manager
Jarrod grubb Vice President Relationship Manager
renee chevalier Vice President Relationship Manager
rita Mitchell Senior Vice President Private Client Services
laura Folk Senior Vice President Medical Private Banking
Mary carlson Vice President Relationship Manager
Bill cherry Vice President Relationship Manager
Powering your today a d tomorrow Personal Advantage Banking from First Tennessee. The most exclusive way we power the dreams of those with exclusive financial needs. After all, you’ve been vigilant in acquiring a certain level of wealth, and we’re just as vigilant in finding sophisticated ways to help you achieve an even stronger financial future. While delivering personal, day-to-day service focused on intricate details, your Private Client Relationship Manager will also assemble a team of CeRTIFIeD FINANCIAl PlANNeRTM professionals with objective advice, investment officers, and retirement specialists that meet your complex needs for the future.
To sTArT exPeriencing The exclusive service you’ve eArned, cAll 615-734-6165
Investments:
Not A Deposit
Not Guaranteed By The Bank Or Its Affiliates
Not FDIC Insured
Not Insured By Any Federal Government Agency
May Go Down In Value
Financial planning provided by First Tennessee Bank National Association (FTB). Investments available through First Tennessee Brokerage, Inc., member FINRA, SIPC, and a subsidiary of FTB. Banking products and services provided by First Tennessee Bank National Association. Member FDIC. ©2012 First Tennessee Bank National Association. www.firsttennessee.com
Live Life In The Spotlight.
The All-New, Redesigned 2013 Lexus GS, Turning Heads Now At www.NashvilleLexus.com
Tires aren’T The only Thing we’re passionaTe abouT.
bridgestoneamericas.com
supporting the arts in nashville for over 20 years.
REPRESENTATIONAL PHOTO
W
hen we learned how sick Mom was, we didn’t know what to do. We’re so thankful that we asked her doctor about Alive Hospice. They came into our home like family, helping Mom stay with us where she wanted to be. Scan here to listen to a patient’s story.
www.alivehospice.org
We provide loving care to people with life-threatening illnesses, support to their families, and service to the community in a spirit of enriching lives.
You might be surprised to find many of these alumni and other our name behind some of the notable artists to documentary most well-known artists in the films, musicals and dramatic region and nation—Michael plays, there are always events Shane Neal, Anna Jaap, Dawn and performances across campus Whitelaw, Paula Frizbe and that are open to the public for Harold Kraus, just to name a little or no charge. To brush few. From exhibits in the John up on what’s happening go to C. Hutcheson Gallery featuring events.lipscomb.edu.
Many of our graduates have had a brush with fame.
InConcert
A PUBLICATION OF THE NASHVILLE SYMPHONY
JONATHAN MARX Editor JESSI MENISH Graphic Designer ASHLEY MAY Graphic Design Associate Advertising Sales THE GLOVER GROUP INC. 5123 Virginia Way, Suite C12 Brentwood, TN 37027 615.373.5557 MCQUIDDY PRINTING 711 Spence Lane Nashville, TN 37217 615.366.6565 Cover illustration by BRYCE MCCLOUD IsleofPrinting.com
For information about hosting your event at Schermerhorn Symphony Center, please contact: BRUCE PITTMAN Sales Manager 615.687.6613 bpittman@nashvillesymphony.org SARAH VICKERY Sales Manager 615.687.6422 svickery@nashvillesymphony.org
NashvilleSymphony.org events.lipscomb.edu
TABLE OF CONTENTS
JUNE/JULY 2012 41
SUMMER FESTIVAL
June 30 Nashville Symphony Giancarlo Guerrero, conductor Nashville Symphony Chorus Douglas Rose, interim chorus director Norma Grobman Rogers, piccolo Jonita Lattimore, soprano Charlotte Daw Paulsen, mezzo-soprano Bryan Griffin, tenor Jason Grant, bass-baritone
BEETHOVEN’S
Willie Nelson 21 with the Nashville Symphony SPECIAL EVENT
23
June 5
SUMMER FESTIVAL
Beethoven’s Triple Concerto June 15
31 “Emperor” Piano Concerto
SUMMER FESTIVAL
June 22
Sarah McLachlan 38 with the Nashville Symphony
SPECIAL EVENT
DEPARTMENTS
PROGRAMS
NINTH
10 High Notes 11 Upcoming Events 12 Backstage: Norma Rogers, Piccolo 62 Conductors 67 Orchestra Roster 68 Board of Directors 69 Staff Roster 76 Annual Fund: Individuals 86 Annual Fund: Corporations 90 A Time for Greatness Campaign 91 Legacy Society 92 Guest & Facility Information 94 Building Map
June 28
50 Organ Extravaganza
SPECIAL EVENT: AGO CONVENTION
July 6
Visit our blog, Inside the Nashville Symphony, at:
NashvilleSymphony.tumblr.com
InConcert
5
Bella Napoli
The only authentic Pizzeria in Nashville, using only the freshest ingredients imported from Napoli, Italy. Located in the heart of Edge Hill Village at 1200 Villa Place Nashville Ph: (615) 891-1387 www.bellanapolipizzeria.com
Fleming’s
Fleming’s Nashville is an ongoing celebration of exceptional food & wine, featuring the finest prime steak and an award-winning wine list. We are located across from Centennial Park at 2525 West End Ave. Ph: (615) 342-0131 www.flemingssteakhouse.com/locations/tn/nashville
Maggiano’s
We specialize in Italian-American cuisine served in generous portions and made-from-scratch. Our services include lunch, dinner, carryout as well as delivery, in addition to beautiful banquet spaces for special occasions. 3106 West End Ave. Nashville 37203 Ph: (615) 514-0270 www.maggianos.com
The Melting Pot
Where fun is cooked up fondue style. A four course experience in a casual elegant atmosphere. 166 Second Avenue North. Reservations at meltingpot.com Open 7 days, dinner. Ph: (615) 742-4970. www.meltingpot.com/nashville/welcome
Nero’s Grill
Green Hills favorite neighborhood restaurant! Serving crisp salads, comfort foods, fresh seafood, and aged, wood grilled steaks. 2122 Hillsboro Drive. Ph: (615) 297-7777 for reservations. www.nerosgrill.com
P.F. Chang’s
Acknowledge your craving for P.F. Chang’s! View our menu, reserve a table or order online. Open for lunch, dinner and late night dining. Happy Hour from 3pm-6pm everyday! 2525 West End Nashville 37203 Ph: (615) 329-8901 www.pfchangs.com
Prime 108
Prime 108, a vibrant addition to Nashville’s downtown restaurants, offers the finest steaks, fresh seafood and an extensive wine list along with a beautiful setting inside the newly renovated Union Station Hotel. 1001 Broadway, Ph: (615) 726-1001 www.prime108.com
Sheraton Nashville Downtown
Sheraton is the place where friends gather. Make Sheraton a memorable part of your next cultural experience with dinner in Speakers Bistro before the show, or dessert and cocktails in Sessions Lounge after the curtain falls. Ph: (615) 259-2000 for reservations www.sheratonnashvilledowntown.com
Sole Mio
For almost twenty years, Sole Mio has been serving up Nashville’s best award winning Italian cuisine. Featuring handmade pasta and traditional Northern Italian Sauces made fresh to order. Check us out! 311 3rd Avenue South Nashville 37201. Ph: (615) 256-4013 www.solemionash.com
Valentino’s
AAA Four Diamonds & The Wine Spectators Award winner, voted #1 Italian Restaurant by Tennessean 2 years in a row. Featuring award winning Chef & Co-Qwner, Paolo Tramontano. 1907 West End. Ph: (615) 327-0148 for reservations www.valentinosnashville.com
For Advertising Information call: Glover Group Entertainment 615-373-5557
The all-new BMW 3 Series
bmwofnashville.com 615-850-4040
0 TO EFFICIENT IN 5.9 SECONDS. Get more performance, while using less fuel. It’s why the 328i has a new turbocharged 4-cylinder engine that puts out 240 hp, yet still gets 36 highway miles* with an automatic transmission. Essentially, it has all the power of a 6-cylinder, with the efficiency of a 4. Consider it your lucky day. You too, Mother Nature. We only make one thing. The Ultimate Driving Machine.®
THE ALL-NEW 3 SERIES.
BMW of Nashville 4040 Armory Oaks Drive, Nashville, TN 37204 615-850-4040 bmwofnashville.com
*Fuel economy values may change as a result of confirmatory testing at EPA. European model shown. ** Whichever comes first. For full details on BMW Ultimate Service® visit bmwusa.com/ultimateservice. BMW reserves the right to make changes at any time, without notice, in colors, materials, equipment, specifications, design and models. ©2012 BMW of North America, LLC. The BMW name, model names and logo are registered trademarks.
SPECTACULAR SPECTACULAR A
EXPERIENCE EXPERIENCE
2012/13 SEASON
SEASON TICKETS ON SALE NOW! “Unforgettable can come in big and small moments. This year, we’re going BIG.” — Giancarlo Guerrero PINK MARTINI
EDGAR MEYER & JOSHUA BELL MAHLER’S 8TH THE SILK ROAD ENSEMBLE
with Yo-Yo Ma
WAYNE SHORTER QUARTET
featuring Esperanza Spalding
DISNEY IN CONCERT SMOKEY ROBINSON
BEETHOVEN’S FIFTH THE RED VIOLIN PINK MARTINI HANDEL’S MESSIAH
PACKAGES OF 3 TO 14 CONCERTS AVAILABLE!
JOSHUA BELL
CHECK OUT THE REST OF THE NEW SEASON AT NashvilleSymphony.org | 615.687.6400 EDGAR MEYER
Pediatric cancer. Congenital heart defects. Beans in ears. Children, you may have noticed, are unpredictable. But when you spend fifty years building a hospital dedicated to children, you learn to expect the unexpected. As a result, there’s nothing we haven’t seen. And there’s nothing we can’t treat. So whether your child is facing one of childhood’s routine mishaps or something far more serious, we have everything necessary to be your child’s very own hospital.
ChildrensHospital.Vanderbilt.org
“Fine skill and artistry.” — The New York Times On May 12, Music Director Giancarlo Guerrero, the Nashville Symphony and electric violinist Tracy Silverman performed at Carnegie Hall on the closing night of the Spring For Music Festival. It was a thrilling concert, with the orchestra receiving multiple standing ovations and Giancarlo Guerrero making his Carnegie Hall debut! Thank you to the more than 500 Nashvillians who traveled to New York City to hear the orchestra in person. Thank you to Classical 91One for broadcasting the concert live for the Middle Tennessee community. And thank you to the musicians of the Nashville Symphony, whose stellar performance showcased the incredible wealth of talent and inspiration we have right here at home!
Listen to the Nashville Symphony’s Carnegie Hall performance at http://ow.ly/aYOTK 10
JUNE 2012
U P C OM I NG
UPCOMING EVENTS
For tickets, call 615.687.6400 or visit NashvilleSymphony.org
JULY
OCTOBER SunTrust Classical Series
The Sound of Enlightenment October 4, 5 & 6, 2012 Haydn - Symphony No. 31 “Hornsignal” Stephen Paulus - Three Places of Enlightenment String Quartet Concerto Stephen Paulus - The Veil of Tears Beethoven - Symphony No. 5
Diana Krall July 13
SEPTEMBER Grand Avenue Special Event
Mahler’s Eighth “Symphony of a Thousand” September 7 & 9, 2012 Bank of America Pops Series
Boyz II Men September 13, 14 & 15, 2012 SunTrust Classical Series
A Woman’s Life September 20, 21 & 22, 2012 Rossini - William Tell Overture Richard Danielpour - A Woman’s Life Rachmaninoff - Piano Concerto No. 3
Jazz Series
Charlie Haden & Quartet West October 12, 2012 Concert presented without orchestra
Special Event
Chucho Valdés October 19, 2012 Bank of America Pops Series
Michael W. Smith October 25, 26 & 27, 2012 The Ann & Monroe Carell Family Trust Pied Piper Series
Halloween in the Wild West October 27, 2012 Organ Recital
Halloween Movie Night Nosferatu with organist Tom Trenney October 29, 2012 InConcert
11
BACKSTAGE | MEET OUR MUSICIANS
NORMA ROGERS, PICCOLO Member of the Nashville Symphony since: 1972 Hometown: Philadelphia, Pennsylvania You’re retiring this summer after 40 years with the orchestra. What are your plans? My husband and I have plans to travel to Hong Kong twice a year to visit our son and daughter-inlaw. I’d like to learn new solo pieces for flute and piccolo and to improve on bridge and learn to play golf. You’re the featured soloist in Vivaldi’s Piccolo Concerto this month. Have you performed it before? I’ve done it two times before. The first time, I played one movement at a children’s concert with conductor Michael Charry. The other time was at Green Hills Mall, when the orchestra was shut down and we were giving concerts around the city; we called it “the mall tour.” This piece is very difficult because of the breath control; it’s hard to find a place to breathe. The second movement is the most gorgeous part written for piccolo, and it shows off the instrument beautifully. How does the piccolo differ from the flute? If you’re a piccolo specialist, you feel that it is a different instrument than the flute. It requires a great deal of control and is much harder to play in tune. Playing high and soft is extremely difficult. All flute players can play the piccolo, because the basic fingering is the same, and all flute players should learn to play the piccolo — but many flutists view playing the piccolo as a necessary evil. What’s been the highlight of your time performing with the Nashville Symphony? I really can’t say there’s just one. One memory that stands out is the time we rehearsed with Pavarotti at War Memorial Auditorium, 12
JUNE 2012
before the performance at the arena. He sang in full voice directly to us onstage. It was just exhilarating, because it felt as though he was singing right at me. Other highlights include our concert with Rostropovich at TPAC, our pops concerts with Ella Fitzgerald and Cleo Laine, and our performance with Victor Borge. The tours we did with Amy Grant were an amazing experience, because we were really treated like rock stars. Of course, our tour to Carnegie Hall in 2000 was a wonderful experience. I’ve got a whole list of things that really stand out. Any funny stories? There was the concert with the rubber chicken. We were backstage at TPAC, and some of the musicians were fooling around by tossing a rubber chicken back and forth. The piano was backstage, and the lid was up, and when it was time to go onstage, no one knew what to do with the rubber chicken, so it ended up inside the piano! When the soloist came out, he saw the rubber chicken, and he had quite a look of surprise, but he went on with the performance. What will you miss the most? I have played most of the major piccolo solos in the orchestral literature, but I would love to have played Shostakovich’s Ninth one more time, and I am sorry that I never got a chance to perform Shostakovich’s Eight or Hindemith’s Nobilissima Visione. I’m going to miss the camaraderie and being inspired by the wonderful playing of my colleagues. What’s your biggest hope for the orchestra? Just to continue on the trajectory it’s already on, getting better and better every year. It’s on the road to stardom, and I don’t think we have that far to go. Visit NashvilleSymphony.org/orchestra to learn more about our musicians.
Proudly taking our seat as a supporter of the arts in Nashville.
Healthcare
for all walks of life.
Call 342-1919. Click TriStarMedGroup.com. Connect with over 200 physicians.
Many great brands! One quality company!
Hermitage Lighting Gallery and Lankford Hardware and Supply Company have joined forces to provide the largest variety of quality home products in central Tennessee. Lankford’s incredible lines of hardware and high-quality plumbing products make Hermitage Lighting Gallery a convenient shopping place for all your home, bathroom and kitchen design needs.
Hermitage Lighting Gallery We Light up Your Life! 531 Lafayette St. • Nashville, TN • 615-843-3300 • Mon. - Fri. 8 - 5 • Sat. 9 - 5
www.hlg.co
To view more specials on facebook, Scan this QRCode with your QR Code reader app.
Sign up for Green Power Switch and save as much C02 as 1.5 hybrids. ®
Did you know you can sign up for Green Power Switch for as little as $4 a month? And believe it or not, over the course of a year, that $4 a month worth of green power keeps more carbon dioxide out of the atmosphere than 1.5 hybrid vehicles.* So get more green “bang” for your buck. Visit greenpowerswitch.com and sign up today. *Compares yearly CO 2 emissions avoided by driving a hybrid vehicle vs. a comparable non-hybrid to purchasing twelve 150 kWh blocks of green power. (EPA Green Power Equivalency Calculator)
A TVA Renewable Energy Initiative
“Clothes make a statement. Fashion tells a story.”
America’s oldest family owned clothing store providing the latest fashions and personal service since 1855 Convenient front door parking Free gift wrap Free alterations Private shopping by appointment www.levysbackdoor.com 3900 Hillsboro Rd., Ste. 36 Nashville 615.383.2800 www.levysclothes.com Mon-Sat: 10-6; Thurs: 10-7
With Secure Print, sensitive data can be printed anytime, anywhere in the workplace with the swipe of a card.
Centralize printing. Lower operating costs. Secure peace of mind. RJ YOUNG’S CHIEF WORKFLOW OFFICER... securing documents and making your work flow.
(615)255-8551 Scan this QR code with your mobile device to see how RJ Young can help you make your work flow.
Look around the room... We have a captivated audience that is totally engaged in tonight’s “Playbill” publication.
In today’s new economy it is more important than ever that your advertising message reaches your target audience!
Glover Group
Entertainment
If you would like more information regarding how your company will benefit from advertising in the TPAC Broadway Series, Schermerhorn InConcert, Great Performances at Vanderbilt, Nashville Ballet, Nashville Opera, Tennessee Repertory Theater, Studio Tenn, and Nashville Arts & Entertainment magazines, please call: 373-5557. www.GloverGroupEntertainment.com www.NashvilleArtsandEntertainment.com
Glover Group
Entertainment
We may never pick up an instrument, but we believe strongly in supporting those who do. After all, a community that supports the arts is a community worth supporting. Get to know all the benefits of banking with SunTrust. Stop by a branch, call 800.SUNTRUST or visit suntrust.com.
SunTrust is a proud sponsor of the Nashville Symphony.
SunTrust Bank, Member FDIC. Š 2011 SunTrust Banks, Inc. SunTrust and Live Solid. Bank Solid. are federally registered service marks of SunTrust Banks, Inc.
SPECIAL EVENT
Special Event Tuesday, June 5, at 7 p.m.
Nashville Symphony David Campbell, conductor
Willie Nelson Bobbie Nelson, piano Mickey Raphael, harmonica Paul English, drums Billy English, percussion Kevin Smith, bass Selections to be announced from the stage.
Official Partners TM
InConcert
21
SPECIAL EVENT
ABOUT THE ARTIST WILLIE NELSON If ever an artist deserved to be called a “living legend,” that artist would be to Willie Hugh Nelson. With a career spanning six decades, Nelson is the creative genius behind the historic recordings of “Crazy,” “Red Headed Stranger” and “Stardust.” The iconic Texan has earned every conceivable award as a musician, and has amassed reputable credentials as an author, actor and activist. With a discography that includes more than 200 albums, he continues to be a thriving, relevant and progressive musical force. In 2010, Nelson released Willie Nelson’s Country Music, produced by the legendary T Bone Burnett, which garnered a GRAMMY® nomination for Best Americana Album. In 2011, he released Here We Go Again: Celebrating the Genius of Ray Charles, a 12-tune tribute to the R&B legend, with Wynton Marsalis and Norah Jones. He also gave us Remember Me Vol. 1, his handpicked collection of country music’s most definitive songs. In 2012, Nelson entered into a historic new record deal with Legacy Recordings, the catalog division of Sony Music Entertainment. Released last month, Heroes is Nelson’s first album for Legacy Recordings, featuring new songs and deep country classics with guest artists including Merle Haggard, Snoop Dogg, Kris Kristofferson, Billy Joe Shaver, Sheryl Crow, Jamey Johnson, Lukas Nelson and Micah Nelson. In 1985, Nelson founded Farm Aid, an organization dedicated to championing the cause of family farmers. His acting credits include roles in feature films such as The Electric Horseman and Honeysuckle Rose, as well as numerous television appearances.
POTTERY BARN WILLIAMS-SONOMA VICTORIA’S SECRET COLDWATER CREEK
TALBOTS COACH JAMES AVERY THE LIMITED POTTE
VICTORIA’S SECRET COLDWATER CREEK TALBOTS COACH JAMES AVERY THE
COLDWATER CREEK TALBOTS POTTERY BARN WILL
JAMES AVERY THE LIMITED POTTERY BARN WILLIAMS-SONOMA COACH POTT
VICTORIA’S SECRET COLDWATER CREEK TALBOTS
JAMES AVERY THE LIMITED POTTERY BARN WILLIAMS-SONOMA VICTORIA’S S
COACH JAMES AVERY THE LIMITED POTTERY BARN
TALBOTS THE LIMITED POTTERY BARN TALBOTS WILLIAMS-SONOMA VICTORI
POTTERY BARN COACH JAMES AVERY THE LIMITED
COLDWATER CREEK TALBOTS JAMES AVERY THE LIMITED POTTERY BARN WI
POTTERY BARN WILLIAMS-SONOMA VICTORIA’S
FIND M RE Great New Stores Opening in 2012 J. CREW • WHITE HOUSE | BLACK MARKET OAKLEY • ALDO SHOES
A GREAT SHOPPING PLACE I-65, Exits 68 & 69 Franklin 615.771.2128 CoolSpringsGalleria.com
SUMMER FESTIVAL
Summer Festival Friday, June 15, at 8 p.m.
BEETHOVEN’S
TRIPLE CONCERTO Nashville Symphony Lucas Richman, conductor Eroica Trio Susie Park, violin Sara Sant’Ambrogio, cello Erika Nickrenz, piano LUDWIG VAN BEETHOVEN Overture to Die Weihe des Hauses, Op. 124 [The Consecration of the House] LUDWIG VAN BEETHOVEN Concerto in C major for Piano, Violin, Cello and Orchestra, Op. 56 “Triple Concerto” Allegro Largo Rondo alla polacca Susie Park, violin Sara Sant’Ambrogio, cello Erika Nickrenz, piano INTERMISSION LUDWIG VAN BEETHOVEN Symphony No. 4 in B-flat major, Op. 60 Adagio - Allegro vivace Adagio Allegro vivace Allegro ma non troppo The Eroica Trio appears by arrangement with Columbia Artists Management, LLC Personal Direction: Mark Z. Alpert, Vice President 1790 Broadway, New York, NY 10019 Concert Sponsors
Official Partners
TM
InConcert
23
SUMMER SUMMER FESTIVAL FESTIVAL
LUDWIG VAN BEETHOVEN Born on December 16, 1770, in Bonn, Germany; died on March 26, 1827, in Vienna, Austria The Consecration of the House Overture, Op. 124 Beethoven composed this overture in 1822 for the reopening of one of Vienna’s leading theaters. The overture shows another facet of the composer’s dramatic genius, while looking back to techniques of Baroque masters like Handel. First performance: October 3, 1822, in Vienna. First Nashville Symphony performance: January 27, 1953, with Music Director Guy Taylor. Estimated length: 12 minutes Recommended listening: David Zinman and the Zurich Tonhalle Orchestra, the forces behind one of the best Beethoven symphony cycles, bring their fresh approach to a compilation of the composer’s overtures as well (Arte Nova).
Beethoven was an incomparable master of dramatic music. Without any specific “story line,” his symphonies and concertos rivet the listener with their compelling use of tension and release. But he also wrote music for use in the theater throughout his career. Aside from his one opera, Fidelio, his theatrical works range from the early ballet The Creatures of Prometheus to incidental music for such plays as Goethe’s Egmont. Beethoven undertook his final project of this sort in 1822, when he was asked to participate in the dedication of the renovated Josefstadt Theater in Vienna. To celebrate the reopening, Beethoven provided music for Carl Meisl’s rewrite of August von Kotzebue’s play The Ruins of Athens, a version fittingly renamed The Consecration of the House. Beethoven had composed incidental music for the original play a decade earlier and he recycled much of that material for this work, but he chose to write an entirely new overture. It elicited high praise from the critics and was featured on the bill when the Ninth Symphony premiered in 1824.
What to listen for Written in two linked sections, the overture pays homage to the Baroque, and in fact is sometimes described as an “Overture in the Handelian style.” Beethoven revered Handel, whose work was especially influential during this phase of his career. However, there’s no mistaking the Beethovenian fingerprint in the rhythmic eccentricities of the solemn opening section. A trio of trombones contributes a noble sonority to the ensemble. The introductory part also includes a series of fanfares and scurrying scales to prefigure action in the play. All this energy spills over into the Allegro, where Beethoven exploits his newfound fascination with the dramatic possibilities of counterpoint by spinning out a vivid double fugue. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings.
24
JUNE 2012
Concerto for Violin, Cello and Piano in C major, Op. 56 “Triple Concerto”
Beethoven completed the Triple Concerto in the summer of 1804. Its original purpose remains obscure, and the work features an unusual fusion of concerto and piano trio. Beethoven finds inventive solutions to the challenges inherent in balancing three soloists against the larger ensemble. First performance: April 1808 in Leipzig, Germany. First Nashville Symphony performance: January 15 and 16, 1973, with Music Director Thor Johnson, pianist Enid Katahn, violinist Samuel Terranova and cellist James Kreger. Estimated length: 38 minutes Recommended listening: The Eroica Trio, veterans of this concerto, have recorded it with the Prague Chamber Orchestra (EMI Classics). The Concerto for Violin, Cello and Piano — or, to use its more familiar nickname, the Triple Concerto — dates from an especially rich creative period in Beethoven’s career. It was composed immediately after the epochal Third Symphony (the “Eroica”), a revolutionary work that took Beethoven on what he called a “new path.” He then became preoccupied with the earliest version of his opera Fidelio. Perhaps as a distraction from the stress of working on the latter, Beethoven turned his attention to the Triple Concerto around this time. But precisely why he undertook this unusual fusion between a concerto and the chamber music format of the piano trio remains a matter of speculation. An explanation put forward by his notoriously unreliable biographer, Anton Schindler, is that the work was designed for the Archduke Rudolf, brother of the Habsburg emperor, who would become one of Beethoven’s most significant supporters. The Archduke was the dedicatee of several later masterpieces,
including the “Emperor” Concerto and the “Archduke” Trio. A teenager at the time, the Archduke studied piano and composition with Beethoven, possibly beginning as early as 1804. The fact that the piano is entrusted with a less taxing role than the other two soloists in the Triple Concerto seems to support the notion that Beethoven calibrated it to serve as a public piece for his new student, who would be joined by two more experienced colleagues. Yet the Archduke didn’t premiere the Triple Concerto, and Beethoven dedicated it to another important patron. There is no documentary evidence to support Schindler’s theory, in any case. Suffice it to say that the Triple Concerto, which was not well received at its premiere, is an anomaly in Beethoven’s career. His three previously published piano concertos were solo vehicles written to showcase his own virtuoso talent. The Triple Concerto seems more leisurely in style, a work poised to entertain in comparison with the ambitiously progressive works Beethoven was writing at this time. In his in-depth study of all the Beethoven concertos, musicologist Leon Plantinga suggests that the Triple Concerto was a response to French style. Beethoven had become fascinated by recent developments in France, and he may even have considered resettling in Paris. Concertos for multiple instruments, usually cast in an extroverted, upbeat mood, were all the rage there, where the genre was known as the symphonie concertante . The Triple Concerto, writes Plantinga, “may well be seen as a commentary on — and perhaps an intended concession to — French taste.”
What to listen for Beethoven launches the expansive first movement with a surprisingly quiet opening theme deep in the cellos and basses. Note the march-like rhythms that help trigger a sense of momentum. Wonderfully staged in this way, the “big gesture” you expect in a concerto at last arrives in a swelling crescendo. Beethoven offers a profusion of themes that are easily fragmented and that have interchangeable elements, including new material introduced after the entrance of the soloists.
InConcert
25
SUMMER SUMMER FESTIVAL FESTIVAL
LUDWIG VAN BEETHOVEN
SUMMER FESTIVAL
He inventively copes with the acoustical issues of balance among the soloists and orchestra and finds intriguing ways to allocate appropriate “stage time” to each. The cello, for example, is allowed to take the lead when the soloists first make their bow, but later is heard to duet intimately with the violin as the piano overlaps in economical but expressive commentary. Instead of a tiresome parade of three solo cadenzas, Beethoven heightens the sense of drama within the solo group during the development. With a shift from the home key of C major to A-flat, the Largo is closer to an interlude than a full-fledged slow-movement meditation. It can also be thought of as a prelude to the finale, since the Parisian symphonie concertante was often cast as two movements. Again, the cello has the honor of being the first of the soloists to appear,
carrying the beautiful melody high in its range. The orchestral accompaniment in this movement is reduced to winds and strings. A suspenseful harping from the cellist on repeated G’s serves as a signal to launch directly into the finale. Here the cello springs into action to give out one of Beethoven’s catchiest tunes, the driving force of this Rondo alla Polacca (or Polonaise, to use the French name for this graceful Polish dance type, so familiar from Chopin’s piano pieces). Beethoven abruptly shifts from the dance’s characteristic triple meter for a shared cadenza in speedy duple time before a return to the “normal” tempo and meter for a finely staged close. In addition to solo violin, cello and piano, the concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
LUDWIG VAN BEETHOVEN Symphony No. 4 in B-flat major, Op. 60 Beethoven composed the Symphony No. 4 in the summer and fall of 1806. Though the Fourth Symphony is somewhat overshadowed by both the epic grandeur of the Eroica and the taut, fatefilled Fifth, it brims with Beethoven’s innovative spirit and is anything but a “regression” to a more conservative attitude. First performance: After a private performance in March 1807 in Vienna, Beethoven led the public premiere in that city on April 13, 1808. First Nashville Symphony performance: December 20, 1949, at Ryman Auditorium with Music Director William Strickland Estimated length: 35 minutes Recommended listening: No music collection should lack the complete Beethoven symphony cycle. Of the many fine budget editions, try David Zinman’s cycle with the Tonhalle Orchestra (Arte Nova), Herbert von Karajan’s with the Berlin Philharmonic, or Leonard Bernstein and the Vienna Philharmonic (both Deutsche Grammophon).
The image of Beethoven as intrepid rule-breaker became entrenched early on, but it has tended to distort our understanding of the true nature and extent of his originality. While the “Eroica” is rightly viewed as a paradigm shift for the symphony, a preoccupation with its revolutionary qualities — and, in similar fashion, with the formal innovations of the Fifth — can make the Fourth Symphony seem like a tame beast in comparison. Something of this bias lies behind Robert Schumann’s familiar metaphor comparing the work to a “slender Greek maiden,” yet the presumably feminine lyricism in the Fourth is only one of its several facets. According to prevailing wisdom, the Fourth enacts both a return to more familiar classical patterns and a “relaxation” of the dramatic tension that is the engine of Beethoven’s heroic style. It is true that he composed this work for a patron, the Silesian Count Franz von Oppersdorff, who had
26
JUNE 2012
expressed particular admiration for his Second Symphony, yet Beethoven’s creative process was always driven by the search for different solutions to compositional challenges. The Fourth inserts its own powerfully original glosses on the expressive rhetoric of his models, particularly Haydn. That these novel elements are contained within a relatively conservative framework adds to their delightful subtlety, making the Fourth a symphony for true Beethoven connoisseurs. The Fourth reminds us that Beethoven’s symphonic achievement did not resemble a tabula rasa wiped clean of the past, but involved an ongoing argument and dialogue with tradition. Beethoven sought a synthesis of spontaneity and craft, innovation and tradition, fantasy and form.
What to listen for The long Adagio opening returns to the scheme Beethoven used in his first two symphonies, with a slow introduction to the first movement proper. The model here comes from Haydn’s London Symphonies, particularly the Symphony No. 102, also in B-flat. Beethoven elaborates this into a remarkable drama of sustained suspense and mystery. The Ninth would establish a new paradigm for later composers, outlining an introductory chaos from which musical form emerges. The Fourth, with its sonic groping toward the light, anticipates that process. Beethoven’s harmonic ambiguity in the introduction serves to intensify the blaze of B-flat major that erupts as the first movement proper pushes off. That thrilling sense of release so early in the symphony, according to British musicologist Robert Simpson, is a feature that the Fourth shares with the Fifth and Sixth symphonies. In all three, Beethoven uses this strategy of a dramatic transformation from darkness to light. That outburst is just one example of why the usual depiction of the Fourth
SUMMER FESTIVAL
Beethoven’s Fourth Symphony reminds us that his symphonic achievement involved an ongoing argument and dialogue with tradition. The composer sought a synthesis of spontaneity and craft, innovation and tradition, fantasy and form.
as merely graceful is so inadequate. Beethoven continues to infuse drama into this movement through his exciting contrasts of dynamics and texture. Listen for the masterfully built crescendo — and the timpani’s role in it — that leads into the recapitulation. Each movement of the Fourth has a distinctive rhythmic character. In this regard, the Fourth also looks ahead to the Seventh, Beethoven’s only subsequent symphony with a similarly prolonged slow introduction. Notice the repetitive rhythmic motif that comes in and out of the foreground in the slow movement. Beethoven sets its mechanical pattern off against one of the loveliest melodies he ever composed, spun from a descending scale. Beethoven gives the third movement the deceptively old-fashioned label “Minuet,” but his use of syncopation, dynamic contrast and harmonic tricks unquestionably updates the dance into a more energy-fueled scherzo. The regularity of meter in the middle trio (which he asks to be played twice) has comic naïveté, a foil to the main section’s outrageous rowdiness. Beethoven pays his most open homage to Haydn in the finale, which churns with a theme of dizzying perpetual motion. The “feminine” charms of Schumann’s classic Greek maiden are, after all, but one element of the Fourth. Beethoven’s score encompasses yin and yang, shadow and light, all capped by a final, resounding joke. The Symphony No. 4 is scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. — Thomas May is the Nashville Symphony’s program annotator. He writes extensively about music and theater.
InConcert
27
SUMMER FESTIVAL
ABOUT THE ARTISTS LUCAS RICHMAN, conductor Lucas Richman has served as Music Director for the Knoxville Symphony Orchestra since 2003, and as Music Director and Conductor for the Bangor Symphony Orchestra since 2010. He received a 2011 Best Classical Crossover Album GRAMMY® Award for conducting the Royal Philharmonic Orchestra on Christopher Tin’s classical/world fusion album, Calling All Dawns. He has appeared as guest conductor with numerous orchestras, including the New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic, Baltimore Symphony, Canada’s National Arts Centre Orchestra, the Oslo Philharmonic and the Zagreb Philharmonic. He has collaborated with notable soloists such as Mstislav Rostropovich, Lang Lang, Midori, Emanuel Ax, Yefim Bronfman, Frank Peter Zimmerman, Mark O’Connor and Radu Lupu. Over the past decade, Richman has served as conductor for numerous film scores, including the Academy Award-nominated The Village (with violinist Hilary Hahn), As Good As It Gets, Face/Off, Se7en, Breakdown, The Manchurian Candidate and Kit Kittredge: An American Girl. In 2010, John Williams personally invited Richman to serve as the conductor for the three-month national summer tour of Star Wars in Concert. An accomplished composer, Richman has had his music performed by more than 200 orchestras in the last 10 years, and his works written specifically for children have been featured in young people’s concerts presented by orchestras such as the Atlanta Symphony, the Houston Symphony and the Grand Rapids Symphony. Links to his compositions and recordings can be found at www.ledorgroup.com. EROICA TRIO Susie Park, violin Sara Sant’Ambrogio, cello Erika Nickrenz, piano The most sought-after trio in the world, the Eroica Trio thrills audiences with virtuosity, enthusiasm and elegance. Whether playing the great standards of the repertoire or daring contemporary works, the three young women who make up this celebrated ensemble electrify the concert stage with their performances. While maintaining a demanding concert schedule, the Eroica Trio has released eight critically lauded recordings for Angel/EMI Classics Records, garnering multiple GRAMMY® nominations. The Eroica Trio performs the Beethoven Triple Concerto more frequently than any other trio in the world, having appeared with renowned symphonies including Chicago, St. Louis, San Francisco, Indianapolis, Atlanta, Houston, New Jersey, Seattle and the Mostly Mozart Orchestra. In addition, The Trio has performed the work abroad with Orquesta Sinfonica de Euskadi in Spain, Haydn Orchestra in Italy, with the Royal Philharmonic Orchestra and Budapest Symphony in Germany, and on multiple tours in the United States with the Cincinnati Symphony. The Eroica Trio’s recording of the Beethoven Triple with the Prague Chamber Orchestra was so successful that it landed on Billboard’s Top 20. The Trio took its name from Beethoven’s passionate Third Symphony, known as the Eroica. The Trio has established a unique identity by creating innovative programs that span 300 years of music. A typical Eroica Trio concert might include the Baroque symmetries of Vivaldi, the passion of Brahms, and Mark O’Connor’s bluegrass ode to Johnny Cash, Poets and Prophets, which was written for them.
28
JUNE 2012
“The true meaning of life is to plant trees under whose shade you do not expect to sit.” — Nelson Henderson Children are starving. From South America to Africa... No food today means no hope for tomorrow. Choose to make a difference. YOU can save a child’s life today. YOU can give him hope for tomorrow.
Just Hope
Please help us help them.
INTERNATIONAL
Visit us at www.JustHopeInternational.org PO Box 2088 • Brentwood, Tennessee 37024
InConcert
29
“GABRIEL DOES NOT HAVE TO REMAIN AN ORPHAN.”
BECOME A
SHOW HOPE SPONSOR
FOR $35 A MONTH YOU’LL HELP GIVE ORPHANS A LIFETIME OF LOVE. WWW.SHOWHOPE.ORG
SUMMER FESTIVAL
Summer Festival Friday, June 22, at 8 p.m.
“EMPEROR”
PIANO CONCERTO Nashville Symphony Alastair Willis, conductor William Wolfram, piano LUDWIG VAN BEETHOVEN
Overture to Die Geschöpfe des Prometheus, Op. 43 [The Creatures of Prometheus]
LUDWIG VAN BEETHOVEN Concerto No. 5 for Piano and Orchestra in E-flat major, Op. 73 “Emperor” Allegro Adagio un poco mosso Rondo: Allegro William Wolfram, piano INTERMISSION LUDWIG VAN BEETHOVEN Symphony No. 7 in A major, Op. 92 Poco sostenuto - Vivace Allegretto Presto Allegro con brio
Concert Sponsors
Official Partners
TM
InConcert
31
SUMMER FESTIVAL
LUDWIG VAN BEETHOVEN Born on December 16, 1770, in Bonn, Germany; died on March 26, 1827, in Vienna Overture to The Creatures of Prometheus, Op. 43 This overture is part of a full-length ballet score Beethoven composed around the turn of the century, likely in 1800-01. The ballet was the first stage work to appear under Beethoven’s name, and it represents an ambitious experiment for the composer. First performance: March 28, 1801, in the Hofburg Theater in Vienna, with Beethoven conducting in the pit. First Nashville Symphony performance: February 22, 1955, with Music Director Guy Taylor Estimated length: 5 minutes Recommended listening: Kent Nagano and the Montreal Symphony have recorded a thoughtful pairing of music from The Creatures of Prometheus with the “Eroica” that includes an imaginary narrative of “Prometheus on trial,” newly scripted by novelist Yann Martel (Sony). The myth of Prometheus has inspired many musical responses over the centuries. The young Beethoven inherited his image of Prometheus from Goethe’s famous poem, which depicts the titan as he defiantly addresses Zeus: “Here I sit, forming humans / In my image,” proclaims this proud, independent and creative spirit, who represents the archetype the composer himself would be seen to embody. Musicologist Constantine Floros has even argued that the Prometheus myth is a subtext underlying the “Eroica” Symphony. At the same time, Prometheus’ benevolent influence on benighted humanity made him an ideal vehicle for Enlightenment allegory, and it is in this guise that the hero appears in The Creatures of Prometheus. This was the first stage work introducing Beethoven to the Viennese public. A collaboration with the Neapolitan choreographer and dancer (and sometime composer) Salvatore Viganò (17691821), Prometheus also involved an ambitious experiment in narrative ballet and pantomime.
What to listen for Viganò’s detailed two-act scenario does not survive, but has been loosely reconstructed. It focuses on the role Prometheus plays in a creation story. Having formed humans from clay, he exposes them to art and knowledge to advance their evolution. In addition to the overture, Beethoven composed a tempestuous introduction in which the hero flees from Olympus bearing fire, and 16 numbers, including a finale. Though only the overture has gained a place in the repertory, the entire score contains enchanting instances of Beethoven’s gifts as a melodist, and also shows him writing a kind of de facto program music — all within the context of his early mastery of Viennese classicism. The slow introduction to the overture echoes the bold character of the recently completed First Symphony. It begins red-hot, in the middle of things, before we land in the home key. The gathering of energy in the final passage of the overture, meanwhile, is an exciting example of Beethoven’s muscular use of tonality and would become a crucial element of his “heroic” style. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
32
JUNE 2012
Piano Concerto No. 5 in E-flat major (“Emperor”) Beethoven composed the Piano Concerto No. 5 in 1809. The last piano concerto he completed, the “Emperor” synthesizes imaginative virtuosity for the soloist with symphonic grandeur and expansiveness. First performance: November 28, 1811, in Leipzig, with the Leipzig Gewandhaus Orchestra and soloist Friedrich Schneider. First Nashville Symphony performance: January 25, 1949, with Music Director William Strickland and soloist Clifford Curzon. Estimated length: 38 minutes Recommended listening: Maurizio Pollini and the Vienna Philharmonic under Karl Böhm (Deutsche Grammophon) or Rudolf Serkin as soloist with Leonard Bernstein and the New York Philharmonic (Sony). A number of nicknames have become unavoidably linked with Beethoven’s compositions, but none is as ironically misleading as the posthumously invented tag “the Emperor” — at least insofar as it might suggest any sort of glorification of Napoleonic power. The name by which his last completed piano concerto is known in the English-speaking world would hardly have pleased the composer. Napoleon and his troops were in fact making Beethoven’s life hell precisely when he was in the thick of creating this music. Following their bombardment of Vienna in 1809, Beethoven angrily described the destructive misery caused by war. Amid the crumbling foundations of the old Habsburg order and the ensuing economic chaos, Haydn’s death in that troubled year must have underscored the sense of an era coming to its end. Despite the external turmoil, Beethoven composed music of sweeping grandeur in the Fifth Concerto. Its outer movements, set in E-flat (the composer’s signature key for evoking the heroic), actually include assertively militaristic
elements within the larger scope of this inventive and influential score. The turn and dotted rhythm of the first movement’s main theme, to take an obvious example, emphasize a march-like quality. Yet Leon Plantinga, an expert in the Beethoven concertos, observes that the symbolism beneath the surface here is much subtler. It involves a metaphorical recasting of the militarism that was then impinging on the composer’s daily life. The overbearing presence of armed conflict during this period “may have reminded him (and now us) of a generalized human struggle,” writes Plantinga. So instead of glorifying any one figure, the Concerto’s “heroic gestures pointed to a nobility of character required to prevail.”
What to listen for The famous opening sequence of orchestral chords and solo cadenzas are more than a grandiose introduction before the real business of the first movement begins. In fact, they serve as a microcosm for the entire work. Alongside the extroverted confidence of these three fundamental chords, the piano’s flourishes inject an air of leisurely fantasy and even, in its third flight, a hint of otherworldly introspection. The vast expanse of the entire first movement unfolds less as a heroic struggle than as an ongoing contrast between these two impulses: dynamic momentum on the one hand, relaxed musing on the other. Only once, at the climax of the development, does a real sense of crisis threaten, preparing the way for a glorious recapitulation of the opening cadenzas. Worsening deafness had by now put an end to Beethoven’s own piano career, and the sense of retreat from the world’s cares suffuses the Adagio with a quality of serene, quasi-religious contemplation that perfectly counterbalances the energetic exertions of the outer movements. Yet, in spite of these clearly disparate components, there are deep coherences with the whole. The turn to B major alludes to the tonal expansiveness of the first movement, which now remains static, while the piano’s exquisite filigree seems to revisit its earlier dreamy impulses in slow motion. At the end of the second movement, Beethoven enacts one of his most magical
InConcert
33
SUMMER FESTIVAL
LUDWIG VAN BEETHOVEN
SUMMER FESTIVAL SPECIAL EVENT
transitions simply by lowering that static B by a half-step, to B-flat — sounded first by bassoons — to provide a direct springboard back to E-flat and into the finale. The piano first spells out the main subject, a variant of a characteristic “hunting” rondo theme, which Beethoven renders more aggressive by phrasing it with propulsive rhythmic accents. Forward-pushing dynamism once again brushes up against dazzling, virtuosic ruminations. In a startling theatrical surprise, the music nearly comes to a standstill, with the timpani alone insisting on a rhythm, before the piano’s fierce cascade of scales leads the way out to an exuberant finish. In addition to solo piano, the score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
BEETHOVEN AS PIANIST Mozart once described Vienna as “the land of the clavier.” When Beethoven settled in the Habsburg capital in November 1792 — only a year after Mozart died — he followed the pattern set by his predecessor and initially made his name as a virtuoso keyboard performer. The piano served as his center of gravity, the tool through which he cultivated a style. Carl Czerny, who was a prodigy when Beethoven took him on as a pupil, later recalled the charismatic impact made by the composer’s famous improvisations. He added that Beethoven “would burst into loud laughter and banter his hearers” after seeing how his playing had brought many of them to tears. But by the time of the “Emperor,” deafness had made it impossible for Beethoven to continue performing in public. This is the only one of his five piano concertos that the composer himself did not introduce as soloist. For the Vienna premiere in 1812, it was Czerny who took over this role.
LUDWIG VAN BEETHOVEN Symphony No. 7 in A major, Op. 92 Beethoven composed the Symphony No. 7 in 1811-12. A masterpiece of “absolute music” — that is, music that is inherently about itself, rather than descriptive — the Seventh has nevertheless inspired countless explanations of what may have inspired its creator. First performance: December 8, 1813, in Vienna, with the composer conducting. First Nashville Symphony performance: This piece was performed on the Nashville Symphony’s first-ever concert, December 10, 1946, with Music Director William Strickland. Estimated length: 38 minutes Recommended listening: No music collection should lack the complete Beethoven symphony cycle. Of the many fine budget editions, try David Zinman’s cycle with the Tonhalle Orchestra (Arte Nova), Herbert von Karajan’s with the Berlin Philharmonic, or Leonard Bernstein and the Vienna Philharmonic (both Deutsche Grammophon). We think of Beethoven as a composer determined to challenge his audiences out of their comfort zone, but the Seventh is a happy instance of an indisputable masterpiece that was greeted with widespread public acclaim from the moment of its premiere. It was heard for the first time as part of a benefit concert for Austrian and allied veterans of the wars against Napoleon. Also sharing the bill was Beethoven’s even more wildly successful (though now forgotten) novelty piece, Wellington’s Victory, which celebrated the routing of Napoleon’s brother Joseph and his forces in Spain. Its inspiration had been the “panharmonicon,” an extravagant mechanical instrument designed to imitate the orchestra and created by the composer’s inventor friend Johann Nepomuk Mälzel. 34
JUNE 2012
What to listen for At the same time, the Seventh is one of Beethoven’s most abstract, “absolute” compositions, in the sense that it is very much about the power of music itself. The dominant role played by obsessive rhythms and the determined neutrality of most of the thematic material suggest a focus on music’s primal elements, through which Beethoven builds his immense, epic architecture. The scale of the introduction to the first movement, for example, is unprecedented. At the end of it, Beethoven atomizes the sense of pulse and proceeds then to build it up again into the dynamo of the Vivace. Meanwhile, the accompanying crescendo that suddenly grows quiet as we cross over into the first movement proper is only one of the many surprises that lie in store. Beneath the dynamic thrust of the rhythm, Beethoven juxtaposes static drones deep in the bass. The grinding tension between the two is especially electrifying in the coda, which contains a passage that composer Carl Maria von Weber famously compared to the musings of a madman. This drone, a musical metaphor for outdoor, rustic celebration, plays an important role later in the Seventh as well, literally grounding its sense of Dionysian festivity. Some of Beethoven’s contemporaries even wondered whether he had been drunk while composing it. The music’s overall exhilaration doesn’t preclude the presence of melancholy, which comes to the fore in the main part of the Allegretto. This is not a slow movement per se, though its tempo offers a reprieve from the speed of the surrounding movements. The variations on the principal theme add new layers of orchestration, anticipating a similar strategy in the orchestral introduction of the “joy” theme in the Ninth’s finale. The clarinet’s consoling majorkey countermelody is one of Beethoven’s warmest. Along with its rhythmic profile, the Seventh is a symphony of harmonic jolts. In his elegant study of the Beethoven symphonies, Robert Simpson points out that keys, in an acoustically vivid sense, actually become “tonal protagonists,” to the point that they “seem more like dimensions than keys,” thus intensifying the feeling of epic expanse. The Scherzo, for example, whisks us far InConcert
35
SUMMER FESTIVAL SPECIAL EVENT
The initial audience for the Seventh thus likely associated its outsize exuberance with the sense of impending triumph over Napoleon’s once seemingly invincible power. After years of disruptive warfare, a lasting peace was finally on the horizon. In one of music history’s more remarkable ironies, the Seventh dates from near the close of what is often termed Beethoven’s “heroic” period, which was launched with the “Eroica” Symphony — a work inevitably linked with the composer’s contradictory attitudes toward Napoleon. As Beethoven was actually composing the Seventh, however, Napoleon was at the height of his power, though his disastrous invasion of Russia was soon to come. Some have suggested a more intimate inspiration for the intensely joyful torrents of energy that churn through the score, referring to the bachelor composer’s reawakened (though ultimately disappointed) hope of a fully reciprocated love with the “Immortal Beloved” of his letters. Yet beyond these autobiographical tangents, Beethoven’s successors vied to get at the heart of this music by imagining a host of scenarios to account for its exhilarating verve, from peasant weddings and Druid rituals to Wagner’s famous edict that it embodies “the apotheosis of the dance herself…the loftiest deed of bodily motion incorporated in an ideal mold of tone.” According to biographer Maynard Solomon, all of these varying accounts converge in one way or another in a shared perception of music that “powerfully symbolizes the act of transcendence, with its attendant joyous and liberating feelings.” Solomon himself believes this is because the Seventh manages to tap into an archetype of celebration centered on “the carnival or festival, which from time immemorial has temporarily lifted the burden of perpetual subjugation to the prevailing social and natural order by periodically suspending all customary privileges, norms and imperatives.” This, of course, endures in our secular calendar in the form of Mardi Gras and similar festivals in which restraint is cast aside for the time-being to enjoy “a licensed eruption of the profane and the scatological, and an outpouring of mockery, ridicule and satire expressing a comic vision of life,” untouched by tragedy.
SUMMER FESTIVAL
Beethoven’s Seventh is one of his most abstract, “absolute” compositions, in the sense that it is very much about the power of music itself. afield into F major, though with excursions into D for the trio, a key closer to the “home” of A. Thus, Simpson notes, “only the most furious vehemence can reinstate A as the rightful tonic” for the finale. Indeed, a sequence of powerhouse chords launches the driving, sometimes terrifying fury of the last movement. Beethoven here extends both the form and content of the classical symphony into uncharted territory. The coda’s maelstrom once again evokes the tension between stasis and motion from the first movement, escalating it still further. Wagner’s description of the Seventh as “the apotheosis of the dance” has become well-
known, but elsewhere in his commentary Wagner touches more closely on the music’s psychological impact when he writes that its effect is one of “emancipation from all guilt, just as the aftereffect is the feeling of Paradise forfeited, with which we return to the phenomenal world.” The Seventh is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. — Thomas May is the Nashville Symphony’s program annotator. He writes extensively about music and theater.
ABOUT THE ARTISTS ALASTAIR WILLIS, conductor Conductor Alastair Willis served as the Associate Conductor of the Seattle Symphony from 2000-2003. He previously held the position of Assistant Conductor with the Cincinnati Symphony and Pops Orchestras, and Music Director of the Cincinnati Symphony Youth Orchestra. In the past few seasons, Willis has guestconducted orchestras around the world, including the Chicago Symphony, Philadelphia Orchestra, New York Philharmonic, San Francisco Symphony, Mexico City Philharmonic, Orquestra Sinfônica Brasileiro in Rio de Janeiro, Nordwestdeutsche Philharmonic, Hong Kong Sinfonietta, China National Orchestra in Beijing and Silk Road Ensemble with Yo-Yo Ma, among others. His Naxos recording of Ravel’s L’Enfant et les Sortilèges with Nashville Symphony was nominated for a Best Classical Album GRAMMY® in 2009.
36
JUNE 2012
Last season Willis was reengaged by the St. Louis Symphony, Tulsa Symphony and Pacific Northwest Ballet; had debuts with the Toronto Symphony Orchestra, Deutsche Symphony Orchestra Berlin and Amarillo Symphony; and concluded his three-year tenure as conductor of the Florida Orchestra’s Coffee Concert series. This season he returns to the Chicago Symphony Orchestra, Nashville Symphony, Omaha Symphony, Calgary Philharmonic Orchestra, Tulsa Symphony, Pacific Northwest Ballet, River Oaks Chamber Orchestra (Houston) and Rio International Cello Festival, and he debuts with the Qatar Philharmonic Orchestra and the Illinois Symphony. Born in Acton, Massachusetts, Willis lived with his family in Moscow for five years before settling in Surrey, England. He received his Bachelor degree with honors from England’s Bristol University, an education degree from Kingston University, and a Master of Music degree from Rice University’s Shepherd School of Music.
Schwarz, Carlos Miguel Prieto and Carlos Kalmar. Abroad, Wolfram has appeared with the City of Birmingham Symphony Orchestra, the Royal Scottish National Orchestra, the Beethovenhalle Orchestra Bonn, and the Warsaw, Moscow and Budapest Philharmonics. An enthusiastic supporter of new music, he has collaborated with and performed music by composers such as Aaron Jay Kernis, Kenneth Frazelle, Marc-André Dalbavie, Kenji Bunch and Paul Chihara. Wolfram was a silver medalist at both the William Kapell and the Naumburg International Piano Competitions, a bronze medalist at the prestigious Tchaikovsky Piano Competition in Moscow, and finalist in the Van Cliburn International Piano Competition. A graduate of The Juilliard School, he resides in New York City with his wife and two daughters.
CapStar_Arts Ads-Sizes_CapStar_ArtsAd_6.625x5.125 6/22/11 10:51 AM Page 1
We’re Listening. Our ears are tuned to listen carefully to the wants and needs of Nashville. We invite you to talk with us, challenge us with your personal and business financial needs, and let us show you our commitment to hear with intent and deliver a client-driven solution.
We’re Listening
capstarbank.com
Member FDIC
InConcert
37
SUMMER FESTIVAL
WILLIAM WOLFRAM, piano American pianist William Wolfram has earned a reputation as the rare concerto soloist who is equally adept as a recitalist, accompanist and chamber musician. In all of these genres, he is highly sought after for his performances of the music of Franz Liszt and Beethoven, and he is a champion of the music of modernist 20th-century American composers. He has appeared with the San Francisco, St. Louis, Indianapolis, Seattle and New Jersey symphonies, the Buffalo Philharmonic, the National Symphony Orchestra, the Baltimore Symphony, the Colorado Symphony and the Rochester Philharmonic, among many others. He has worked with internationally recognized conductors such as Andrew Litton, Jerzy Semkow, Vladimir Spivakov, Gerard
SPECIAL EVENT
Special Event Thursday, June 28, at 7:30 p.m.
Nashville Symphony Sean O’Loughlin, conductor
Sarah McLachlan, piano, vocals, guitar Vincent Jones, piano, keyboards, vocals Luke Doucet, guitar, vocals Melissa McClelland, guitar, bass, vocals Curt Bisquera, drums, percussion Selections to be announced from the stage.
Official Partners TM
38
JUNE 2012
SARAH MCLACHLAN Sarah McLachlan has sold more than 40 million recordings worldwide since her career began in 1988 with her debut album Touch. Five of her albums have reached the Billboard Top 15, and she’s had multiple hit singles, including “I Will Remember You” and “Building a Mystery.” The Canada native is an eight-time winner of that country’s Juno Award, and she’s also a three-time GRAMMY® winner, receiving awards in 1998 and 1999 for Best Female Pop Vocal Performance, as well as a 1998 GRAMMY® for Best Pop Instrumental Performance. Her song “Angel” was featured on the bestselling soundtrack for the film City of Angels. In 1997, McLachlan founded the touring festival called Lilith Fair, which brought together 2 million people over its three-year history and raised more than $7 million for charities. Indigo Girls, Sheryl Crow, Nelly Furtado, Queen Latifah, Emmylou Harris and Christina Aguilera were among the many artists who participated in Lilith Fair. The festival was revived in 2010, with guest artists including Brandi Carlile, Carly Simon, Cat Power, The Go-Gos, Loretta Lynn, Jill Scott and Mary J. Blige. In 1998, McLachlan received the Elizabeth Cady Stanton Visionary Award for advancing the careers of women in music. In 2003, the singer founded the Sarah McLachlan Music Outreach Program, which provides free music education classes to inner-city youths whose school music programs have been reduced or abolished by budget cuts.
Conducting Business NEVER SOUNDED SO GOOD. let us orchestrate your next event We host events from 10 to 2000!
SchermerhornCenter.com Events@NashvilleSymphony.org
615.687.6613 InConcert 39
SPECIAL EVENT
ABOUT THE ARTIST
preparing for the performance of life
Nurturing the Spirit
HARDING A C A D E M Y
Harding Academy exists to educate, nurture, and inspire. As a co-educational K–8 independent school, we are dedicated to academic excellence and the pursuit of educating thoughtful, creative, lifelong learners who are self-disciplined, responsible, caring citizens.
Home of the Music Academy at
David Lipscomb Campus School dlcs.lipscomb.edu
Encounter, experience, and enjoy
the history & beauty of Andrew Jackson’s presidential home.
170 Windsor Drive Nashville, TN 37205 (615) 356-2974 www.hardingacademy.org Scan code with a smartphone QR app to view a video.
Inspiring the Mind
Preparing students for College, Life, and Eternity
Age 3 - 12th Grade Cultivated performing arts program College-prep academics Competitive athletics
home & plantation of president andrew jackson
Nashville, TN • 615.889.2941
Come for the history— leave inspired. www .T he h ermiTage . com
www.davidsonacademy.com
615.860.5300
SUMMER FESTIVAL
Summer Festival Saturday, June 30, at 8 p.m.
BEETHOVEN’S NINTH
Nashville Symphony Giancarlo Guerrero, conductor Nashville Symphony Chorus Douglas Rose, interim chorus director Norma Grobman Rogers, piccolo Jonita Lattimore, soprano Charlotte Daw Paulsen, mezzo-soprano Bryan Griffin, tenor Jason Grant, bass-baritone
LUDWIG VAN BEETHOVEN
Overture to Egmont, Op. 84
ANTONIO VIVALDI Concerto for Piccolo and Orchestra in C major, R. 443 Allegro Largo Allegro Norma Rogers, piccolo INTERMISSION LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, Op. 125 “Choral” Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Presto - Allegro assai - Allegro assai vivace Jonita Lattimore, soprano Charlotte Daw Paulsen, mezzo soprano Bryan Griffin, tenor Jason Grant, bass-baritone Funding for choral programs is provided in part by the Mary C. Ragland Foundation. Concert Sponsors
Official Partners
TM
InConcert
41
SUMMER FESTIVAL
LUDWIG VAN BEETHOVEN Born on December 16, 1770, in Bonn, Germany; died on March 26, 1827, in Vienna Egmont Overture Beethoven wrote this overture as part of a set of incidental music he composed in 1809-10 to accompany a staging of Goethe’s play Egmont. Written in the composer’s “heroic” style, the Egmont Overture encapsulates an entire drama of resistance and ultimate victory against tyrannical oppression.
First performance: June 15, 1810, possibly with the composer conducting, in Vienna’s Burgtheater. First Nashville Symphony performance: January 30, 1951, with Music Director William Strickland. Estimated length: 9 minutes Recommended listening: David Zinman and the Zurich Tonhalle Orchestra, the forces behind one of the best Beethoven symphony cycles, bring their fresh approach to a compilation of the composer’s overtures as well (Arte Nova).
Beethoven’s only opera, Fidelio, is a story of the triumph of humanity and love over injustice and tyranny, and it follows a path from darkness to blazing, joyful light that is traced by his Fifth and Ninth Symphonies as well. The overture he wrote for Johann Wolfgang von Goethe’s play Egmont represents yet another variation on this essential pattern. In 1809, the directors of Vienna’s Burgtheater (an institution that still exists) commissioned him to produce an incidental score to accompany a new production of Egmont, which resulted in a set of nine pieces plus the overture. The choice of Egmont had obvious contemporary relevance, as Vienna had just been besieged for the second time in four years by Napoleon’s army. It’s interesting to note that another play under consideration had been William Tell by Friedrich Schiller, whose “Ode to Joy” would supply Beethoven with the text for his Ninth Symphony’s grand finale. Goethe published Egmont in 1788, on the eve of the French Revolution, modeling it after his study of Shakespeare’s tragedies and drawing on historical events in 15th-century Flanders, when much of the territory of modern-day Holland and Belgium was under the yoke of Spanish rule. Egmont, an aristocratic general and leader who rebels against a tyrannical Spanish overlord, is imprisoned and sentenced to death as a traitor. Unlike the victorious outcome in Fidelio, his lover Klärchen is unable to help Egmont and poisons herself in despair while the hero faces his execution. Biographer Maynard Solomon points out that for Beethoven, who had angrily renounced his original dedication of the “Eroica” Symphony to Napoleon several years earlier, Egmont’s story reverberated with his political ideals of “national liberation and individual freedom.” Proud of his own Flemish ancestry, Solomon adds, the composer may have found additional resonance in the historical setting. 42
JUNE 2012
Beethoven’s formal design is easy to follow and lucidly conveys the essentials of Goethe’s drama. Set in F minor, the overture begins with a slow introduction that immediately establishes the grim atmosphere with an imposing rhythmic figure and rueful phrases in the woodwinds. These give way to an idea, at first hopeful but soon darkening, that is speeded up to launch an electrifying Allegro section. This music echoes the tautness and drive of the Fifth Symphony, which Beethoven had completed in 1808. The cellos spin out the main theme — its range of just a bit over two octaves suggesting heroic striving — before Beethoven intensifies it as an outburst for full orchestra. A much quicker version of the introduction’s oppressive opening rhythm swaggers in
the strings, alternating with a more lyrical motif. After a compact development of these ideas, the music abruptly cuts off mid-recapitulation with a tragic cry from the violins, followed by an expectant pause. Egmont is sacrificed, but his message of liberation lives on to inspire the people. This posthumous vindication is the subject of the final section, a white-hot, majorkey “victory symphony” in which Beethoven uses gestures familiar from military fanfares — punctuated by drums and fife (piccolo) — to underscore liberty’s inevitable triumph. The overture is scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings.
ANTONIO VIVALDI Born on March 4, 1678, in Venice, Italy; died on July 28, 1741, in Vienna. Piccolo Concerto in C major, RV 443 It’s not known exactly when Vivaldi wrote this concerto or when it was first performed. An exemplary gem showing his innovative concerto style, the piece calls for unflagging Beethoven’s deep admiration for Handel clearly left a mark on his Ninth Symphony, but Antonio Vivaldi was one of several major figures of the Baroque who were already all but forgotten by Beethoven’s era. Though Vivaldi had been a musical celebrity during his lifetime, he had to wait until the second half of the 20th century to make a comeback thanks to the revival of interest in Baroque music. Ironically, the popularity of his series of violin concertos known as The Four Seasons has continued to eclipse many a gem from his astonishingly prolific career. Dozens of operas have survived, along with gorgeous sacred music and chamber pieces. There are also some 500 concertos. Vivaldi produced many of these works during the decades he devoted to teaching music at an orphanage
virtuosity and soulful lyricism alike. First Nashville Symphony performance: This is the Nashville Symphony’s first full performance. Estimated length: 12 minutes Recommended listening: William Bennett plays the piccolo on Sir Neville Marriner’s recording with the Academy of St. Martin in the Fields, which also includes a sampling of Vivaldi’s other wind concertos and a stylish account of The Four Seasons (Decca). for girls in his native Venice, where the students would participate in concerts for well-to-do patrons in church settings. (The concert hall as we know it did not yet exist.)While the majority of Vivaldi’s concertos feature his own instrument, the violin, he also wrote concertos for a variety of other instruments, such as oboe, bassoon, cello and mandolin. The concerto we hear is one of only three that survive from this massive legacy showcasing the flautino. Scholars continue to debate the exact identity of this high-pitched instrument — likely a sopranino recorder — but the solo part is often performed on the modernday piccolo. Arranging a pre-existing concerto for different instruments was, after all, a widespread practice in Vivaldi’s own era. InConcert
43
SUMMER FESTIVAL
What to listen for
SUMMER FESTIVAL
What to listen for Vivaldi established the three-movement template of fast-slow-fast that became the norm for concertos, as we hear in this piece. The faster outer movements also share a structural principle he developed to exploit colorful contrasts and to enhance the soloist’s theatrical presence. Known as a ritornello, this is a kind of refrain and is the music for full ensemble heard at the outset, which then alternates with closeup moments for the soloist. The ritornello returns several times, as if to take stock after these adventurous flights of fancy. During the Largo (set in E minor), the strings provide a harmonic aura for the piccolo’s dreamily wistful, bittersweet aria. Its blend of elegant ornamentation with heartfelt pathos gives us a taste of Vivaldi the opera composer. Vivaldi, a chronic asthma sufferer himself, scarcely gives his soloist a chance to breathe in the finale, a showpiece of sparkling, trilling, joyfully dancing virtuosity. In addition to the solo instrument, Vivaldi’s score calls for an ensemble of strings and continuo (the accompaniment supplied by low strings and harpsichord).
LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, Op. 125 Beethoven composed the Symphony No. 9 between 1822 and 1824. The last and most innovative of Beethoven’s symphonies, the Ninth is a milestone of Western culture that opened up new understandings of what musical expression could encompass. First performance: May 7, 1824, in Vienna; the deaf composer stood at the podium but was “shadowed” by Michael Umlauf as conductor First Nashville Symphony performance: April 18, 1950, at War Memorial Auditorium with Music Director William Strickland Estimated length: 70 minutes Recommended listening: The desert-island choice for many lovers of the Ninth is the legendary recording by Hungarian conductor Ferenc Fricsay with the Berlin Philharmonic — the version Kubrick used in the soundtrack to A Clockwork Orange (Deutsche Grammophon). “We live in the valley of the Ninth,” musicologist Joseph Kerman once observed, referring to the impact of Beethoven’s final symphony on our culture as a whole. But because its presence is so familiar, its influence so pervasive, we sometimes lose track of what a daunting mountain Symphony No. 9 in D minor really is. Despite countless commercials and ringtones exploiting the Ninth, ascending these musical peaks is not an effort to be undertaken lightly. The Viennese audience privileged to attend the premiere was unequivocally enthusiastic. It took place on a Friday night, sharing the program with Beethoven’s Consecration of the House Overture and excerpts from his Missa Solemnis. The premiere was even more extraordinary if we recall that it went forward following a mere two full rehearsals. There was some carping about the technical quality of the performance, but the initial critical tone overall tended toward admiration. One particularly influential correspondent described how Beethoven’s “inexhaustible genius revealed a new world to us.” Despite their enthusiasm, however, that first audience could hardly have anticipated the resounding influence the Ninth would exercise across generations and divides of culture. In fact, Vienna at the time didn’t even have a self-standing orchestra devoted to concert music. Throughout his career, Beethoven organized programs employing freelancers from the various theater orchestras to present his latest compositions. One gauge of the Ninth’s iconic status is the variety of interpretations it continues to inspire. Precisely
44
JUNE 2012
What to listen for The Ninth simultaneously echoes and transcends Beethoven’s “heroic” style, replacing the individual hero with an all-embracing social vision in the finale. That finale’s gravitational pull is so immense that it has a tendency to make us overlook how extraordinary the Ninth’s first three movements are as well. Yet Beethoven’s ambiguous and enigmatic opening — illustrating an unprecedented musical genesis — by itself has cast a spell on countless later composers. Emerging out of an indistinct void of pulsing open fifths (chords that have yet to materialize as either major or minor), the music coalesces to thunder forth a titanic theme. Its first part is made from the basic elements of a descending D minor triad, hammered into shape by a powerful rhythmic pattern. It’s as if we’re listening to the universe expanding. Part of the awe comes from Beethoven’s uncanny ability to build vast structures from such primal thematic material. He introduces elements of tender lyricism in classical contrast, yet these become swept up in the unrelenting momentum. Just as Beethoven seems to have exhausted the full potential of his material, he launches into an extensive and apocalyptic coda that is a fascinating counterpart to the movement’s oracular beginning. After this depiction of a rapidly expanding musical universe, the Scherzo introduces another kind of energy, one that seems more densely concentrated, chasing itself in circles with repetitions that almost anticipate Minimalism. Beethoven’s reordering of the movements so that the Scherzo comes second gives the more relaxed
and lyrical music of the contrasting Trio a special strategic prominence. Its joyful melody, rising upward against a sustained horn note and then descending, foreshadows the profile of the famous tune in the Finale. In contrast to the emotional turbulence of the first two movements, the Adagio transports us to an otherworldly realm. Its sustained lyrical elevation is based on a series of alternating variations on two themes. These unfold in contrasting keys and tempos, the first in the prevailing Adagio tempo (in B-flat) and the second in a faster-flowing Andante in D major — the key toward which the symphony as a whole will culminate. In Beethoven’s only other symphony in a minor key, the Fifth, the breakthrough occurs at the outset of the final movement, but his strategy in the Ninth is more complex. By introducing the human voice, the finale resists classification. Some commentators view this movement as a compressed miniature symphony, with its own interior sequence of movements. Instead of the quiet, mysterious pulsation that had set the first movement in motion, the finale begins with terrifying clangor, a chaos from which order must again be constructed and jubilation earned. Beethoven reviews the symphony’s journey up to this point. This process clears the way to introduce the human voice, first as a brave solo for baritone and then via the collective of the chorus. The joined voices of the chorus neatly counterbalance the individual nuances of the solo quartet. For his text, Beethoven adapted selections from Schiller’s lengthy ode from 1785, “An die Freude” (“To Joy”). In what follows, the first three movements are not so much “rejected” as reintegrated. For example, the lengthy instrumental fugue flowing out of the jubilant tenor’s solo recalls similar fugal textures from the first two movements. The elevation of the Adagio returns in another form, as thoughts turn toward a transcendent being and a second theme suggesting a kind of “sacred joy” is introduced. Beethoven’s choral writing draws on his study of Handel’s magnificent oratorios. In a thrilling tour de force later in the finale, he weaves together the famous joy theme with the second, “sacred”
InConcert
45
SUMMER FESTIVAL
because it commands exalted prestige, the Ninth has also generated controversy, including its share of naysayers, as well as skeptics who discern an element of danger in its overwhelming power. Some have insisted on seeing the symphony’s epic breadth as a spiritual autobiography of its composer, while for others it encapsulates an entire history of music. There have been elaborate psychoanalytic and feminist readings. As with our other most revered works of art, the Ninth not only offers an experience in itself, but serves as a mirror for our own preoccupations.
SUMMER FESTIVAL
THE NINTH AND THE MODERN ORCHESTRA One reason the Ninth was so pivotal in music history is that it actually shaped the role of the modern professional conductor, fostering new standards of rehearsal demanded by its unprecedented technical requirements, and by its array of orchestral and choral forces. Beethoven adds instruments to his orchestral ensemble that were anomalies in the classical symphony, though they were used on occasion in the opera house: piccolo, contrabassoon, trombones and percussion instruments besides timpani. In addition, the human voice is here added to what had previously been the purely instrumental medium of the symphony. The Ninth even encouraged a new approach to writing about music: Mere description was no longer adequate to convey the often confusing power of this experience. It had to be interpreted. one. The “Ode to Joy” tune itself is as simple as a folk song, beginning with just a partial run up and down the scale. Beethoven’s genius is to unpack its potential in the vast series of variations that make up most of the finale: hymnal, military, operatic, mystical and on to the unstoppable, delirious rush of the coda. The musical principle of variations becomes a symbol of life-affirming creativity. It may also signify the composer’s awareness that, however utopian the vision contained in the “Ode to Joy,” our highest aspirations must always be molded anew. The score calls for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, bass drum, cymbals and strings; in the fourth movement, Beethoven also asks for a solo vocal quartet (soprano, alto, tenor and bass) and fourpart chorus. — Thomas May is the Nashville Symphony’s program annotator. He writes extensively about music and theater.
46
JUNE 2012
TEXT AND TRANSLATION FOR BEETHOVEN’S NINTH SYMPHONY An die Freude O Freunde, nicht diese Töne! sondern lasst uns angenemere anstimmen, und freudenvollere. — Beethoven Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum. Deine Zauber binden wieder Was die Mode streng geteilt, Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt. Wem der grosse Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund. Freude trinken alle Wesen An den Brüsten der Natur, Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod, Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott. Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen. Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, überm Sternenzelt Muss ein lieber Vater wohnen. Ihr stürzt nieder, Millionen! Ahnest du den Schöpfer, Welt? Such ihn überm Sternenzelt! Über Sternen muss er wohnen. — Friedrich Schiller
Joy, fair spark of the gods, daughter of Elysium, We enter, intoxicated with fire, Heavenly One, your holy place. Your magic again unites what custom strictly divided; all men become brothers where your gentle wings abide. Whoever has had the great fortune of being friend to a friend, whoever has won a loving woman, let him add his jubilation! Yes, even he who calls but one soul on earth his own! And he who has never done it, let him steal away, weeping, from this company. All creatures drink joy at Nature’s breast, all good, all evil ones follow her trail of roses. She gave us kisses and vines, a friend, proven faithful to death; Pleasure was given even to the worm, and the cherub stands before God. Happy, as his suns fly through heaven’s magnificent design, follow, brothers, your path, joyfully, like a hero to victory. Be embraced, ye millions! This kiss to the whole world! Brothers, beyond the starry sky surely a loving Father dwells. Do you fall prostrate, ye millions? Do you sense the Creator, World? Seek Him beyond the starry sky! Beyond the stars He must dwell. Phrases of the above text are alternated and combined, especially in the latter part of the movement.
ABOUT THE SOLOISTS NORMA GROBMAN ROGERS, piccolo Norma Grobman Rogers is a native of Philadelphia, where her first flute teacher was John Krell, renowned piccoloist of the Philadelphia Orchestra. She has played piccolo and flute in the Nashville Symphony since 1972, and began teaching flute, piccolo and recorder at the Blair School of Music at Vanderbilt University that same year. Rogers has been piccolo soloist with the Nashville Symphony and has performed as a soloist at the National Flute Associations Conventions. She has performed frequently in chamber concerts in Tennessee, and has been featured numerous times on Live in Studio C on WPLN-FM, Nashville’s public radio station. In addition to teaching, Rogers has given piccolo master classes, been conductor of the Blair Flute Choir and served as leader of the Nashville Symphony Woodwind Quintet. She has been a judge for various competitions, including the Piccolo Artist Competition at the National Flute Association Convention. JONITA LATTIMORE, soprano Jonita Lattimore has garnered praise for her portrayals of roles ranging from Micaela to Jackie O, as well as for her oratorio performances with major orchestras across the United States and abroad. Lattimore made her Lyric Opera of Chicago debut in Kurt Weill’s The Rise and Fall of the City of Mahagonny. She recently performed the role of Countess Almaviva in Le Nozze di Figaro with Tulsa Opera, and debuted in the title role in the world premiere and recording of James Niblock’s Ruth at Blue Lake Fine Arts Festival. With Houston Grand Opera, she appeared in the world premieres of Harvey Milk, The Book of the Tibetan Dead and Jackie O. She made her Paris debut at the Bastille Opera as Serena in Porgy and Bess.
InConcert
47
SUMMER FESTIVAL
Ode to Joy O friends, not these sounds! Rather let us begin to sing more pleasantly and more joyously.
SUMMER FESTIVAL
In 2011/12, Lattimore returns to the Orquesta Sinfónica Nacional de Mexico in Beethoven’s Ninth Symphony, and she will perform Mozart’s Requiem with both Vermont Symphony and Louisiana Philharmonic. She also sings Rossini’s Stabat Mater at the Grant Park Music Festival. CHARLOTTE DAW PAULSEN, mezzo-soprano Since her Carnegie Hall debut in Mozart’s Requiem under the direction of John Rutter, Charlotte Paulsen has been recognized as a stellar singer on both the opera and concert stage. Her upcoming performances include an Opera Gala with the Johnstown Symphony, Verdi’s Requiem with the Canterbury Choral Society (New York City), Dvořák’s Stabat Mater with Oratorio Society of New York, and the role of Third Lady in Opera Delaware’s production of The Magic Flute. During the 2010/11 season, Paulsen sang Judas Maccabaeus with the Berkshire Choral Festival, Handel’s Israel in Egypt with Musica Sacra and Karl Jenkins’ Stabat Mater and Gloria with Distinguished Concerts International New York at Carnegie Hall, as well as the role of Amneris in a concert version of Aida with the Greater Bridgeport Symphony. Paulsen was born in Philadelphia and holds degrees from the Peabody Conservatory of Music and Temple University. Her further studies brought her to the Salzburg Mozarteum, Zurich International Opera Studio, Tanglewood Festival and Opera Music Theater International. BRYAN GRIFFIN, tenor A graduate of the Ryan Opera Center at the Lyric Opera of Chicago, tenor Bryan Griffin made his Lyric Opera debut as Edmondo in a new production of Manon Lescaut, and has since appeared there as Tamino in Die Zauberflöte, Fenton in Falstaff and Tybalt in Roméo et Juliette. Other appearances have included Faust in Grand Rapids, Gerard in Lakme for the Florida Grand Opera, Alfredo in La Traviata for Toldedo Opera, and Rodolpho in La Bohème for Opera North. 48
JUNE 2012
In recent seasons, Griffin has sung Beethoven’s Symphony No. 9 with the New Jersey Symphony, the National Symphony Orchestra of Costa Rica, the Santa Barbara Symphony and the Mozarteum Orchestra of Salzburg. He performed Handel’s Messiah and Rachmaninoff ’s The Bells with the Nashville Symphony, and Stravinsky’s Les Noces with the New York City Ballet at Lincoln Center. He sang the world premiere of Michael Torke’s Parks with the Grant Park Music Festival, and the premiere of Gary Ratcliff ’s Ode to Common Things with the Austin Symphony. Griffin received his undergraduate degree from The Juilliard School. JASON GRANT, bass-baritone A native of Los Angeles, bass-baritone Jason Grant has won acclaim for his expressive, richly hued voice. This season, Grant will sing Pater Profundis in Mahler’s Symphony No. 8 in a return to the Virginia Symphony with JoAnn Falletta, as well as Beethoven’s Symphony No. 9 with the Detroit Symphony led by Leonard Slatkin. Grant’s 2010/11 season began with Beethoven’s Symphony No. 9 with the New Jersey Symphony, and he returned to the Alabama Symphony for Handel’s Messiah with Neal Gittleman. He also performed Verdi’s Requiem with the Buffalo Philharmonic led by JoAnn Falletta. In the 2009/10 season, Grant performed the Brahms German Requiem with JoAnn Falletta at both the Virginia Symphony and the Buffalo Philharmonic, and he appeared in Mendelssohn’s Die erste Walpurgisnacht with Justin Brown and the Alabama Symphony. Grant’s performances during seven seasons with the New York City Opera include Pooh-Bah in The Mikado, Dulcamara in L’elisir d’amore, Leporello in Don Giovanni, Don Profondo in Il viaggio a Reims, along with appearances in Macbeth and Agrippina. An alumnus of the Santa Fe Opera Apprentice Program, Grant debuted with the company as the Tutor of Orest in Elektra. He is a graduate of the Juilliard Opera Center as well as the Eastman School of Music.
SUMMER FESTIVAL
NASHVILLE SYMPHONY CHORUS DOUGLAS ROSE, interim director SOPRANO Beverly Anderson Esther Bae Kimberly Begin Miranda Burnett Anna Caldwell Angela Carr**^ Amanda Dier Becky Evans-Young Shiloah Fenn Kathleen Figaro Abbey Francis Delphine Gentry Tosha Greenway Grace Guill^ Catherine Holsen Jamie Hormuth Vanessa Jackson^ Carla Jones Young-Soon Kang Alesia Kelley^ Heather Lannan Megan Latham Hayley Lewis Janet Macdonald Rebecca Mathias Dori Mikus Clementina Moreira Carolyn Naumann+^ Iris Perez Catherine Pratt^ Lauren Price Robin Rogers Sonya Sardon^ Deborah Schrauger Esther Sooter Jennifer Stevens* Barbara Sullivan Brandi Surface Marva Swann Marla Thompson
Valerie Trantum Janelle Waggener^ Debra Waters Kathryn Whitaker Joanna Wulfsberg+^ Sylvia Wynn ALTO Ashley Bassel Jennifer Beck Rachel Burkey Allison Campbell Cathi Carmack*^ Teresa Cissell Lisa Cooper*^ Karen Crow^ Janet Davies** Carla Davis* Emily Gaskill Elizabeth Gilliam*^ Debra GreenspanWatts Rachel Hansbury^ Marah Harrington Sallie Hart Gay Hollins-Wiggins Younhee Kim Jessica Laven Janice Lewis Aynsley Martindale^ Karen Mitchell+ Lisa Pellegrin+^ Debbie Reyland^ Nancy Roberts Stephanie Robinson Ursula Roden Carmen Sanders^ Jill Sayler Patricia Sharp Carla Simpson Sharon Taylor
TENOR David Carlton Thomas Clay Cameron Frazier David Hayes William Hodge^ Cory Howell**^ David Mahand John Manson**^ Mark Naumann William Paul John Perry+ David Piston^ Robert Richardson^ Joshua Ritter Scott Rudy David Satterfield+ William Seminerio Eddie Smith* Stephen Sparks** James White Bruce Williams^ Scott Wolfe Jonathan Yeaworth^ BASS Gary Adams Matt Adrian Gilbert Aldridge Robert Anderson Justin Combs Kenton Dickerson^ Kyle Duckworth Patrick Dunnevant Andrew DuPerrieu Scott Edwards John Ford James Harrington*^ Richard Hatfield Charles Heimermann^ Kentaro Hirama
Michael Hopfe** Stanley Jenkins^ Carl Johnson Clinton Johnson Joshua Lindsay Christopher Loftin William Loyd** Bob MacKendree Marquan Martin Matt McDonald^ Ben McKeown Matthew McNeill Bruce Meriwether Stephen Mitchell Christopher Mixon^ Dwayne Murray Darryl Pace Steve Prichard Paul Roark^ Fred Rowles Matthew Smedberg^ Larry Strachan+ Chad Stuible David Thomas+^ Adam Wagner^ Edwin Walker David Williams^ John Williams Elizabeth Smith, accompanist John Roberts, librarian
+ Section Leaders * NSC Board Appointment ** NSC Board Member ^ Chamber Chorus
InConcert
49
SPECIAL EVENT
Special Event Friday, July 6, at 8 p.m.
ORGAN EXTRAVAGANZA Nashville Symphony Giancarlo Guerrero, conductor Nathan Laube, organ Todd Wilson, organ
JOHANNES BRAHMS FELIX MENDELSSOHN trans. Nathan Laube
Academic Festival Overture Variations Sérieuses Nathan Laube, solo organ
ROBERTO SIERRA Concierto para órgano y orquesta [Concerto for Organ and Orchestra] Toccata Pastoral Fantasía Danza final Todd Wilson, organ INTERMISSION
ANTONÍN DVORÁK
Carnival Overture
STEPHEN PAULUS Grand Organ Concerto Vivacious and Spirited Austere; foreboding Jubilant Nathan Laube, organ RICHARD WAGNER trans. Edwin Lemare
Prelude to Die Meistersinger von Nürnberg Todd Wilson, solo organ
Official Partners TM
50
JUNE 2012
Academic Festival Overture, Op. 80 (1880) Brahms’ own “student years” boiled down to a couple of fun-filled months, but as a respected artistic figure he received an honorary doctorate from the University of Breslau in 1879. Instead of composing a dutifully solemn new work to acknowledge such an honor, he created an independent concert overture that playfully cross-pollinates popular references with the elevated discourse of the symphonic tradition. The Overture has the intricacy of a symphonic opening movement, complete with an introduction that gropes in darkness before the main theme arrives with a sunburst of C major. But into this structure Brahms smuggles no fewer than four well-known student songs, leading to the famous graduation tune “Gaudeamus igitur” in festive colors as the logical conclusion to all that has come before. Far more than “a boisterous potpourri,” as Brahms described it, the Overture carefully conceals his remarkable learning behind a drinking song transformed into an ode to joy.
FELIX MENDELSSOHN (1809-1847) Variations Sérieuses, Op. 54 (1841) Alongside his career as a composer and a conductor, Mendelssohn was widely praised by his contemporaries as a performer on piano and organ. The title he chose for his piano masterpiece, Variations Sérieuses, however, emphasizes that the focus of the music should extend beyond dazzling keyboard technique for its own sake. Mendelssohn composed this set in 1841 as his contribution to a joint publication featuring new pieces by 10 leading pianists. The effort was intended to raise money for what became the Beethoven monument in Bonn, but Mendelssohn incorporated his tribute into the aura of the music itself. The emotional substance and ambitious architectural plan of these Variations allude to Beethovenian models that he knew intimately, while advanced Baroque techniques enhance the dramatic intensity. Using a hymn-like theme in D minor, Mendelssohn crafts an intricate scheme of 17 variations. Only one of these (the Adagio, No. 14) finds relief in the major, and a whirlwind coda seals the overall tone of relentless pathos.
ROBERTO SIERRA Born on October 9, 1953, in Vega Baja, Puerto Rico; currently resides in Ithaca, New York Concierto para órgano y orquesta Roberto Sierra composed the Concierto para órgano y orquesta in 2012 on a commission from the American Guild of Organists (AGO). As in his other orchestral works performed by the Nashville Symphony in recent seasons, this new work brings a highly personal accent to the concerto format, blending Sierra’s love of Baroque forms, Latin dance elements and vibrant orchestral colors while showcasing the organ’s expressive potential.
InConcert
51
SPECIAL EVENT
JOHANNES BRAHMS (1833-1897)
SPECIAL EVENT
“I’m trying to express myself with my own particular accent,” the Puerto Rican-born Sierra explains. “Even when I look at the Western tradition, it will be filtered through my own tradition and experience.”
First performance: With this performance, the Nashville Symphony gives the world premiere of Concierto para órgano y orquesta. Estimated length: 25 minutes Recommended listening: An upcoming release on the Naxos label will include the Nashville Symphony’s recent performances of Sierra’s Fandangos and his Sinfonía No. 4. Naxos has also released a GRAMMY®-nominated recording of his acclaimed Missa Latina, along with several other works by the composer. In addition to this new organ concerto, which was commissioned expressly for this year’s AGO National Convention in Nashville, Robert Sierra’s prolific catalogue includes four symphonies, numerous other concertos, chamber works and such large-scale choral canvases as Missa Latina and the oratorio Bayoán (based on the work of Puerto Rican writer Eugenio María de Hostos). His music has been finding its way into the repertoire of major orchestras throughout the United States and Europe and was chosen for the inaugural concert of the London Proms in 2002. Later this year, Sierra’s Christmas Cantata will be premiered by the Detroit Symphony. The composer was elected to the American Academy of Arts and Sciences in 2010. Born in Puerto Rico, Sierra taught himself piano until the age of 15 and then, at the Puerto Rico Conservatory of Music, shifted his focus to composition. He lived in Europe from 1976 to 1982, furthering his studies in London, Holland and Hamburg, where he took lessons with György Ligeti, one of the most genuinely adventurous and self-reliant composers to emerge in Europe’s postwar avant-garde scene. In some ways, Sierra found his musical voice as part of a process
52
JUNE 2012
of rediscovery during this extended sojourn abroad. The composer recalls the sense of artistic epiphany he experienced when Ligeti encouraged him to stay true to his roots. He went on to develop a uniquely colorful style that infuses classical forms and genres with Latin American idioms. Sierra, who moved to the United States in 1989, uses the term “tropicalization” to describe the vibrant music that results from this creative encounter between different cultures and traditions. To express his Puerto Rican identity, Sierra says, means to resist homogenization. “I’m trying to express myself with my own peculiar accent,” he explains. “Even when I look at the Western tradition, it will be filtered through my own tradition and experience.” And the journeys he undertakes are not limited to geographical ones. Sierra’s compositions also travel far and freely across time, drawing fluently on the spectrum of Western music — as in his Concierto Barroco, a guitar concerto from 1996 that was inspired by the historical novel of the same name by Alejo Carpentier. The music treks back in time to conjure the novelist’s imagined encounter between Handel, Vivaldi and a slave from the New World. Sierra’s four symphonies and his concertos similarly reconsider traditional genres from his unique perspective. “I’m interested in the Classical and Romantic tradition of the symphony, and also in devices like the Baroque passacaglia as something that can still be used by modern composers,” he explains. His new organ concerto — Sierra’s first for the instrument — is informed by his penchant for Baroque models of virtuosity and concertante interplay.
Roberto Sierra has provided the following description of his new Concierto para órgano y orquesta: The concerto starts with a virtuosic Toccata, where the orchestral timbres stand in contrast, but at the same time complement, the rich sound palette of the solo instrument. An oneiric Pastoral follows, where phantasmagoric salsa music sounds interrupt the idyllic setting, without ever completely disrupting the initial mood of the work; they behave like sound mirages — apparitions — that, while clearly audible, never quite settle in or totally disrupt the flow of the movement. The mercurial Fantasía is akin to a scherzo, and, as in the initial toccata, the virtuosic aspects of the organ are explored. The martial rhythms of a tango and a sensual Latin bolero alternate and mix in complex juxtapositions in the Danza final, the final dance that brings the work to an end. In addition to solo organ, the score calls for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings.
ANTONÍN DVORÁK (1841-1904) Carnival Overture, Op. 92 (1891) The Carnival Overture is one of a sequence of three concert overtures that Dvořák initially envisioned as a unified cycle, though they are nowadays usually encountered separately. The others are In Nature’s Realm and Othello, and the entire group was meant to outline the elemental experiences of “Nature, Life and Love.” The composer suggested a vague program for this second part of the trilogy, in which “a lonely wanderer” arrives by twilight at the outskirts of a city where carnival festivities are under way. The flashy, folk-flavored opening sets the scene with cinematic immediacy. Later comes a passionate theme depicting a pair of lovers who draw away from the crowd, followed by a passage of tender slow music evocative of pastoral calm. The tempo accelerates for another turn of the carnival music, and the celebration at last intensifies into an unrestrained joie de vivre.
STEPHEN PAULUS Born on August 24, 1949, in Summit, New Jersey; currently resides in St. Paul, Minnesota Grand Concerto for Organ and Orchestra Stephen Paulus composed the Grand Concerto for Organ in 2004 on a commission from Mr. and Mrs. William H. Moore III for the Dallas Symphony Orchestra. The third of his concertos for organ by a recognized master of the genre, the Grand Concerto takes its name from the dramatic contrasts, rhythmic energy and rich use of melodic material that define the work. First performance: April 1, 2004, with Bradley Hunter Welch as organist and Marc Albrecht leading the Dallas Symphony Orchestra.
InConcert
53
SPECIAL EVENT
In the Composer’s Words
SPECIAL EVENT
First Nashville Symphony performance: This is the Nashville Symphony’s first performance of the Grand Concerto. Estimated length: 21 minutes Recommended listening: The discography for Paulus’ music encompasses more than 50 recordings, from which the composer singles out To Be Certain of the Dawn, a Holocaust oratorio written to commemorate the 60th anniversary of the liberation of the Nazi death camps; the premiere by the Minnesota Orchestra led by Osmo Vänskä is available on the BIS label. “I am pleased to have been a composer who can satisfy all kinds, somewhat in the fashion of a Benjamin Britten,” Stephen Paulus remarked a few years ago during an interview about his career with Minnesota Public Radio. The wide range of audiences and performers for whom he has written music is reflected in his remarkably versatile and prolific body of work, which encompasses large-scale orchestral and choral compositions, operas and chamber works, as well as pieces for community groups and young musicians. Paulus’ complete catalogue already tallies over 450 compositions and is continually expanding, thanks to a steady stream of new projects. Yet along with his own creative work, Paulus has found time to be a powerful advocate for fellow composers. In 1973, he cofounded the American Composers Forum, the largest composer service organization in the world. The much sought-after composer has been commissioned by such leading institutions as the New York Philharmonic, the Atlanta Symphony Orchestra, the Minnesota Orchestra, the St. Paul Chamber Orchestra and the Chamber Music Society of Lincoln Center. The latest of his many concertos — the Violin Concerto No. 3 — receives its premiere with The Cleveland Orchestra this October, the same month when Nashville Symphony audiences can hear Three Places of Enlightenment (a concerto for string quartet) and a selection from his oratorio To Be Certain of the Dawn. Paulus is currently at work on yet another concerto, commissioned by the Phoenix Symphony and written for the highly gifted organist Paul Jacobs. A significant composer of opera as well, 54
JUNE 2012
Paulus — who studied with Dominick Argento at the University of Minnesota — has already created a dozen works for the stage. His frequently revived The Postman Always Rings Twice (1982) was the first American production to be presented at the Edinburgh International Festival. Recently, Paulus finished a one-act opera, The Shoemaker, based on a Leo Tolstoy short story. Featuring a libretto by longtime collaborator Michael Dennis Browne, it will be premiered in Minneapolis this September. The composer’s inherent gift for dramatic music also comes through in his effective use of contrasts. Paulus originally wrote his Grand Concerto for organist Bradley Hunter Welch, whose victory in the Dallas International Organ Competition in 2003 led to the Dallas Symphony’s commission of a new concerto featuring the prize-winning musician. The Grand Concerto, explains Paulus, is representative of his overall style in its use of melodic material “sometimes in short strands and at other times in long arches,” in “the interplay of different key juxtapositions and sometimes sudden changes or unusual combinations,” and in its “rhythmic and kinetic energy in forward-moving phrases.”
In the Composer’s Words The work is cast in three movements, titled “Vivacious and Spirited,” “Austere; foreboding” and “Jubilant.” Paulus has provided the following description of the music: The title was selected to indicate that the work employs full orchestra and some wide, sweeping gestures and melodic ideas. The movement titles are descriptive of the musical activity within each movement. There is a wide array of mood shifts, with great contrasts and texture in each movement. In the second movement, towards the end, a portion of the hymn tune “Come, Come Ye Saints” appears in the organ part. This is a tradition that I have incorporated into almost every organ work that I have written, in honor of my father, who used to improvise on the same tune. In the Mormon musical liturgy, it is known as “All Is Well,” and it is a tune that the great organist
In addition to solo organ, the score calls for 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussionists and strings.
RICHARD WAGNER (1813-1883) Prelude to Die Meistersinger von Nürnberg (1862) Unlike the mythic heroes who populate the Ring cycle, Wagner’s opera Die Meistersinger turns its attention to an actual historical period — 15th-century Nuremberg — and considers the place of the innovative young artist vis-à-vis the tradition preserved by the guild of mastersingers. The Prelude deftly interlaces these different points of view, starting with the pompous, self-important music of the mastersingers in procession and followed by the sweetly cadenced music of young love. In the opera, the knight Walther wins his beloved Eva through victory in the guild’s song contest, and the theme of his Prize Song is juxtaposed with a scherzo-ish parody of the mastersinger music. Wagner’s original orchestration itself pulls out all the stops for a grand, climactic confrontation of the Prelude’s various motifs. These he weaves together in thrilling counterpoint — an homage to his own rediscovery of old German masters and a metaphor for the harmony of tradition and the freshly creative spirit. —Thomas May is the Nashville Symphony’s program annotator. He writes extensively about music and theater.
ABOUT THE SOLOISTS TODD WILSON, organ Regarded as one of today’s finest concert organists, Todd Wilson is head of the Organ Department at The Cleveland Institute of Music, and Director of Music and Worship at Trinity Episcopal Cathedral in Cleveland, Ohio. In addition, he is Curator of the E.M. Skinner pipe organ at Severance Hall, home of The Cleveland Orchestra. Wilson has been heard in concert in major cities throughout the United States, Europe and Japan. In 2001, he made his solo debut with The Cleveland Orchestra on the newly restored E.M. Skinner organ at Severance Hall, in two performances of the Symphonie Concertante by Joseph Jongen. In June 2003, he dedicated the organ in the new 21,000-seat Mormon Conference Center in Salt Lake City, and in October 2004, he was organ soloist with the Los Angeles Philharmonic on the first subscription series concerts featuring the new organ at Walt Disney Concert Hall in Los Angeles. Wilson’s latest CDs on the JAV label feature a live recital of American music from the National Cathedral in Washington, D.C., and Live from Severance Hall, a concert of music for trumpet and organ with Michael Sachs, Principal Trumpet of The Cleveland Orchestra.
InConcert
55
SPECIAL EVENT
Alexander Schreiner used to improvise during Sunday-morning radio broadcasts from the Mormon Tabernacle in Salt Lake City. Both my father and I listened to these broadcasts many, many times. In the third and final movement, after a brief orchestral opening, I give center stage to the organ with a large section of chords oscillating between the right and left hands. Over this is eventually woven a high melody in the violins, which is based on the tune “Waly, Waly,” also known as “The Water Is Wide.”
SPECIAL EVENT
Wilson received his Bachelor and Master of Music degrees from the University of Cincinnati, where he studied organ with Wayne Fisher and piano with John Quincy Bass. Further coaching in organ repertoire was with Russell Saunders at The Eastman School of Music. NATHAN LAUBE, organ A star among young classical musicians, concert organist Nathan J. Laube has quickly earned a place among the organ world’s elite performers. Upcoming and recent performances by Laube include major U.S. venues such as the National Cathedral in Washington, D.C., The Mother Church in Boston, and Verizon Hall in Philadelphia. Laube has performed five tours of the United Kingdom, which included concerts at Southwark Cathedral, Bridlington Priory, Exeter Cathedral and All Souls Church in London. In France, he has performed at the Cathédrale Saint-Alain in Lavaur, Église Notre-Dame-du-Taur, and the Musée des Augustins in Toulouse. In August 2011, he was a featured Young Artist at the Lahti Organ Festival in Finland. Laube has been a featured performer at the 2009 and 2011 national conventions of the Organ Historical Society, and in 2010 he was featured at the national convention of the American Guild of Organists. Other celebrated venues in which he has performed include Girard College Chapel in Philadelphia, Jacoby Symphony Hall in Jacksonville, Florida, and Spivey Hall in Morrow, Georgia, in a performance subsequently broadcast on Minnesota Public Radio’s Pipedreams. A native of Chicago, Laube earned his Bachelor of Music degree at the Curtis Institute of Music in Philadelphia. In 2011, he began a graduate degree program at the Musikhochschule in Stuttgart, Germany. The recipient of the coveted William Fulbright Grant, he spent the 2010/11 academic year studying with Michel Bouvard at the Conservatoire à Rayonnement Régional de Toulouse.
BlairPAM11-12_ad:Layout 1 6/15/11 3:55 PM Page 1
The Blair School and Vanderbilt —30 Years of Artistic Excellence Blair Concert Series 2011-2012
For information about our free faculty and student performances, guest artists, lectures, master classes, and more, visit the Blair website at blair.vanderbilt.edu Blair School of Music • Vanderbilt University 2400 Blakemore Avenue • Nashville, TN 37212 Complimentary valet parking and FREE self-parking for most events
You Have More Choices Than You Think
Old Natchez Country Club is a beautiful venue for many social occasions such as: * Wedding Receptions * Rehearsal Dinners * Bridesmaid Luncheons * Holiday Parties * Fundraising Gala’s * Corporate and Charitable Golf Outings Our central location in Williamson County along with the beauty of the setting and first class service make Old Natchez Country Club the ideal venue for your special event.
115 Gardengate Drive, Franklin, TN 37069 615-373-3200 • www.oldnatchezcc.com
ATKINSON R E M O D E LI N G AND SERVICES Serving Nashville for 18 Years KITCHENS, BATHS & MORE
Established in 1983 and equipping people to make healthy choices with unplanned pregnancies, prevention, pregnancy loss and postpartum depression.
615.297.7047
ATKINSON 4219 Hillsboro Rd. Suite 200 Nashville, TN 37215 www.remodelingnashville.com
R EM O D E LI N G AND SERVICES Serving Nashville for 18 Years Major Home Renovations, KITCHENS, BATHSDesigns & MORE Custom In-House YOUR TURN-KEY RENOVATION COMPANY 4219 Hillsboro Rd. Suite 200 Nashville, TN 37215 www.remodelingnashville.com
615.297.7047
ATKINSON REMODELING Major Home Renovations, AND SERVICES Custom In-House Designs Serving Nashville for 18 Years YOUR TURN-KEY KITCHENS, BATHS & MORE RENOVATION COMPANY
615.297.7047
4219 Hillsboro Rd. Suite 200 Nashville, TN 37215 www.remodelingnashville.com
It takes the skill of an artist to restore this masterpiece. To the neurosurgeons at Saint Thomas Health, brain surgery is the highest form of art. The Truebeam STX radiosurgery program at Saint Thomas Hospital provides them the tools they need to apply therapeutic radiation with unparalleled pinpoint accuracy. That means renewed hope and improved quality of life to cancer patients.
615-284-LIFE 路 STHS.com
Create. Deliver. Engage. Touchscreen, Digital Signage, & Advertising Solutions
Engage Your Audience
Deliver Your Creative Message
Focus Your Branding
Q
Touch
Screen
Let Us Show You How to Monetize Touch Screen Technology Call 615-480-3563
Innovative Applications for Banks, Retail, Healthcare, Colleges & Universities
InConcert
59
D u k E E l l i N g T O N gEORgE gERSHwiN V lA D i M i R H O ROw i T z JOE AuguSTiNE • SERgEi RAcHMANiNOff • iRViNg BERliN • fR A N z liSzT Billy JOEl • lANg lANg VlADiMiR ASHkENAzy ANTONiO POMPA-BAlDi AlViN cHOw • gERARDO T E i S S O N N i E R E • AHMAD J A M A l • HARRy cONNick, JR. JERRy wONg • HAliDA DiNOVA cAROliNE OlTMANNS • i g N A c E PADEREwSki • DiANA kRAll • SERgEi B A BAyA N • Mi c H El l EgRAND ARTHuR RuBiNSTEiN • PETER NERO RO gER williAMS • PAul ScHENly gEORgE wiNSTON • EM ANuE l Ax S A N D R A S H A P i R O • D O N N A lEE VAN cliBuRN • A N g E l A c H E N g M O R E T H A N 1, 5 0 0 O T H E R S …
STEINWAY ARTISTS ARE NEVER PAID TO ENDORSE OUR PIANOS We would like to thank all of our Steinway Artists—past and present—for their loyalty and for putting their music before all else. To view the entire roster of Steinway Artists, visit steinway.com.
4285 sidco dr. • nashville, tn 37204 • (615) 373-5901 • steinwaynashville.com facebook.com/steinwaynash | twitter.com/steinwaynash
It’s the VANDERBILT
We need our blood pressure checked
CLINIC.
High blood pressure is known as the silent killer. But now, it’s easier than ever to get your blood pressure checked. The board-certified physicians of Vanderbilt have five convenient locations in Williamson County to serve all of your primary care needs, from sore throats and minor infections to physicals and preventive care. Best of all, we have more physicians available so that we can serve you as quickly as possible. To make an appointment, call 615-794-8700 or visit VanderbiltWilliamson.com. PRIMARY CARE CLINICS BRENTWOOD BRENTWOOD 343 Franklin Rd 782 Old Hickory Blvd
FRANKLIN 2105 Edward Curd Ln
W E S T H AV E N 1025 Westhaven Blvd
SPRING HILL 3098 Campbell Sta Pkwy InConcert 61
CONDUCTORS
MUSIC DIRECTOR
GIANCARLO GUERRERO
Now entering his third season as its Music Director, Giancarlo Guerrero continues to flourish with the Nashville Symphony Orchestra (NSO). In autumn 2011, Guerrero also begins his new appointment as Principal Guest Conductor of The Cleveland Orchestra Miami Residency. A fervent advocate of new music and contemporary composers, Guerrero has collaborated with and championed the works of several of America’s most respected composers, including John Adams, John Corigliano, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, Michael Daugherty and Roberto Sierra. His first recording with the Nashville Symphony, on Naxos, of Michael Daugherty’s Metropolis Symphony and Deus Ex Machina, won three 2011 GRAMMY® Awards, including the category of Best Orchestral Performance. In 2010/11, Guerrero and the NSO released two more recordings on Naxos — one featuring the music of Argentine legend Astor Piazzolla and another featuring the music of American composer Joseph Schwantner. In 2011/12, Guerrero will debut several world premieres with the Nashville Symphony, including a new work by Richard Danielpour, a banjo concerto by Béla Fleck and a concerto for electric violin by Terry Riley, which the NSO will bring to Carnegie Hall as part of the Spring for Music festival. With The Cleveland Orchestra, where Guerrero first appeared in May 2006, he will conduct subscription concerts in both Severance Hall and for Miami Residency performances
62
JUNE 2012
at the Arsht Center, as well as plan and engage in education and community programs in the Miami-Dade area. Also this season, he returns to the Cincinnati Symphony Orchestra and makes his debut with the Pacific Symphony. Internationally, highlights of this season include his first European tour with the Monte Carlo Philharmonic and Jean-Yves Thibaudet, concerts with the Slovenian and Strasbourg Philharmonics, the BBC Scottish and BBC Welsh Symphony Orchestras, and a return to the São Paulo State Symphony Orchestra. In summer 2011, Guerrero again led the Philadelphia Orchestra in concert at Mann Center, and in addition conducted the orchestra in their summer residencies at Vail and Saratoga. This followed a busy 2010/11 season that included guest-conducting engagements in five continents: Europe, Asia, Australia, North America and South America. He now returns annually to Caracas, Venezuela, to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s much-lauded El Sistema music education program. In recent seasons he has appeared with many of the major North American orchestras, including the symphony orchestras of Baltimore, Boston, Cincinnati, Dallas, Detroit, Seattle, Toronto, Vancouver and the National Symphony in Washington, D.C. He has also appeared at several major summer festivals, including the Los Angeles Philharmonic at the Hollywood Bowl, The Cleveland Orchestra at Blossom Music Festival, and Indiana University’s summer orchestra festival. In June 2004, Guerrero was awarded the Helen M. Thompson Award by the American Symphony Orchestra League, which recognizes outstanding achievement among young conductors nationwide. He holds degrees from Baylor and Northwestern universities. Guerrero was formerly the music director of the Eugene Symphony (2001-2008), associate conductor of the Minnesota Orchestra (1999-2004) and music director of the Táchira Symphony Orchestra in Venezuela.
CONDUCTORS
RESIDENT CONDUCTOR
ASSOCIATE CONDUCTOR
ALBERT-GEORGE SCHRAM
KELLY CORCORAN
Albert-George Schram, a native of the Netherlands, has served as Resident Conductor of the Nashville Symphony since 2006. While he has conducted on all series the orchestra offers, Schram is primarily responsible for its Bank of America Pops Series. Schram’s longest tenure has been with the Columbus Symphony Orchestra, where he has worked in a variety of capacities since 1979. As a regular guest conductor of the Charlotte Symphony Orchestra, Schram in 2002 opened the orchestra’s new permanent summer home, Symphony Park. From 1990 to 1996, he served as resident conductor of the Louisville Orchestra. The former Florida Philharmonic Orchestra appointed Schram as resident conductor beginning with the 2002/03 season. In 2008 Schram was invited to conduct the Orquesta Sinfónica Nacional of Bolivia and the Orquesta Sinfónica UNCuyo in Mendoza, Argentina. His other foreign conducting engagements have included the KBS Symphony Orchestra and the Taegu Symphony Orchestra in Korea, and the Orchester der Allgemeinen Musikgesellschaft Luzern in Switzerland. He has returned to his native Holland to conduct the Netherlands Radio Philharmonic and the Netherlands Broadcast Orchestra. In the U.S., his recent and coming guest conducting appearances include the Dallas Symphony Orchestra, Tucson Symphony, Louisiana Philharmonic, Oklahoma City Philharmonic, Spokane Symphony, Dayton Philharmonic, Shreveport Symphony, San Antonio Symphony, Allentown Symphony and the Mansfield Symphony. Schram’s studies have been largely in the European tradition under the tutelage of Franco Ferrara, Rafael Kubelik, Abraham Kaplan and Neeme Järvi. He received his initial training at the Conservatory of The Hague in the Netherlands, then later moved to Canada to undertake studies at the universities of Calgary and Victoria. His training was completed at the University of Washington.
Now in her fifth season with the Nashville Symphony, Associate Conductor Kelly Corcoran serves as the primary conductor for the orchestra’s education and community engagement concerts. She has also conducted the Symphony’s Classical Series, Pops Series, and its CD collaboration with Riders In The Sky, ‘Lassoed Live’ at the Schermerhorn. Corcoran has conducted major orchestras throughout the country, including the Houston and Utah Symphonies, and return engagements with the Detroit, Milwaukee and National Symphonies. In 2009, she made her South American debut as guest conductor with Orquesta Sinfónica UNCuyo in Mendoza, Argentina, returning for multiple programs in 2011. She has developed a reputation for exciting performances. The Tennessean has hailed her work on the podium as “lively” and “fresh.” Named as Honorable Mention for the Taki Concordia Conducting Fellowship, Corcoran studied with Marin Alsop and shared performances with her and the Bournemouth (U.K.) Symphony and Colorado Symphony. In 2004, she participated in the National Conducting Institute, where she studied with her mentor Leonard Slatkin. She has also attended the Lucerne Festival’s master class in conducting with Pierre Boulez. Prior to Nashville, Corcoran completed three seasons as assistant conductor for the Canton Symphony Orchestra in Ohio and music director of the Canton Youth Symphony and the Clevelandarea Heights Chamber Orchestra. She has served as assistant music director of the Nashville Opera, founder/music director of the Nashville Philharmonic Orchestra and fellow with the New World Symphony. Originally from Massachusetts and a member of the Tanglewood Festival Chorus for more than 10 years, Corcoran received her Bachelor of Music in vocal performance from The Boston Conservatory, and she received her Master of Music in instrumental conducting from Indiana University. She currently serves on the faculty at the New York Summer Music Festival.
InConcert
63
OVERBROOK SCHOOL Bringing out the best per formance in ever y child on the stage & in the classroom
Rigorous Academics Catholic Faith Formation Co-ed Pre-k through 8th Activities include 8 sports, band, drama club, forensics & more Financial aid available Afterschool care for all grade levels
Growing in Grace and Knowledge since 1936 4210 Harding Road Nashville, TN 37205 615.292.5134 www.overbrook.edu
The only Italian true experience in Nashville! Valentino’s & Bella Napoli.
Valentino’s: AAA Four Diamonds & The Wine Spectators Award winner, voted #1 Italian Restaurant by Tennessean 2 years in a row. Featuring award winning Chef & Co-Qwner, Paolo Tramontano. Reservations 615-327-0148, 1907 West End valentionosnashville.com Bella Napoli: The only authentic Pizzeria in Nashville, using only the freshest ingredients imported from Napoli, Italy. Located in the heart of Edge Hill Village at 1200 Villa Place Nashville (615) 891-1387 bellanapolipizzeria.com
Encore
Experience luxury that inspires applause
Ideal for football trips, corporate outings, weddings, races, wine tasting tours, proms & family vacations. premieretransportation.com 615 296 9000
a simpler way to build a custom home on your lot. With Design Gallery Homes, you’ll discover award-winning designs, legendary craftsmanship, and an endless palette of choices to create a home that’s uniquely yours. You’ll move into your home in less time and pay less than what other builders may require. Best of all, your home is backed by a family-owned company with an 80 year legacy of building quality homes. If you own a lot or need help finding one, we’re ready to serve you.
For your free lot evaluation or to learn more, call (615) 376-9498
©2012 The Drees Company. All Rights Reserved.
DreesOnYourLot.com
It doesn’t just steal the scene. It changes the show.
2012 Range Rover evoque
Introducing the revolutionary Range Rover evoque, the lightest and most fuel efficient Range Rover yet. It’s an entirely new look for the land Rover family—smaller and more agile for the demands of the urban landscape, with all of the poise and presence you expect from a land Rover. Inside, you’ll find the latest in entertainment and navigation technology, artfully subtle led ambient lighting, and every luxury comfort consideration—including land Rover’s signature focus on headroom. What does evoque arouse in you? Find out when you test drive yours at Land Rover nashville.
3 cadillac Drive | Brentwood
615-986-6000
www.LandRovernashville.com
2011/12 NASHVILLE SYMPHONY ORCHESTRA GIANCARLO GUERRERO Music Director ALBERT-GEORGE SCHRAM Resident Conductor KELLY CORCORAN Associate Conductor
CELLOS* Christopher Stenstrom Keith Nicholas Xiao-Fan Zhang
SECOND VIOLINS* Carolyn Wann Bailey, Principal Zeneba Bowers, Assistant Principal Kenneth Barnd Jessica Blackwell Rebecca Cole Radu Georgescu Benjamin Lloyd Louise Morrison Laura Ross Lisa Thrall Jeremy Williams Rebecca J Willie
PICCOLO Norma Grobman Rogers
photos by Jackson DeParis
JOB NO.: 7679
AGENCY: White | Thompson
VIOLAS* Daniel Reinker, Principal Shu-Zheng Yang, Assistant Principal Judith Ablon Hari Bernstein Bruce Christensen Michelle Lackey Collins Christopher Farrell Mary Helen Law Melinda Whitley Clare Yang
CLIENT: Land Rover Nashville
Output: Color AD SIZE: 7.125” X 10.875”
PUBLICATION: TPAC Program
AD TITLE: Range Rover Evoque
GEORGE L. MABRY Chorus Director
FIRST VIOLINS* Jun Iwasaki, Concertmaster Walter Buchanan Sharp Chair Gerald C. Greer, Associate Concertmaster Erin Hall, Assistant Concertmaster Mary Kathryn Van Osdale, Concertmaster Emerita Denise Baker Kristi Seehafer John Maple Deidre Fominaya Bacco Alison Gooding Paul Tobias Beverly Drukker Anna Lisa Hoepfinger Kirsten Mitchell Erin Long Isabel Bartles
CELLOS* Anthony LaMarchina, Principal Julia Tanner, Assistant Principal James Victor Miller Chair Bradley Mansell Lynn Marie Peithman Stephen Drake Michael Samis Matthew Walker
BASSES* Joel Reist, Principal Glen Wanner, Assistant Principal Elizabeth Stewart Gary Lawrence, Principal Emeritus Kevin Jablonski Joe Ferris II FLUTES Erik Gratton, Principal Anne Potter Wilson Chair Ann Richards, Assistant Principal Norma Grobman Rogers
OBOES James Button, Principal Ellen Menking, Assistant Principal Roger Wiesmeyer ENGLISH HORN Roger Wiesmeyer CLARINETS James Zimmermann, Principal Cassandra Lee, Assistant Principal Daniel Lochrie E-FLAT CLARINET Cassandra Lee BASS CLARINET Daniel Lochrie BASSOONS Cynthia Estill, Principal Dawn Hartley, Assistant Principal Gil Perel CONTRA BASSOON Gil Perel HORNS Leslie Norton, Principal Beth Beeson
HORNS Kelly Cornell, Associate Principal/3rd Horn Hunter Sholar Radu V. Rusu, Assistant 1st Horn TRUMPETS Jeffrey Bailey, Principal Patrick Kunkee, Co-Principal Gary Armstrong+, Assistant Principal Preston Bailey, Acting Assistant Principal TROMBONES Lawrence L. Borden+, Principal Susan K. Smith, Acting Principal Prentiss Hobbs, Acting Assistant Principal BASS TROMBONE Steven Brown TUBA Gilbert Long, Principal TIMPANI William G. Wiggins, Principal PERCUSSION Sam Bacco, Principal Richard Graber, Assistant Principal Trent Leasure HARP Licia Jaskunas, Principal KEYBOARD Robert Marler, Principal LIBRARIANS D. Wilson Ochoa, Principal Jennifer Goldberg, Librarian ORCHESTRA PERSONNEL MANAGERS Anne Dickson Rogers Carrie Marcantonio, Assistant *Section seating revolves +Leave of Absence
InConcert
67
ROSTERS
2011/12 BOARD OF DIRECTORS OFFICERS
DIRECTORS
James C. Gooch Board Chair
Janet Ayers Julian B. Baker, Jr. Russell W. Bates Scott Becker James L. Beckner Rob Bironas David L. Black Julie Boehm James B. Boles Jack O. Bovender, Jr. William H. Braddy III, CFP Anastasia Brown Ann Carell Rebecca Cole * Lisa Cooper * Susannah C. Culbertson * Ben L. Cundiff Carol Daniels Bob Dennis David Steele Ewing Bob Ezrin John D. Ferguson Ben Folds John Gawaluck Amy Grant Carl Grimstad Carl Haley, Jr.
Edward Goodrich Board Chair Elect John T. Rochford Board Vice Chair David Williams II Board Treasurer Betsy Wills Board Secretary Alan D. Valentine * President & CEO
68
JUNE 2012
Billy Ray Hearn C. Keith Herron Lee Ann Ingram Martha R. Ingram Clay Jackson Ruth E. Johnson Elliott Warner Jones, Sr. Larry Larkin Kevin P. Lavender Mary Helen Law * Zachary Liff Ellen Harrison Martin * Robert A. McCabe, Jr. Robert E. McNeilly III Eduardo Minardi Gregg Morton Peter Neff Victoria Chu Pao Charles R. Pruett Jennifer Puryear Jesse B. Register Wayne J. Riley Norma Rogers * Anne L. Russell Michael Samis * Mike Schatzlein, M.D. James C. Seabury III
Kristi Seehafer * Nelson Shields Beverly K. Small Renata Soto Bruce D. Sullivan Brett Sweet Louis B. Todd Van Tucker Jay Turner Steve Turner Mark Wait Jeffery Walraven Johnna Watson Ted Houston Welch William Greer Wiggins * Jeremy Williams * William M. Wilson Clare Yang * Shirley Zeitlin James Zimmermann* Young Leaders Council Intern Amy Richardson *Indicates Ex Officio
2011/12 NASHVILLE SYMPHONY STAFF EXECUTIVE Alan D. Valentine, President and CEO Karen Fairbend, Executive Assistant to the President and CEO Mark A. Blakeman, V.P. of Orchestra and Building Operations and General Manager Sarah Jones, Assistant to the V.P. of Orchestra and Building Operations Michael Kirby, V.P. of Finance and Administration and CFO Jim Mancuso, V.P. of Artistic Administration Jonathan Norris, SPHR, V.P. of Human Resources ARTISTIC ADMINISTRATION Emma Smyth, Manager of Artistic Administration Valerie Nelson, Manager of Pops & Special Programs Ellen Kasperek, Artistic Administration Assistant Andrew Risinger, Organ Curator BOX OFFICE/TICKETING Kimberly Darlington, Director of Ticket Services Emily Shannon, Box Office Manager Tina Messer, Ticket Services Specialist Missy Hubner, Ticket Services Assistant COMMUNICATIONS Jonathan Marx, Director of Communications Laurie Davis, Publicist Nancy VanReece, Social Media Strategist and Website Manager DATA STANDARDS Tony Exler, Director of Data Standards Sheila Wilson, Sr. Database Associate DEVELOPMENT Erin Wenzel, Sr. Director of Development Emily Sullivan, Director of Individual Giving Hayden Pruett, Major Gifts Officer Maribeth Stahl, Director of Corporate Relations and Grants Kristy Reuter, Benefit Fulfillment Coordinator Sara Hanahan, Development Events Manager EDUCATION Blair Bodine, Director of Education and Community Engagement Andy Campbell, Education and Community Engagement Program Manager Kelley Bell, Education and Community Engagement Assistant FINANCE Karen Warren, Controller Mildred Payne, Accounts Payable and Payroll Manager Sheri Switzer, Senior Accountant Steven McNeal, Staff Accountant Debra Hollenbeck, Buyer/Retail Manager FOOD, BEVERAGE AND EVENTS Steve Perdue, Director of Food, Beverage and Events Roger Keenan, Executive Chef Ryan Slattery, Executive Sous Chef Hiroju LaPrad, Sous Chef Bruce Pittman, Catering & Events Sales Manager Kayanne Jones, Catering and Events Manager Hays McWhirter, Catering and Events Manager
Lacy Lusebrink, Food and Beverage Manager Collin Husbands, Food, Beverage and Events Coordinator Johnathon McGee, Food and Beverage Supervisor Anderson S. Barns, Beverage Manager Garland Smith, Beverage Supervisor HUMAN RESOURCES Ashley Skinner, PHR, Human Resources Manager Kathleen McCracken, Volunteer Manager Martha Bryant, Receptionist and Human Resources Assistant I.T. Dan Sanders, Director of Information Technology Trenton Leach, Software Applications Developer Chris Beckner, Desktop Support Specialist MARKETING Ronda Combs Helton, Sr. Director of Marketing Misty Cochran, Director of Advertising and Promotions Sarah Vickery, Sales Manager Meredith Benning, Promotions & Sales Coordinator Jessi Menish, Graphic Designer Ashley May, Graphic Design Associate PRODUCTION AND ORCHESTRA OPERATIONS Tim Lynch, Sr. Director of Operations and Orchestra Manager Anne Dickson Rogers, Orchestra Personnel Manager Carrie Marcantonio, Assistant Orchestra Personnel Manager D. Wilson Ochoa, Principal Librarian Jennifer Goldberg, Librarian John Sanders, Chief Technical Engineer Brian Doane, Production Manager Mitch Hansen, Lighting Director Michelle Griesmer, Assistant Lighting Director Gary Call, Audio Engineer Mark Dahlen, Audio Engineer W. Paul Holt, Stage Manager Josh Walliser, Stage and Production Assistant PATRON SERVICES Kristen Drake, Director of Patron Services Patron Services Specialists: Darlene Boswell, Dennis Carter, Phil Shay, Daniel Tonelson, Judith Wall Jackie Knox, Manager of Marketing Associates Eric Adams, Assistant Manager of Marketing Associates Marketing Associates: Linda Booth, Toni Conn, James Calvin Davidson, Gina Haining, Mark Haining, Lloyd Harper, Rick Katz , Deborah King, Cassie Nowels, Misha Robledo, Dustin Skilbred VENUE MANAGEMENT Eric Swartz, Associate V.P. of Venue Management Craig Colunga, Director of Security Danny Covington, Chief Engineer Raay Creech, Facility Maintenance Technician Kenneth Dillehay, Facility Maintenance Technician Wade Johnson, Housekeeping Manager Kevin Butler, Housekeeper DeAndrea Mason, Housekeeper Tony Meyers, House Manager
InConcert
69
“There’s something special about this place.”
STUDIO TENN PRESENTS
LIVE ON STAGE AT THE FRANKLIN THEATRE
615.292.9465 www.ctk.org PREKINDERGARTEN THROUGH GRADE 8
experience the westhaven DiffeRence
The difference is liveability. Whether you like reading the playbill, are looking to make new friends or enjoy playing golf, Westhaven offers something for everyone.
Experience the Westhaven Difference. Call 615-599-1764 today to schedule a personal tour. w w w. w e s t h a v e n t n . c o m w e s t h av e n R e a lt y o f f i c e o p e n D a i ly 1 0 0 1 w e s t h av e n B lv D . , s u i t e 1 0 0 | f R a n k l i n , t n 3 7 0 6 4 ©2012 Southern Land Company • Broker participation welcomed. Prices, plans, dimensions and specifications subject to change without notice.Void where prohibited by law. Some restrictions apply.
February 24 - May 28, 2012
Downtown Nashville fristcenter.org Members/Youth 18 and younger FREE Patricia Piccinini. The Long Awaited, 2008. Silicone, fiberglass, human hair, leather, plywood, fabric; 59 7/8 x 31 1/2 x 36 1/4 in. Collection of Penny Olive. Courtesy of the Artist. Photography by Graham Baring
FC1971_L4ab_Performing ArtsMag.indd 1
2/7/12 10:11 AM
What is FirstBanking? 45 Locations
▼
▼
It’s banking that reaches beyond. $2 Billion in Resources
More Than Banking
www.FirstBankOnline.com 200 4th Ave. North Downtown Nashville 615.953.4580 Member FDIC
113 Seaboard Ln. Suite 130A – Franklin 615.373.7778
ing
5029 Harpeth Drive Brentwood 615.324.9440
211 Commerce Street Suite 300 – Nashville 615-313-0080 InConcert
71
Building a Foundation for the Arts
*United Way of Metropolitan Nashville at Work Here.
A Leader Among Leaders The Alexis de Tocqueville Society was founded in Nashville in 1981 by Dr. Thomas F. Frist, Jr. The Society now circles the globe with 26,000 members contributing $500 million annually to United Way’s most critical work. Following are the members of Nashville’s 2010 Alexis de Tocqueville Society, Alpha Chapter with years of membership denoted. 2010 Alexis Tocqueville Society, Alpha Chapter Members Mr. and Mrs. Kent Adams, 6 Mr. and Mrs. David G. Anderson, 12 Mr. and Mrs. W. Michael Arthur, 5 Jim and Janet Ayers, 16 Dr. Jeffrey R. Balser, 3 Mr. and Mrs. H. Lee Barfield II, 17 Carol and Barney Barnett, 8 Mr. Russell W. Bates, 8 Mr. and Mrs. James S. Beard, 15 Dr. and Mrs. Robert Daniel Beauchamp, 5 Mr. and Mrs. Francis J. Bedard, 8 Mr. and Mrs. Jeffrey Belser, 8 Mr. and Mrs. Phil and Amberly Billington, 6 Mr. and Mrs. W. Perry Blandford, 4 Mr. and Mrs. Frederick L. Blank, 6 Mr. and Mrs. Brad Blevins, 9 Mr. and Mrs. J. William Blevins, 16 Michael and Resha Blivens, 1 Linda and David Bohan, 4 Mr. and Mrs. Jack O. Bovender, Jr., 21 Mr. and Mrs. Richard M. Bracken, 14 Mrs. James C. Bradford, Jr., 23 Mr. and Mrs. Edward H. Braman, 3 Mr. and Mrs. Michael T. Bray, 6 Mr. and Mrs. Laurance H. Brewster, 3 David and Jenny Briggs, 3 Mr. and Mrs. Henry Clay Bright III, 3 Mr. and Mrs. Martin S. Brown, 24 Mr. and Mrs. Frank M. Bumstead, 10 Mr. and Mrs. John R. Burch, 24 Julie and Matt Burnstein, 5 Diane and Kyle Callahan, 10 Mr. and Mrs. John P. Campbell III, 10 Mr. and Mrs. Victor Campbell, 19 David and Elizabeth Cannady, 4 Mrs. Monroe J. Carell, Jr., 14 Bill and Trudy Carpenter, 10 Mr. and Mrs. Michael Carter, 5 Mr. and Mrs. William J. Carver, Jr., 6 Mr. Fred J. Cassetty, 7 Yonnie and Curt Chesley, 5 Mr. and Mrs. Thomas G. Cigarran, 11 Mr. and Mrs. John W. Clay, Jr., 16 Mr. and Mrs. William S. Cochran, 25 Mr. J. Chase Cole, 10 Mr. and Mrs. Wiley B. Coley III, 5 Mr. and Mrs. Charles W. Cook, Jr., 17 Mr. and Mrs. John H. Crosslin, 5 Kevin and Katie Crumbo, 5 Harvey and Helen Cummings, 19 Mr. and Mrs. Brownlee O. Currey, Jr., 30 Professor Richard Daft and Dorothy Marcic, 3 Mr. and Mrs. Frank Daniels III, 4 Mr. and Mrs. Ralph Davis, 5 Mr. and Mrs. Hilton Dean, 12 Mayor Karl F. Dean and Ms. Anne Davis, 4 Mr. and Mrs. Dennis T. Delaney, 11 Elizabeth and Robert Dennis, 6 Mr. and Mrs. Sam B. DeVane, 4 Mr. and Mrs. Eric Dewey, 3 Mr. and Mrs. Jeffrey T. Dobyns, 3 Margaret and Steve Dolan, 10 Mr. and Mrs. Cullen E. Douglass, 6 Mr. and Mrs. Emanuel Eads, 3 Mr. and Mrs. Mark J. Eddy, 12 Cassie and Tom Edenton, 12
Mr. and Mrs. Charles A. Elcan, 16 Mr. and Mrs. Jason Epstein, 4 Mrs. Irwin B. Eskind, 27 Dr. and Mrs. Jeffrey B. Eskind, 16 Mr. and Mrs. DeWitt Ezell, Jr., 18 Mr. and Mrs. Mark V. Ezell, 4 Bob and Amanda Farnsworth, 9 Mr. and Mrs. Ernest T. Felts, Jr., 3 Mr. and Mrs. John D. Ferguson, 8 Mr. and Mrs. Edmund B. Fitzgerald, 21 Mr. and Mrs. Gene Fleming, 17 Tom and Judy Foster, 6 Mr. Sam O. Franklin III, 16 Mr. and Mrs. David Freeman, 4 Dr. and Mrs. Robert A. Frist, 19 Dr. and Mrs. Thomas F. Frist, Jr., 30 The Honorable and Mrs. William H. Frist, 19 Mr. and Mrs. William R. Frist, 10 Mr. and Mrs. Herbert A. Fritch, 6 Mr. Mario J. Gabelli, 8 Mr. and Mrs. John Gawaluck, 11 Mr. and Mrs. Gerard V. Geraghty, 7 Mr. and Mrs. Kenneth W. Gerdesmeier, 6 Mr. and Mrs. Frank Gordon, 4 Mr. and Mrs. Joel C. Gordon, 30 Robert and Julie Gordon, 4 Mr. and Mrs. Dennis Green, 4 Kristen and Chad Greer, 6 Steve Groom, 2 Landis B. Gullett Lead Annuity Trust, 16 Mr. and Mrs. James S. Gulmi, 10 Scott and Kathy Hadfield, 3 JB and Shawn Haile, 1 Mr. and Mrs. James C. Hailey, 17 Mr. Charles J. Hall, 4 Russ and Elvia Harms, 8 Robert L. and Caitlin S. Harris, 4 Mr. and Mrs. Spencer Hays, 19 Mr. and Mrs. Samuel N. Hazen, 11 Mrs. Phyllis G. Heard, 2 Mr. and Mrs. E. Anthony Heard III, 9 Drs. Robert and Alexandra Hendricks, 2 Ms. Sherri M. Henry, 6 Mr. J. Reginald Hill, 10 Damon and Carrie Hininger, 6 Mr. and Mrs. James D. Hinton, 12 Mr. and Mrs. Dan W. Hogan, 6 Ms. Angela Rene Hoke, 1 Mr. and Mrs. William Holleman, 3 Mr. and Mrs. C. O. Holliday, Jr., 1 Mr. and Mrs. Henry W. Hooker, 30 The Houghland Foundation, 29 Carol and Ad Hudler, 1 Ms. Angela H. Humphreys, 4 Mr. Franklin Y. Hundley, Jr., 3 Mr. and Mrs. James V. Hunt, Sr., 9 Mr. and Mrs. David B. Ingram, 14 Martha R. Ingram, 30 Mr. and Mrs. John R. Ingram, 15 Mr. and Mrs. Orrin H. Ingram, 16 Mr. and Mrs. Gordon E. Inman, 5 Mr. and Mrs. Donald J. Israel, 19 Mr. and Mrs. Clay T. Jackson, 14 Mr. and Mrs. Granbery Jackson III, 11 Mr. and Mrs. Clint Jennings, 2 Mr. and Mrs. James L. Johnson, 17 Mr. and Mrs. R. Milton Johnson, 12 Roy and Marty Jordan, 7 Mr. and Mrs. Leonard L. Kindig, 3
Robin and Bill King, 24 Mr. and Mrs. Larry Kloess, 8 Mr. and Mrs. Ronald F. Knox, Jr., 14 Mr. Kumar Kolin, 1 Mr. Kevin P. Lavender, 1 Mr. and Mrs. Fred W. Lazenby, 23 Irving E. Lingo, Jr. and Karin Demler, 3 Mr. Robert S. Lipman, 14 Sam and Mary Ann Lipshie, 3 Estate of Clare H. Loventhal, 10 Mr. and Mrs. C. Stephen Lynn, 16 Barbara and Kenny Lyons, 8 Mr. and Mrs. Myles A. MacDonald, 5 Mr. and Mrs. David J. Malone, Jr., 19 Mr. and Mrs. Chip Manning, 3 Mr. and Mrs. Stephen P. Masie, 3 Ms. Cheryl White Mason, 5 Mrs. Jack C. Massey, 30 Ms. Margaret C. Mazzone, 3 Ms. Maeve E. McConville, 5 Mr. and Mrs. Frank W. McGregor, 3 Betsy Vinson McInnes, 12 Mr. and Mrs. Robert McNeilly, Jr., 9 Mr. and Mrs. R. Clayton McWhorter, 24 Mr. and Mrs. Scott McWilliams, 8 Mr. and Mrs. James R. Meadows, Jr., 11 Lynn and Ken Melkus, 17 Mr. and Mrs. Kevin S. Millen, 2 Andrew Woodfin Miller Foundation, 20 Mr. and Mrs. Richard L. Miller, 1 Mr. and Mrs. Robert Miller, 3 Ms. Mary Mirabelli and Mr. Steven Cristanus, 6 Mr. Kevin N. Monroe, 2 Mr. Donald R. Moody, 5 Mr. and Mrs. A. Bruce Moore, Jr., 14 Mr. and Mrs. Joseph D. Moore, 19 Mr. and Mrs. William P. Morelli, 10 Gregg F. and Cathy T. Morton, 4 Mr. and Mrs. Charles E. Nash, 8 Troy and Kimberly Nunn, 4 Philip and Carolyn Orr, 4 Mr. and Mrs. Eric Paisley, 6 Mr. and Mrs. James N. Parrott, 6 Ms. Mary Parsons, 6 Mr. and Mrs. William V. Parsons, Jr., 9 Mr. and Mrs. Paul Martin Paslick, 5 Mr. Steven A. Pate, 5 Mr. and Mrs. Hal N. Pennington, 10 Mr. and Mrs. James W. Perkins, Jr., 29 Mr. and Mrs. Clay Petrey, 3 Craig E. Philip and Marian T. Ott, 11 Leigh and David Pickett, 1 Mr. and Mrs. Sid Pilson, 13 Mr. and Mrs. Marshall T. Polk III, 9 Mr. and Mrs. Charles R. Pruett, 10 Mr. and Mrs. Mel Purcell, 4 Mr. Larry Quinlan, 6 Mr. and Mrs. Art Rebrovick, 13 Mr. and Mrs. Ben L. Rechter, 7 Mr. and Mrs. Ben R. Rechter, 29 Mr. and Mrs. Mark R. Rechter, 7 Mr. and Mrs. Colin Reed, 5 Bonnie and Gary Reid, 2 Mr. and Mrs. Paul A. Rein, 4 Ken and Michelle Rideout, 3 Dr. and Mrs. Wayne J. Riley, 4 Mr. and Mrs. Stephen S. Riven, 20 Mr. and Mrs. Kenneth L. Roberts, 27 Mr. and Mrs. Bailey P. Robinson III, 16
If you would like to inquire about membership in this elite group of leaders, you may do so by contacting Celeste Wilson at: celeste.wilson@unitedwaynashville.org or 615.780.2403 615.780.2403 | www.unitedwaynashville.org 250 Venture Circle, Nashville, TN 37228
Mr. and Mrs. John T. Rochford III, 16 Mr. and Mrs. Douglas J. Rohleder, 6 Mr. Anthony A. Rose, 22 W. Andrew and Sabrina Ruderer, 2 Anne and Joe Russell, 22 Mr. and Mrs. Floyd Rutan, 5 Mr. and Mrs. Bill B. Rutherford, 9 Mr. and Mrs. William Paul Rutledge, 10 The Scarlett Family Foundation, 4 Mr. and Mrs. Joe Scarlett, 11 Tim and Beth Scarvey, 6 Mr. and Mrs. James Schmitz, 4 Mr. and Mrs. David G. Sehrt, 4 Mr. and Mrs. Richard Shallcross, 10 Michael and Lisa Shmerling, 13 Mr. and Mrs. W. Lucas Simons, 23 R. Timothy Sinks, 3 Mr. and Mrs. Barry R. Smith, 3 Mr. and Mrs. Jeffrey Smith, 3 Mr. and Mrs. Wayne T. Smith, 10 Grant and Suzanne Smothers, 1 Joe and Joanne Sowell, 2 Mr. and Mrs. Robert E. Spieth, 6 Mr. and Mrs. Charles Sprintz, 10 Mr. and Mrs. Joe N. Steakley, 14 Mr. John M. Steele, 12 John and Beth Stein, 4 Mr. and Mrs. Donald W. Stinnett, 5 Mr. and Mrs. Don Street, Jr., 12 Mr. and Mrs. J. Michael Sullivan, 9 David and Mona Tehle, 1 Mr. and Mrs. Steve Thomas, 6 Mrs. Kim Bradley Thomason, 3 Robin and Overton Thompson, 1 Mr. and Mrs. John C. Tishler, 3 Ms. Claire Whitfield Tucker, 12 Mr. and Mrs. Cal Turner, 24 James Stephen Turner Family Foundation, 3 Juan and Elizabeth Vallarino, 2 Mr. and Mrs. Lee F. Van Dyke, 3 Mr. and Mrs. David T. Vandewater, 16 Mr. and Mrs. Fred Viehmann, 18 Mr. and Mrs. Jay Wallace, 12 Mr. and Mrs. Johnson B. Wallace, Jr., 12 Brian and Christy Waller, 6 Ms. Leigh Walton, 1 Mr. Brian Ampferer Ward, 9 Mr. and Mrs. Robert Waterman, 14 Mr. and Mrs. Jonathan Weaver, 9 Marti and Brian Webster, 1 Colleen and Ted Welch, 18 Betty and Bernard Werthan Foundation, 30 Mrs. John Warner White, 24 Mr. and Mrs. David Williams II, 4 Ms. Noel B. Williams, 13 Mr. and Mrs. Ridley Wills II, 30 Dan Wilson and Linda Dickert Wilson, 3 Mr. and Mrs. Brad Withrow, 3 Mr. and Mrs. Kevin Witt, 4 Mr. and Mrs. Alan R. Yuspeh, 11 Mrs. Robert K. Zelle, 28 Chancellor Nicholas S. Zeppos, 3 Raymond and Etta Zimmerman, 30 Dana A. Zukierski, 1
THE COVENANT SCHOOL Excellence in Christian Education
J R.
KINDERGARTEN -
6 TH
GRADE
33 Burton Hills Blvd. Nashville, TN 37215 615.467.2313
www.thecovenantschool.com
Don’t Just Watch Great Art. Taste It.
Eight members prefer to remain anonymous.
Performances nightly at 50 local restaurants.
NashvilleOriginals.com
111
www.ICGLINK.com
THE ARTS MAKE OUR COMMUNITY A RICHER, HEALTHIER, MORE VIBRANT PLACE TO LIVE.
AND THAT’S A SUBJECT WE KNOW A LOT ABOUT.
Experience a community where the finer things in life are a way of life. Nestled among ten quiet acres in the heart of Green Hills, you’ll find retirement living at its most gracious. Discover the comfort, security and convenience offered only at The Blakeford. 11 Burton Hills Boulevard Nashville, Tennessee 37215 (615) 665-9505/www.blakeford.com
THE ROYAL TREATMENT. Winding through Southern hills, the paths leading to the Renaissance Birmingham Ross Bridge Golf Resort & Spa reveal elegance at every turn. Upon approaching the castle-like resort, guests are swept into a fairytale escape where culinary masterpieces tempt the palette and an awardwinning spa promises to treat the senses. The world’s fourth longest golf course, part of Alabama’s Robert Trent Jones Golf Trail, challenges your skills, while state-of-the-art meeting space inspires productivity.
RENAISSANCE BIRMINGHAM ROSS BRIDGE GOLF RESORT & SPA 4000 Grand Avenue Birmingham, AL 35226 t: 205 916 7677 rossbridgeresort.com A part of the Resort Collection on Alabama’s Robert Trent Jones Golf Trail
e verY h o m e S h o u Ld B e a CaStLe Custom homes ǀ remoDeLING ǀ INterIor DesIGN
So uth ern L i v in g 20 12 Cu Sto m B uiLd er o f th e Ye ar
Sta rt b uildin g yo u r d r e a m h o m e to day. v isi t cast leh o m es .co m Guaranteed pricinG / Free consultation
615.309.8200
castlehomes.com
ANNUAL FUND
INDIVIDUALS
The Nashville Symphony is deeply grateful to the following individuals who support its concert season and its services to the community through their generous contributions to the Annual Fund. Donors as of April 27, 2012
VIRTUOSO SOCIETY Gifts of $10,000+
Anonymous (2) David & Diane Black Mr.* & Mrs. J. C. Bradford Jr. Mr. & Mrs. John Chadwick Mac & Linda Crawford Janine & Ben Cundiff Mr. & Mrs. Frank A. Daniels III
Mr. & Mrs. Albert F. Ganier III James C. Gooch & Jennie P. Smith Giancarlo & Shirley Guerrero Patricia & H. Rodes Hart Mrs. Martha R. Ingram Dr. & Mrs. Howard S. Kirshner
The Martin Foundation Mr. & Mrs. Cano Ozgener Mr. & Mrs. Ben R. Rechter Anne & Joe Russell Mr. & Mrs. James C. Seabury III Margaret & Cal Turner Mr. & Mrs. Steve Turner
THA
STRADIVARIUS SOCIETY Gifts of $5,000 - $9,999 Anonymous (1) Mr. & Mrs. James Ayers Judy & Joe Barker Russell W. Bates Mr. James B. Boles Mr. & Mrs. Jack O. Bovender Jr. Ann Scott Carell Mr. & Mrs. Richard W. Carlton Kelly & Bill Christie Mr. & Mrs. Tom F. Cone Hilton & Sallie Dean Mr. & Mrs. Robert J. Dennis Marty & Betty Dickens Dee & Jerald Doochin Mr. & Mrs. Jere M. Ervin Annette S. Eskind The Jane & Richard Eskind & Family Foundation
Marilyn Ezell Allis Dale & John Gillmor Ed & Nancy Goodrich Carl & Connie Haley Mrs. Harold Hassenfeld Mr. & Mrs. Billy Ray Hearn Helen & Neil Hemphill Mrs. V. Davis Hunt Mr. & Mrs. David B. Ingram Lee Ann & Orrin Ingram Keith & Nancy Johnson Robin & Bill King Christine Konradi & Stephan Heckers Ralph & Donna Korpman Jim Lewis Zachary Liff
Robert Straus Lipman Mr. & Mrs. Robert A. McCabe Jr. Sheila & Richard McCarty Dr. Ron McDow The Honorable Gilbert S. Merritt Edward D. & Linda F. Miles Richard & Sharalena Miller Gregg & Cathy Morton Anne & Peter Neff Dr. Harrell Odom II & Mr. Barry W. Cook Burton Jablin & Barron Patterson Hal & Peggy Pennington Mr. & Mrs. Philip M. Pfeffer Mr. & Mrs. Charles R. Pruett Carol & John T. Rochford
The Roros Foundation Joe & Dorothy Scarlett Dr. & Mrs. Michael H. Schatzlein Mr.* & Mrs. Nelson Severinghaus Ronald & Diane Shafer Nelson & Sheila Shields Mr. & Mrs. Irvin Small Mr. & Mrs. Earl S. Swensson Dr. John B. Thomison Mr. & Mrs. Louis B. Todd Jr. Alan D. & Connie F. Valentine Peggy & John Warner Ms. Johnna Benedict Watson Mr. & Mrs. Julian Zander Jr. Mr. Nicholas S. Zeppos & Ms. Lydia A. Howarth
YO
GOLDEN BATON SOCIETY Gifts of $2,500 - $4,999 Anonymous (2) Clint & Kali Adams Mrs. R. Benton Adkins Jr. Shelley Alexander Dr. & Mrs. Elbert Baker Jr. Dr. & Mrs. Robert O. Begtrup Dr. & Mrs. H. Victor Braren Mr.* & Mrs. Arthur H. Buhl III Ann & Frank Bumstead Mrs. Patricia B. Buzzell Philip & Melanie Cavender Mr. & Mrs. Terry W. Chandler Dorit & Don Cochron Richard & Kathy Cooper Mr. & Mrs. James H. Costner
76
JUNE 2012
Mr. & Mrs. Justin Dell Crosslin Andrea Dillenburg & Ted Kraus Donna & Jeffrey Eskind Mr. & Mrs. Robert A. Ezrin Bob & Judy Fisher John & Lorelee Gawaluck Harris A. Gilbert Amy Grant & Vince Gill Suzy Heer Mr. & Mrs. Robert C. Hilton Ms. Cornelia B. Holland Mr. & Mrs. Donald J. Israel Mr. & Mrs. John F. Jacques Anne Knauff Mr. & Mrs. Michael A. Koban Jr.
Mr. & Mrs. Fred W. Lazenby Dr. Arthur M. Mellor F. Max & Mary A. Merrell Drs. Mark & Nancy Peacock Eric Raefsky, M.D. & Ms. Victoria Heil Mr. & Mrs. Gerald A. Risk Anne & Charles Roos Mr. & Mrs. Scott C. Satterwhite Debbie & Albert-George Schram Mr. & Mrs. J. Ronald Scott Mr. & Mrs. Rusty Siebert Mr. & Mrs. Martin E. Simmons Dr. Michael & Tracy Stadnick Mr. & Mrs. Brett Sweet
Pamela & Steven Taylor Drs. Pilar Vargas & Sten H. Vermund Mr. & Mrs. Jeffery C. & Dayna L. Walraven Jonathan & Janet Weaver Carroll Van West & Mary Hoffschwelle Craig P. Williams & Kimberly Schenck Dr. Artmas L. Worthy Shirley Zeitlin
CONDUCTOR’S CIRCLE
Gifts of $1,500 - $2,499
Anonymous (3) Jeff & Tina Adams James & Glyna Aderhold Dr. Paige Akers Dr. Alice & Mr. Richard C. Arnemann Jon K. & Colleen Atwood James M. Bailey Jr. Mr. & Mrs. H. Lee Barfield II Barbara & Mike Barton Betty C. Bellamy Dr. Eric & Elaine Berg Frank M. Berklacich, MD Mr.* & Mrs. Harold S. Bernard Mark & Sarah Blakeman Julie & Dr. Frank Boehm Dennis & Tammy Boehms Mr. & Mrs. Robert Boyd Bogle III Mr. Jamey Bowen & Mr. Norman Wells Dan & Mindy Brodbeck Mr. & Mrs. Martin S. Brown Jr. Mr. & Mrs. Paul J. Buijsman Drs. Rodney & Janice Burt Chuck & Sandra Cagle Michael & Jane Ann Cain Mr. & Mrs. Gerald G. Calhoun Brenda & Edward Callis Mr. & Mrs. William H. Cammack Jan & Jim Carell Ann & Sykes Cargile Clint & Patty Carter Michael & Pamela Carter Fred Cassetty Erica & Doug Chappell Barbara & Eric Chazen James H. Cheek III Catherine Chitwood M. Wayne Chomik Mr. & Mrs. Sam E. Christopher Mr. George D. Clark Jr. Esther & Roger Cohn Ed & Pat Cole Chase Cole Marjorie & Allen* Collins Mr. & Mrs. Charles W. Cook Jr. Roger & Barbara Cottrell Mr. & Mrs. Roy J. Covert Mr. & Mrs. Donald S. A. Cowan James L. & Sharon H. Cox Dr. & Mrs. James Crafton Drs. Paul A. & Dorothy Valcarcel Craig Kimberly L. Darlington John & Natasha Deane Sandra & Daryl Demonbreun The Rev. & Mrs. Fred Dettwiller Mr. & Mrs. Glenn Eaden Dr. & Mrs. E. Mac Edington Robert D. Eisenstein David Ellis & Barry Wilker Dr. Meredith A. Ezell Mr. & Mrs. John Ferguson T. Aldrich Finegan John David & Mary Dale Trabue Fitzgerald John & Cindy Watson Ford
Giancarlo Guerrero with Cho-Liang Lin
Tom & Judy Foster Cathey & Wilford Fuqua Carlene Hunt & Marshall Gaskins Mr. & Mrs. Andrew Giacobone Lynette Gibbons & D. Cole Gibbons Mr. & Mrs. Roy J. Gilleland III Frank Ginanni Tony & Teri Gosse Mr. & Mrs. C. David Griffin Francis S. Guess Dr. Edward Hantel Janet & Jim Hasson Mr. & Mrs. John Burton Hayes Mr. & Mrs. Jeffrey N. Hinson Judith Hodges Ken & Pam Hoffman Mr. & Mrs. Henry W. Hooker Mr. & Mrs. Thomas W. Hulme Dr. & Mrs. Stephen P. Humphrey Judith & Jim Humphreys Marsha & Keel Hunt Rodney Irvin Family Mr. & Mrs. Clay T. Jackson Donald L. Jackson Ellen & Kenneth Jacobs Louis Johnson M.D. Norm & Barb Johnson George & Shirley Johnston Mr. & Mrs. Clark Powell Jones Dr. & Mrs. David S. Jones Jan Jones & Steve Williams Drs. Spyros Kalams & Lisa Mendes Ray & Rosemarie Kalil Mr. & Mrs. Bill G. Kilpatrick Michael & Melissa Kirby Tom & Darlene Klaritch Mr. Richard B. Kloete William C. & Deborah Patterson Koch Ms. Pamela L. Koerner Mr. & Mrs. Gene C. Koonce Mr. & Mrs. Edward J. Kovach Heloise Werthan Kuhn Mr. & Mrs. Randolph M. LaGasse Bob & Mary LaGrone Robert & Carol Lampe Larry & Martha Larkin Richard & Diane Larsen Sandi & Tom Lawless Jon & Elaine Levine Sally M. Levine John T. Lewis Robert A. Livingston Elizabeth & Jim Mancuso
Shari & Red Martin Rhonda A. Martocci & William S. Blaylock Scott & Jennifer McClellan Tommy & Cat McEwen Mr. & Mrs. Martin F. McNamara III Mr. & Mrs. Robert McNeilly Jr. Mr. & Mrs. Richard D. McRae III Dr. Mark & Mrs. Theresa Messenger Christopher & Patricia Mixon Mr. & Mrs. William P. Morelli Ms. Lucy H. Morgan Matt & Rhonda Mulroy James & Patricia Munro Leonard Murray & Jacqueline Marschak Lannie W. Neal Pat & John W. Nelley Jr. Ms. Agatha L. Nolen Jonathan Norris & Jennifer Carlat Mr. & Mrs. Douglas Odom Jr. Representative & Mrs. Gary L. Odom David & Pamela Palmer Victoria & William Pao Mr. & Mrs. William C. Pfaender David & Adrienne Piston Mr. & Mrs. Gustavus A. Puryear IV Dr. Gipsie B. Ranney Sharon Hels & Brad Reed Dr. Jesse B. Register Drs. Jeff & Kellye Rice Drs. Wayne & Charlene Riley Mr. & Mrs. John A. Roberts Mr. & Mrs. Kenneth L. Roberts Margaret Ann & Walter Robinson Foundation James & Patricia Russell Mr. & Mrs. John J. Sangervasi Mr. & Mrs. Eric M. Saul Dr. Norm Scarborough & Ms. Kimberly Hewell Mr. Paul H. Scarbrough Dolores & John Seigenthaler Dr. & Mrs. R. Bruce Shack Allen Spears* & Colleen Sheppard Bill & Sharon Sheriff Tom & Sylvia Singleton William & Cynthia Sites George & Mary Sloan Drs. Walter Smalley & Louise Hanson
ANK
OU
InConcert
77
ANNUAL FUND
Suzanne & Grant Smothers K. C. & Mary Smythe Jack & Louise Spann Mr. & Mrs. Hans Stabell Christopher & Maribeth Stahl Mr. & Mrs. James G. Stranch III Bruce & Elaine Sullivan Fridolin & Johanna Sulser Andrew Keith & Donna Dame Summar Dr. Steve A. Hyman & Mr. Mark Lee Taylor Ann M. Teaff & Donald McPherson III Dr. & Mrs. Clarence S. Thomas Scott & Julie Thomas Candy Toler Dr. & Mrs. Alexander Townes Mr. & Mrs. Marshall Trammell Christi & Jay Turner Deborah & Mark Wait Mr. & Mrs. Martin H. Warren Art & Lisa Wheeler Mr. & Mrs. Thomas G. B. Wheelock Charles Hampton White Mr. & Mrs. Jimmie D. White Stacy Widelitz Mr. & Mrs. David M. Wilds Mr. Donald E. Williams Shane & Laura Willmon Ms. Marilyn Shields-Wiltsie & Dr. Theodore E. Wiltsie Dr. & Mrs. Lawrence K. Wolfe ENCORE CIRCLE
Gifts of $1,000 - $1,499
Anonymous (7) Mark & Niki Antonini Mrs. Brenda Bass Mr. & Mrs. James Beckner Marti Bellingrath Mr. & Mrs. Raymond P. Bills Bob & Marion Bogen Jean & David Buchanan Sharon Lee Butcher John E. Cain III Mary & Joseph Cavarra Dr.* & Mrs. Robert Chalfant Mrs. John Hancock Cheek Jr. Mr. & Mrs. W. Ovid Collins Joe C. Cook III Mr. & Mrs. Joe C. Cook Jr. Mr. & Mrs. J. Bradford Currie Greg & Collie Daily Mr.* & Mrs. Julian de la Guardia M. Maitland DeLand, M.D. Mr. & Mrs. Kenton Dickerson Kimberly & Stephen Drake Laura L. Dunbar Mr. & Mrs. Mike Dye Mr. & Mrs. Thomas S. Edmondson Sr. Drs. James & Rena Ellzy Laurie & Steven Eskind Robert & Cassandra Estes Mr. & Mrs. DeWitt Ezell Ms. Paula Fairchild
78
JUNE 2012
Drs. Robert & Sharron Francis Dr. & Mrs. John R. Furman Mr. & Mrs. J. George Harris Mr. Larry O. Helms Keith & Kelly Herron Carrie & Damon Hininger Mr. & Mrs. Richard Holton Ray Houston Hudson Family Foundation Donna & Ronn Huff Bud Ireland Mr. & Mrs. Toshinari Ishii Peter* & Marion Katz Mr. & Mrs. James Kelso Walter & Sarah Knestrick Rachel & John Kuchtey Dr. & Mrs. John W. Lea IV Dr. & Mrs. T. A. Lincoln Dr. & Mrs. Christopher Lind Burk & Caroline Lindsey Tim Lynch Steve & Susie Mathews Lynn & Jack May Robert P. Maynard Jim & Judi McCaslin Robert Ness Mr. & Mrs. Marvin Nischan Dr. Casey Noble Inka & Richard Odom Alex S. Palmer Dr. Edgar H. Pierce Jr. Mr. & Mrs. Paul E. Prill Mr. & Mrs. Doyle R. Rippee Mr. & Mrs. Stephen Riven Mr. & Mrs. David L. Rollins Georgianna W. Russell David Sampsell Paula & Kent Sandidge Samuel A. Santoro & Mary M. Zutter Dr. & Mrs. John S. Sergent Dr. & Mrs. Andrew Shinar Mr. & Mrs. Brian S. Smallwood Mr. & Mrs. Ronald M. Sohr Mr. & Mrs. David B. Stewart Jane Lawrence Stone James B. & Patricia B. Swan Norman & Marilyn Tolk Joe & Ellen Torrence Thomas L. & Judith A. Turk William E. Turner Jr. Dr. & Mrs. Robert W. Wahl Mike & Elaine Walker Mr. & Mrs. William G. Wiggins Mr. & Mrs. Mark A. Williams Mr. & Mrs. William M. Wilson
Mr. & Mrs. Edwin Barton Mr. & Mrs. Thomas E. Bateman Katrin T. Bean Dr. & Mrs. R. Daniel Beauchamp Bernice Amanda Belue Mike & Kathy Benson Dr. & Mrs. Ben J. Birdwell Mr. Rob Bironas Ralph & Jane Black Randolph & Elaine Blake Mr. & Mrs. Bill Blevins Dr. & Mrs. Marion G. Bolin Mr. & Mrs. William E. Boyte William H. Braddy III Mr. & Mrs. Stephen Braun Berry & Connie Brooks Dr. & Mrs. Glenn Buckspan Mrs. Michelle H. Burgess Dr. Roger & Mrs. Donah Burgess Mr. & Mrs. Richard Burks Gene & Jamie Burton John & LuAnnette Butler James Button Drs. Robert & Mirna Caldwell Janet C. Camp Mr. Kirk C. Campbell Mr. Thomas R. Campion Michael & Linda Carlson Mr. & Mrs. William F. Carpenter III Mr. & Mrs. John L. Chambers Dr. & Mrs. Robert H. Christenberry Starling Davis Clark & David F. Clark Jay & Ellen Clayton Sallylou & David Cloyd Dr. & Mrs. Alan G. Cohen Mr. & Mrs. Domer Collins William & Margaret Connor Paul & Alyce Cooke Mr. Randy M. Cooper Marion Pickering Couch Ms. Susannah C. Culbertson Tenchia Cupp Mr. Douglas A. Darsow MariaGabriella Giro & Jeff Davidson Dr. & Mrs. Ben Davis Mr. & Mrs. Charles E. Davis Mr. Shawn Delp Mark & Barbara Dentz Suzanne Day Devine Mr. & Mrs. Arthur DeVooght Wally & Lee Lee Dietz Mr. & Mrs. Marcus D. Dominguez Dr. Alan W. Dow II Tere & David Dowland Ms. Katie Doyle Mr. Frank W. Drake Dr. Jane Easdown & Dr. James Booth Dr. & Mrs. William H. Edwards Sr. Dr.* & Mrs. Lloyd C. Elam Dr. John & Janet Exton Bill & Dian S. Ezell
THA
YO
CONCERTMASTER
Gifts of $500 - $999
Anonymous (10) Jerry Adams Don & Judi Arnold Jeremy & Rebecca Atack Mr. & Mrs. James E. Auer Jeff & Carrie Bailey Mr. & Mrs. Thomas N. Bainbridge Mr. & Mrs. Richard W. Baker
Ms. Marilyn Falcone Michael & Rosemary Fedele Dr. Arthur C. Fleischer & Family Art & Charlotte Fogel Randy & Melanie Ford Patrick & Kimberly Forrest Mr. & Mrs. Jeffery J. Forshee Ms. Deborah F. Turner & Ms. Beth A. Fortune Mr. & Mrs. David B. Foutch Ms. Elizabeth A. Franks Robert & Peggy Frye Suzanne J. Fuller Dr. David & Kimberly Furse John & Eva Gebhart Dr. & Mrs. Harold L. Gentry Mr. & Mrs. H. Steven George Bryan D. Graves Richard & Randi Green Cathey & Doug Hall Renée & Tony Halterlein Jay & Stephanie Hardcastle Dr. & Mrs. Thomas L. Hardy Frank & Liana Harrell Kent & Becky Harrell Dr. & Mrs. Jason Haslam Mr. & Mrs. Doug Hauseman Mrs. Estela R. Hayes Lisa & Bill Headley John Reginald Hill Mr. & Mrs. Jim Hitt Elizabeth Dykens PhD & Robert Hodapp PhD Ken & Beverly Horner Allen, Lucy & Paul Hovious Margie & Nick* Hunter Mr. & Mrs. David Huseman Sandra & Joe Hutts Robert C. Jamieson MD Lee & Pat Jennings Jack Jezioro & Ellen Menking Bob & Virginia Johnson Ruth E. Johnson Mary Loventhal Jones Mrs. Robert N. Joyner Dr. Barbara F. Kaczmarska Mr. & Mrs. Michael Kane Mrs. Edward C. Kennedy John & Eleanor Kennedy Teresa F. Kersey Jane Kersten Patricia Lee & Orville Kronk Mr. & Mrs. Thomas W. Land Mr. & Mrs. Samuel W. Lavender Mr. & Mrs. Irving Levy Drs. Walt & Shannon Little The Howard Littlejohn Family Carolyn & Fred Loeffel Samuel C. Loventhal Drs. Amy & George Lynch William R. & Maria T. MacKay James & Gene Manning Mr. & Mrs. Michael R. Manno Mr. & Mrs. Richard Maradik Steve & Carrie Marcantonio & Family
Mimsye & Leon May Drs. Ricardo Fonseca & Ingrid Mayer Mr. & Mrs. Charles R. McCarty Sandra & Ken McDonald Mr. John M. McDougal Joey & Beth McDuffee Dr. & Mrs. Alexander C. McLeod Catherine & Brian McMurray Ed & Tracy McNally Dan & Mary Mecklenborg Herbert & Sharon Meltzer Drs. Randolph & Linda Miller Dr. & Mrs. Kent B. Millspaugh Mr. Conley Minnick Dr. Jere Mitchum Diana & Jeff Mobley Dr. & Mrs. Charles L. Moffatt Ms. Gay Moon Cynthia & Richard Morin Steve & Laura Morris Lynn Morrow Ms. Patricia A. Moseley Margaret & David Moss Lucille C. Nabors Larry & Marsha Nager Mr. & Mrs. Thomas J. Nagle Mr. & Mrs. Joseph L. Nave Jr. Jane K. Norris Chris & Leslie Norton Virginia O’Brien D. Wilson Ochoa Mr. & Mrs. Russell Oldfield Jr. Patricia J. Olsen Mr. & Mrs. Jack Oman Mr. Sergio Ora Dan & Helen Owens Dr. & Mrs. Harry L. Page Ms. Kathern W. Parker Mr. & Mrs. M. Forrest Parmley Drs. Teresa & Phillip Patterson Steve A. Perdue Linda & Carter Philips Barbara Gregg & Robert Phillips Drs. Sherre & Daniel Phillips Faris & Robert Phillips Keith & Deborah Pitts Mr. John Pope Ms. Elizabeth M. Potocsnak Dr. & Mrs. James L. Potts George & Joyce Pust Tom & Chris Rashford Mr. Edwin B. Raskin Charles H. & Eleanor L. Raths
Mr. & Mrs. David Rawlings Franco & Cynthia Recchia Ms. Allison R. Reed & Mr. Sam Garza Mr. Gregory M. Reed Candace Mason Revelette Mrs. Julie A. Roe Dr. & Mrs. Jorge Rojas Margaret H. Rollins Laura Ross Mr. & Mrs. Dick Sammer Samuel L. & Barbara Sanders Geoffrey & Sandra Sanderson Cooper* & Helen Schley Pam & Roland Schneller Dr. & Mrs. Timothy P. Schoettle Drs. Carl & Wendy Schofield Dr. Kenneth E. Schriver & Dr. Anna W. Roe Peggy C. Sciotto Odessa L. Settles Max & Michelle Shaff Joan Blum Shayne Dr. & Mrs. Nicholas A. Sieveking Sr. Betty B. Sisk Pamela Sixfin David & Robin Small Smith Family Foundation Mr. & Mrs. Kevin Scott Smith Richard & Molly Dale Smith Mrs. Myrtis F. Smith Dr. Robert Smith & Barbara Ramsey Mr. & Mrs. S. Douglas Smith Mr. & Mrs. James H. Spalding Ms. Maggie P. Speight Dr. & Mrs. Anderson Spickard Jr. Mr. & Mrs. Joe N. Steakley Dr. & Mrs. Robert Stein Elizabeth Stewart & James Grosjean Dr. & Mrs. William R. Stewart Jean Stumpf Mr. Donald T. Sullivan Jr. Craig & Dianne Sussman Lorraine Ware & Reid Thompson Martha J. Trammell Van Tucker Ms. Rita R. Vann Larry & Brenda Vickers Dr. & Mrs. Martin H. Wagner
ANK
OU Instrument Petting Zoo
InConcert
79
ANNUAL FUND
Kay & Larry Wallace Talmage M. Watts Mrs. William C. Weaver III Dr. Medford S. Webster Beth & Arville Wheeler Mr. & Mrs. Fred Wheeler Harvey & Joyce White Mr. & Mrs. Thomas F. White Vicki Gardine Williams Gary & Cathy Wilson Edward & Mary E. Womack Mr. & Mrs. Stephen F. Wood Sr. Shu-Zheng & Li Li Yang Roy & Ambra Zent FIRST CHAIR Gifts of $250 - $499 Anonymous (29) Drs. Shannon Snyder & Oran Aaronson Judith Ablon The Rev. Dr. & Mrs. W. Robert Abstein Ben & Nancy Adams Chip Alford Dr. & Mrs. John Algren Mr. & Mrs. Roger Allbee Carol M. Allen Dr. Joseph H. Allen Newton & Burkley Allen Mr. & Mrs. John Allpress Adrienne Ames Wm. J. & Margery Amonette Ken & Jan Anderson Newell Anderson & Lynne McFarland Ms. Teresa Broyles-Aplin Mr. & Mrs. Carlyle D. Apple Mr. & Mrs. George Armistead III Mr. Aaron Armstrong Patricia & Jay Armstrong Mrs. Margaret Arnold Todd & Barbara Arrants Candy Burger & Dan Ashmead Geralda M. Aubry Mr. & Mrs. Gerald Averbuch Grace & Carl Awh Janet B. Baggett Mr. & Mrs.* F. Clay Bailey Jr. James M. & Kim M. Bailey Drs. Ferdinand & Eresvita Balatico Dr. & Mrs. Billy R. Ballard Susan F. & Paul J. Ballard
JUNE 2012
Dr. André & Ms. Doreatha H. Churchwell Mr. Daryl Claggett Councilman & Mrs. Phil Claiborne Drs. Walter & Deborah Clair Dr. Paul B. Clark Jr. Steven & Donna Clark Mr. & Mrs. Roy Claverie Sr. Ms. Christy Cleveland Mr. & Mrs. Neely B. Coble III Misty Cochran & Josh Swann Mr. & Mrs. Robert T. Coleman Ms. Peggy B. Colson Laura & Kyle Cooksey Renette I. Corenswet Nancy K. Corley Elizabeth Cormier Ms. Laura Crafton-Sizemore Mr. & Mrs. George Crawford Jr. Dr. & Mrs. Jeff L. Creasy Mr. & Mrs. David Crecraft R. Barry & Kathy Cullen Ms. Dana R. Curtis Mr. Brian B. Cuyler Rev. Frederick L. Dale Katherine C. Daniel James & Maureen Danly Kim & Roy Dano Mr. Robby Dasher Janet Keese Davies Adelaide S. Davis Mr. Joshua M. Davis Ms. Maria de la Cruz Mr. Karl Dean & Ms. Anne Davis Ann Deol Henry & Catherine DePhillips Natalie R. Dickson & Aaron T. Raney Dr. Joseph & Ambassador Rachel Diggs Mr. & Mrs. John H. Dinkins Ms. Shirley J. Dodge Peter & Kathleen Donofrio Michael Doochin & Linda Kartoz-Doochin Kristen & David Drake Elizabeth Tannenbaum & Carl Dreifuss Kathleen & Stephen Dummer Mrs. Kristi D. Dunham Bob & Nancy Dunkerley Kathryn & Webb Earthman Mr. & Mrs. Douglas Easterling Patricia & Larry Eastwood Ms. Susan S. Edwards Dan & Zita Elrod Dr. & Mrs. Ronald B. Emeson Ms. Kaaren Engel Mr. Phillip M. Englehart Ms. Ann Epperson Dr. Jack W. Erter Dr. & Mrs. James Ettien Ms. Claire Evans Dr. Ann Evers & Dr. Gary Smith Steven & Katie Ezell Drs. Charles & Evelyn Fancher Dana Ferris Mr. Vincent Fesmire
THA
Bassist Glen Wanner 80
Ms. René Balogh & Mr. Michael Hinchion Mr. & Mrs. J. Oriol Barenys Dr. Beth S. Barnett Dr.* & Mrs. Thomas C. Barr William & Sharon Baxter Mrs. Teresa A. Beard Ms. Traciee D. Bearden Susan O. Belcher Mark H. Bell Ron & Sheryl Bell Mr. & Mrs. W. Todd Bender Mr. & Mrs. Richard M. Berry Ms. Helen R. Blackburn-White Mrs. Andrea Boely David L. Bone David Bordenkircher Ms. Donna R. Bostick Jerry & Donna Boswell Robert E. Bosworth Mr. Brian Boxer Mr. David G. Boyd Don & Deborah Boyd Mr. & Mrs. Douglas G. Bradbury III Jeff & Jeanne Bradford Dr. Joel F. Bradley Mr. & Mrs. James F. Brandenburg Mr. Mark D. Branstetter Jere & Crystal Brassell Robert & Barbara Braswell Dr. Daniel K. Bregman Mary Lawrence Breinig Phil & Pat Bressman Jamie A. Brewer Betty & Bob Brodie Kathy & Bill Brosius Mr. & Mrs. Charles H. Brown Ms. Roxanne Brown Burnece Walker Brunson Mrs. Margaret J. Bryson T. Mark & D. K. Buford Linda & Jack Burch Geraldine & Wilson Butts Dr. & Mrs. Daniel M. Buxbaum Dr. & Mrs. Robert Byrd Ruth M. Byrdsong Julia C. Callaway Claire Ann Calongne Mr. Richard A. Calvin Bratschi Campbell Gary E. Canaday Mr. Mark J. Cappellino Mr. & Mrs. W. Hill Carlen Dr. Wayne Carpenter Karen Carr Ronald & Nellrena Carr Mr. & Mrs. Edwin Carter Valleau & Robert M. Caruthers Bill & Chris Carver Kent Cathcart Evelyn LeNoir Chandler Dean & Sandy Chase Renée Chevalier Mrs. Robert L. Chickey Mark & Bette Christofersen Neil Christy & Emily Freeman
YO
Jill Denmark & William Fialkowski MD Mr. & Mrs. Billy W. Fields Janie & Richard Finch Mrs. Jackie M. Flavell Ms. Deborah G. Flowers Cathy & Kent Fourman Mrs. Katherine H. Fox Andrew & Mary Foxworth Mr. & Mrs. J. Richard Franz Jim W. Freeland Scott & Anita Freistat Ms. Heather Funderburg Dr. Henry Fusner Lois & Peter Fyfe Bill & Ginny Gable Jim & Michiko Gaittens Dr. & Mrs. Ronald E. Galbraith Mr. & Mrs. Kevin Gangaware Mr. & Mrs. Philip Ganske Ms. Susan M. Gant Mr. & Mrs. George C. Garden Miss Ailish Garrett Mr. & Mrs. Jerry Garrett Alan & Jeannie Gaus Mr. Scott A. German & Ms. Tammie Shannon Em J. Ghianni Mr. & Mrs. Stewart J. Gilchrist Ms. Dianne R. Gillespie Mr. Andre L. Gist William & Helen Gleason Linda & Joel Gluck Mr. Charles S. Golden Ms. Susan T. Goodwin Zachary & Martha Goodyear Mr. Benjamin L. Gordon Mr. & Mrs. William M. Gracey Tom & Carol Ann Graham Antonio M. Granda M.D. Roger & Sherri Gray John F. Gregory III R. Dale & Nancy G. Grimes Mr. & Mrs. Russell D. Groff Mary Beth & Raul Guzman Dr. & Mrs. John D. Hainsworth Ms. Leigh Ann Hale Scott, Kathy & Kate Hall Katherine S. Hall Mr. Robert T. Hall Mr. & Mrs. Robert M. Hamilton Jr. Walter H. White III & Dr. Susan Hammonds-White Ms. Sara Hanahan Mr. & Mrs. Harry M. Hanna Mr. & Mrs. Richard W. Hanselman Joel T. Hargrove Dr. John B. & Kathleen E. Harkey Cindy Harper Dr. & Mrs. Frank P. Harrell Mrs. Edith Harris Dickie & Joyce Harris Mr. & Mrs. Jay Hartley Mr. James S. Hartman Dr. Morel Enoch & Mr. E. Howard Harvey Robert & Nora Harvey
David & Judith Slayden Hayes Peggy R. Hays Fred & Judy Helfer Doug & Becky Hellerson Kent & Melinda Henderson Ms. Doris Ann Hendrix Liz Henson Mr. David Hilley Mr. & Mrs. Robert C. Hilmer Mr. & Mrs. Donald Hofe Sean Hogan Jim & Kim Holbrook Aurelia L. Holden Dr. Nancy D. Holland William Hollings Frances Holt Paul Holt Mr. & Mrs. Robert E. Hooper Drs. Richard T. & Paula C. Hoos George & Joan Hornberger Samuel H. Howard Mr. Adam L. Huddleston Ms. Edith B. Hudson Dr. & Mrs. Louis C. Huesmann II Dr. Nedra Huggins-Williams Mr. & Mrs. Robert Huljak The Hunt Family Foundation Michael & Evelyn Hyatt Mrs. Beverly Hyde Dr. & Mrs. Roger Ireson Dr. Anna M. Jackson Ms. Laura R. Jackson Mr. & Mrs. Donald E. Jacobs Mr. & Mrs. Alan R. Javorcky Joyce E. Johnson Mary & Doug Johnston Frank & Audrey Jones Mr. & Mrs. Michael Jones Mr. Patrick D. Jones Sarah Rose Jones Mrs. Cynthia A. Keathley Ms. Georgia Keeling Jeffrey & Layle Kenyon Robert Kerns Mr. & Mrs. Brock Kidd Bill & Becca Killebrew Kathleen & Don King Mrs. Amanda L. Kirkpatrick Louise & Joe Kitchell Edward & Rosemary Knish Mr. & Mrs. Rick Koelz David & Judy Kolzow Sanford & Sandra Krantz Mr. Daniel L. LaFevor Dr. Kristine L. LaLonde Nancy & Edd Lancaster Mr. & Mrs. Joseph A. Lawrence Mrs. Douglas E. Leach Trenton & Shellie Leach Rob & Julia Ledyard Dr. & Mrs. George R. Lee J. Mark Lee Mr. & Mrs. Michael LeJeune Dorothy & Jim Lesch Ralph G. Leverett Michael & Ellen Levitt John & Marge Lewis Mr. Marvin J. Liebergot Mr. & Mrs. Monty S. Ligon
Mr. & Mrs. John Lillie Mack & Katherine Linbaugh Joanne L. Linn, M.D.* Dr. & Mrs. John L. Lloyd Jean & Steve Locke Kim & Mike Lomis Kim & Bob Looney Frances & Eugene Lotochinski David & Nancy Loucky Thomas H. Loventhal J. Edgar Lowe Mr. & Mrs. Jay Lowenthal Mr. & Mrs. James C. Lundy Jr. Revs. James & Michelle Lunsford George & Cathy Lynch Jeffrey C. Lynch Patrick & Betty Lynch Sharron Lyon Mr. & Mrs. Peter C. MacDonald Mr. John Maddux Anne & Joe Maddux Mr. & Mrs. Robert A. Maier Mr. Mikal Malik Mr. & Mrs. Eric J. Manders Sheila Mann Mr. Joshua P. Manning Beverly Darnall Mansfield David & Leah Marcus Abraham, Lesley & Jonathan Marx Dr. & Mrs. Ralph Massie Frank & Laura Mastrapasqua Sue & Herb Mather Mr. & Mrs. John D. McAlister Callum, Julia & A. J. McCaffrey Mrs. Joanne Wallace McCall Ms. Carolyn McClerkin Dr. & Mrs. Robert W. McClure Kathleen McCracken Peg & Al McCree Mary & John McCullough Bob McDill & Jennifer Kimball Mr. & Mrs. Edwin A. McDougle Dr. & Mrs. James B. McKee Jr. Dr. & Mrs. Timothy E. McNutt Sr. Sam & Sandra McSeveney Mr. & Mrs. Michael R. McWherter Mr. Michael A. Meadows Ms. Virginia J. Meece Mr. & Mrs. J. D. Meek Ronald S. Meers Mr. Paul Megee Janis Meinert Linda & Ray Meneely Manfred & Susan Menking Sara Meredith Bruce & Bonnie Meriwether Dr. & Mrs. Philip G. Miller Dr. Ron V. Miller Dr. Fernando Miranda & Dr. Patricia Bihl-Miranda Mr. & Mrs. Steven Moll Anthony & Ariane Montemuro Dr. Michael F. Montijo & Mrs. Patricia A. Jamieson-Montijo James & April Moore Mr. David K. Morgan Mr. & Mrs. Jonathan Morphett Dr. Erik B. Motsenbocker
ANK
OU
InConcert
81
ANNUAL FUND
Mr. & Mrs. Charles Murchison Mr. John Murphy Mr. & Mrs. Dwayne Murray Mr. & Mrs. J. William Myers Allen & Janice Naftilan Ms. Carolyn Heer Nash Mr. James R. Neal Mr. Fred S. Nelson Dr. & Mrs. Harold Nevels Dr. John Newman & Ms. Rebecca Lyford Leslie & Scott Newman William & Kathryn Nicholson Al Nisley Mrs. Caroline T. Nolen Judy M. Norton Michael & Joanne Nowlin Mrs. Edith M. Oathout Dr. & Mrs. Wills Oglesby Hunt & Debbye Oliver Philip & Marilyn Ollila Philip & Carolyn Orr Dr. & Mrs. Ronald E. Overfield Judy Oxford & Grant Benedict Dr. & Mrs. James Pace Terry & Wanda Palus Mr. & Mrs. Chris Panagopoulos Doria Panvini Dr. Fritz F. Parl Lisa & Doug Pasto-Crosby Mr. & Mrs. Gary K. Patterson Grant & Janet Patterson Dr. & Mrs. W. Faxon Payne John & Lori Pearce Mr. & Mrs. Franklin D. Pendleton Anne & Neiland Pennington Claude Petrie Jr. Kenneth C. Petroni MD Charles & Mary Phy Mr. & Mrs. James R. Pickel Jr. Mrs. Tanya M. Pierce Ms. Julie B. Plexico Viv & Don Pocek Mr. Van G. Pond Jr. & Mr. David Glasgow Phil & Dot Ponder Stanley D. Poole Mr. Marico Portis Mr. & Mrs. Thomas Priesmeyer Edria & David Ragosin Joel & Elizabeth Rainer Mr. & Mrs. Ross Rainwater Nancy & Harry Ransom Mr. & Mrs. Randall A. Rawlings Nancy Ward Ray Ms. Bonnie D. Reagan Don & Kathy Reed Mr. & Mrs. David R. Reeves Lee Allen Reynolds Al & Laura Rhodes Mr. & Mrs. Tate Rich Barbara Richards Don & Connie Richardson Mr. & Mrs. Michael Richardson Mrs. Jane H. Richmond Mary Riddle Mrs. Paul E. Ridge Margaret Riegel Mr. George Ritzen 82
JUNE 2012
Mr. & Mrs. Brian Roark Mrs. Roscoe R. Robinson Mr. & Mrs. Doug Rogers Fran C. Rogers Dr. & Mrs. Bruce D. Rogers Mr. & Mrs. David C. Roland Judith R. Roney Mr. Aaron D. Rosburg Rodney & Lynne Rosenblum Edgar & Susan Rothschild Jan & Ed Routon Mr. Edward J. Rucker Melissa M. & Philip R. Russ Mr. & Mrs. Robert Rutherford Pamela & Justin C. Rutledge Michael Samis & Christopher Stenstrom John R. Sanders Jr. James & Susan Sandlin Dr. Neil S. Sanghani Jack & Diane Sasson Mr. Donald D. Savoy Mr.* & Mrs. Thomas W. Schlater III Mr. & Mrs. Kenneth Schnaars Sheila Schott Jack Schuett Dr. & Mrs. Stephen J. Schultenover Mr. Roderick Scruggs Mr. & Mrs. J. Douglas Seiters Gene & Linda Shade Richard & Marilyn Shadinger Caroline & Danny Shaw Miss Alena Shostak Mr. & Mrs. Steven Singleton Dr. & Mrs. Manuel Sir Alice Sisk Ashley N. Skinner Dr. & Mrs. David Slosky Dallas & Jo Ann Smith Susan K. Smith James T. & Judith M. Smythe Mr. & Mrs. Robert Sneed Marc & Lorna Soble Nan E. Speller Thomas F. Spiggle Mr. M. Clark Spoden Mrs. Randolph C. St. John Caroline Stark & Lane Denson Lelan & Yolanda Statom Mr. & Mrs. Lemuel Stevens Jr. Richard & Jennifer Stevens CAPT & Mrs. Charles E. Stewart Jr. Mr. & Mrs. Charles V Stewart III Mr. & Mrs. Cyril Stewart Bob & Tammy Stewart Mr. Russell P. Stover Tom & Gayle Stroud Gayle Sullivan Mr. & Mrs. James E. Summar Sr. Mrs. T. C. Summers Thomas & Sarah Summers Mr. & Mrs. Herbert Svennevik Dr. Esther & Mr. Jeff Swink Ms. Amanda Tallant Dr. & Mrs. J. D. Taylor
Dr. Paul E. Teschan Mr. & Mrs. Richard Theiss Dr. & Mrs. William Thetford Mrs. Lillian D. Thomas* Mr. & Mrs. Bob F. Thompson David & Kathryn Thompson Mr. Marcus W. Thompson Richard & Shirley Thrall Mr. & Mrs. William J. Tichi Mr. & Mrs. William D. Tidwell Scott & Nesrin Tift Leon Tonelson Mr. Michael P. Tortora Mila & Bill Truan Richard, Kimiko, Jennifer & Lindsey Tucker Ms. Junita Turnipseed Dr. & Mrs. Michael Tyler Mrs. Mary A. Van Dyken Dr. Jan Van Eys Kimberly Dawn Vincent Mr. Steven B. Waldrep Mr. & Mrs. Ron Walker Mr. & Mrs. Jack Wallace Mrs. Bridgette K. Walsh Mr. & Mrs. Robert J. Warner Jr. Mr. & Mrs. Mark Wathen Shirley Marie Watts Frank & Jane Wcislo H. Martin & Joyce Weingartner Dr. Matthew B. Weinger Mr. Kevin L. Welsh Dr. J. J. Wendel Erin Wenzel Joni Werthan George & Julie West Franklin & Helen Westbrook J Peter R. Westerholm Dr. & Mrs. William Whetsell Linda & Raymond White Mr. Michael T. Whitler & Mr. Mark Weber Jonna & Doug Whitman Joe Wieck Ms. Judith B. Wiens Mr. & Mrs. Herbert Wiesmeyer Roger M. Wiesmeyer Marie Holman Wiggins Mr. & Mrs. Spencer Wiggins Mr. Robert S. Wilkinson Jerry & Ernie Williams Frank & Marcy Williams Jeremy S. Williams John & Anne Williams Susan & Fred Williams Amos & Etta Wilson Carol Ann & Tommy Wilson The Wing Family Ms. Sandra Wiscarson Dr. & Mrs. Robert S. Wood Jr. Mr. Michael T. Woods Mr. Howard F. Wright Gary & Marlys Wulfsberg Kay & Randall Wyatt Vivian R. & Richard A. Wynn Patrick & Phaedra Yachimski Mr. & Mrs. Michael A. Zibart James & Candice Zimmermann
THA
YO *denotes donors who are deceased
Violinist Kristi Seehafer
franklinroadacademy.com • 615. 832 . 8845
E d u c at i n g S c h o l a r s w i t h I n t e g r i t y a n d B a l a n c e
franklin road academy
ANK
Where Children Are At Home Wıth The Arts
Horn player Radu Rusu
Prekindergarten through Grade 12
For more information visit us online at:
www.NashvilleArtsandEntertainment.com and follow us on Twitter and Facebook
ANNUAL GUIDE
OU Celebrating the best Nashville has to offer in Arts & Entertainment
NASHVILLE MORETHANMUSIC
Nashville celebrities
Are everywHere
A Glover Group Entertainment Production www.GloverGroupEntertainment.com 615.373.5557
le Sa ! On NOW Fall / Winter 2011-2012
An nuAl Edition
Display until December 31, 2011
steveN rAC clark curtis iNterview
On
hOME•awards ShOwS & that faMOUS father
chapmaN’s
sHow (oF) HoPe
featuring: MOSt IntEREStIng PeoPle, Places & things SpECIal SECtIOn: nashville’s SOngwRItERS take it to the StagE whO’S whO in the lItERaRy, pERfORMIng and vISUal aRtS scenes ClaSh of the tItanS qbs • now Playing nashville’s ExClUSIvE CalEndaR
The global poor deserve access to the protections of their own justice systems. You can help us make it happen.
www.ijm.org
Great Memories are Better when Shared Sheraton is where friends gather. Make Sheraton a memorable part of your next cultural experience with dinner in Speakers Bistro before the show, or cocktails in Sessions Lounge after the curtain falls.
enjoy our superb cuisine, elegant décor, drink specials and much more
Call 615 259 2000 for Reservations
©2011 Starwood Hotels & Resorts Worldwide, Inc. All Rights Reserved. Sheraton and its logo are the trademarks of Starwood Hotels & Resorts Worldwide, Inc., or its affiliates.
THANK YOU TO OUR FUNDERS
SUPPORT THE ARTS: BOLT THEM TO YOUR CAR! In Tennessee, we’re fortunate to have the Specialty License Plate Program, which provides 70 percent of the funding for the Tennessee Arts Commission. When you purchase one of these license plates for your car, you are directly helping to support the arts! The Nashville Symphony is just one of more than 800 organizations that benefit from the Tennessee Arts Commission’s grant programs, which help to improve the quality of life in cities and rural communities across this great state. If you love the arts, now is the perfect time to pre-order Tennessee’s new arts license plate. Featuring a snazzy, letterpress-inspired design by Nashville graphic designer Leslie Haines, these plates are only $35 each, of which 90 percent will go to the Tennessee Arts Commission!
Before this license plate can go into production, 500 people need to pre-order it before the end of the year. Visit StateYourPlate.org and pre-order yours today! You don’t need to renew your registration because your local County Clerk’s office will pro-rate your annual renewal fee once the plate is available! The Nashville Symphony thanks you for your support of the arts! Arts organizations can’t succeed in their missions without funds from local, state and national government agencies.
STATEYOURPLATE.ORG | DO IT TODAY!
ANNUAL FUND
CORPORATIONS, FOUNDATIONS & GOVERNMENT AGENCIES
The Nashville Symphony is deeply grateful to the following corporations, foundations and government agencies that support its concert season and its services to the community through generous contributions to the Annual Fund. Donors as of April 27, 2012.
SEASON PRESENTERS Gifts of $100,000+
The Martin Foundation PRESIDENT’S COUNCIL Gifts of $75,000+ TM
DIRECTORS’ ASSOCIATES Gifts of $50,000+
PRINCIPAL PLAYERS Gifts of $25,000+ Mike Curb Family Foundation
NASHVILLE CONVENTION & VISITORS BUREAU
Nashville Symphony Orchestra League GOVERNMENT Metropolitan Government of Nashville and Davidson County
86
JUNE 2012
Mayor Karl F. Dean
Metropolitan Council
FROM SCHOOL
OF MUSIC ROW
TO MUSIC
Belmont junior and commercial music major Rayvon Owen performed in Belmont’s 2012 Commercial Music Showcase and played the role of of Seaweed in Belmont’s production of “Hairspray.” He is also a member of the ensemble Phoenix and currently writing new material for his upcoming EP. With the church as his musical foundation, Rayvon strives to reflect the character of Christ. A Christian, musician and seeking positive growth at every opportunity: this is how Rayvon is Belmont.
ORCHESTRA PARTNERS Gifts of $10,000 - $24,999 ArtNowNashville.com AT&T Bradley Arant Boult Cummings LLP Caterpillar Financial Services Coca-Cola Bottling Company Consolidated The Cockayne Fund Inc. Ann Hardeman and Combs L. Fort Foundation Gaylord Entertainment Foundation Griffin Technology The HCA Foundation Hearn Charitable Foundation KraftCPAs PLLC LifeWay Worship Neal & Harwell, PLC Publix Super Markets Charities Mary C. Ragland Foundation VSA – The International Organization on Arts and Disability MetLife Foundatio Wells Fargo
ARTISTIC UNDERWRITERS Gifts of $5,000 - $9,999 Aladdin Industries, LLC BDO Clarcor Inc. Chet Atkins Music Education Fund of the Community Foundation of Middle Tennessee Corrections Corporation of America Cracker Barrel Foundation David Yurman Ford Motor Company Ann and Gordon Getty Foundation Landis B. Gullett Charitable Lead Annuity Trust Hi Fi Buys Interior Design Services, Inc. Monell’s Restaurants Nashville Convention & Visitors Bureau OSHi Flowers The Elizabeth Craig Weaver Proctor Charitable Foundation Tennessee Christian Medical Foundation VSA Arts Tennessee
beBELMONT.com SCHOOL of MUSIC Bachelor of Arts Major in Music
DEPARTMENT of ART Bachelor of Arts Majors in Art and Art History
Bachelor of Music
Bachelor of Fine Arts Majors in Art Education, Design Communications and Studio Art
Majors in Church Music, Commercial Music, Composition, Music Education, Music with an Outside Minor, Music Theory, Musical Theatre, Performance and Piano Pedagogy Bachelor of Fine Arts Major in Musical Theatre
DEPARTMENT of THEATRE & DANCE Bachelor of Arts Major in Theatre and Drama
Master of Music Majors in Church Music, Commercial Music, Composition, Music Education, Pedagogy and Performance
Bachelor of Fine Arts Majors in Theatre with an emphasis in Performance, Directing, Production Design or Theatre Education
For more information, contact the CVPA Office: (615) 460-6408 or WWW.BELMONT.EDU/CVPAMAJORS
Minor in Dance
Come see the new Goodpasture, and THE JOY OF
! Creativity
619 Due West Ave. • Madison, TN Ph: 868-2600, Ext. 212 • www.goodpasture.org Building Confidence, Intellectual Growth, and Spiritual Strength.
ANNUAL FUND
BUSINESS PARTNER Gifts of $2,500-$4,999 American General Life & Accident Insurance Company AmSurg BioVentures, Inc. City of Brentwood Delta Dental of Tennessee First Baptist Nashville Gannett Foundation/ The Tennessean Schoenstein & Company VOGUE Washington Foundation BUSINESS COUNCIL Gifts of $1,500 - $2,499 BlueCross BlueShield of Tennessee Community Trust Carter Haston Real Estate Services Inc. Consolidated Pipe & Supply Co., Inc. The Hendrix Foundation J. Alexander’s Corporation Paramore | the digital agency Tennsco Corporation
BUSINESS FRIEND Gifts of $300 - $499 A-1 Appliance Company ACP Special T’s V. Alexander & Co., Inc. Bloom Electric Supply Cooper Steel Courtyard by Marriott Downtown Dancy’s, Nancy June Brandon DataMarketing Network, Inc. DBS & Associates Engineering, Inc. Hunter Marine IBIS Communications, Inc. INDUSCO Jack Cawthon/Jack’s Bar B Que Meharry Medical College National Toxicology Specialists Inc. Prime Properties, Inc. David L. Battis / Edwin B. Raskin Company Riley Warnock & Jacobson PLC Robert’s Western World Servitech Industries, Inc. Sharing Spree LLC Monte Turner/Turner and Associates Realty, Inc. Walker Lumber & Hardware Company
Violists Chris Farrell (front) and Bruce Christensen
In honor of Harris Gilbert’s 80th birthday In honor of George* & Jo Hall’s 58 years of marriage In honor of Martha Ingram In honor of Tom Patterson & Mike Eldred’s wedding In honor of Dr. Lawrence K. Wolfe’s birthday
THANK BUSINESS LEADER Gifts of $1,000 - $1,499 Anonymous (1) Marylee Chaski Charitable Corporation Neely Coble Company DZL Management Company Direct Solutions Economy Pencil Co. Heidtke & Company, Inc. Stor-N-Lock Kaatz, Binkley, Jones & Morris Architects, Inc.
YOU
BUSINESS ASSOCIATES Gifts of $500 - $999 APEX & Robert E. Lee Moving & Storage, Inc. Black Box Network Services R. H. Boyd Publishing Corporation BMI Capitol Records CedarStone Bank The Celebration Chaffin’s Barn Dinner Theatre D.F. Chase, Inc. Cornerstone Commercial Real Estate Services Haber Corporation Pam Lewis & PLA Media Loews Vanderbilt Hotel Northgate Gallery, Inc. RD Plastics Co., Inc. SESAC, Inc. Sigma Alpha Iota – Vanderbilt Chapter Stansell Electric Company Sysco Nashville Volunteer Barge & Transport, Inc. WBUZ Buzz 102.9 / WPRT The Game 102.5 88
JUNE 2012
IN-KIND Ajax Turner Company, Inc. American Airlines American Paper & Twine Co. American Tuxedo Big Events, Inc. Branches Dulce Desserts The Glover Group Hampton Inn & Suites Downtown Nashville, 4th Avenue Mr. & Mrs. Billy Ray Hearn McQuiddy Printing Nashville Symphony Volunteer Auxiliary Omni Beverage Co. Performance Studios Mr. James C. Seabury III Steinway Piano Gallery Mr. Thomas L. Turner Tyson Foods HONORARY In honor of Bette Berry In honor of Eric Chazen’s 80th birthday In honor of Marion P. Couch In honor of Jeanne Crossnoe In honor of Bob Eisenstein’s 95th birthday
MEMORIAL In memory of Carole Slate Adams In memory of Jessica Bloom In memory of Betty Boatright In memory of Catherine Cook In memory of T. Earl & Nora Smith Hinton In memory of Dr. James Hudson In memory of Davis Hunt In memory of Rodney Irvin In memory of Peter Katz In Memory of John Kelingos In memory of Kala Welch MacLeod In memory of Mildred J. Oonk in memory of Babs Reinfeld In memory of Betty Richards In memory of Dr. David L. Walker In memory of Ed Wanner
a new lease on
LIFE
Destination therapy – a treatment option only available locally at saint thomas heart – gave ruby howell a reason to sing again.
Ruby Howell Nashville, TN Heart Disease Survivor
Through the combined care of the cardiac specialists at Saint Thomas Heart at Baptist Hospital and Saint Thomas Hospital, Ruby’s heart wasgiven new life by implanting a ventricular assist device (VAD) which helps the weakened heart pump blood throughout the body. Saint Thomas Heart provides the only Joint Commission certified destination therapy program in the region. Call 888-655-LVAD (5823) to schedule a comprehensive heart failure evaluation with a board certified Saint Thomas Heart cardiologist.
MoreSurvivors.com
ENDOWMENT CAMPAIGN
photo by Jackson DeParis
A TIME FOR GREATNESS CAMPAIGN
A Time for Greatness, the Nashville Symphony’s endowment campaign, ensures a brilliant future for the orchestra. Funds raised through A Time for Greatness are used to increase the orchestra’s financial capacity to support continuing artistic growth and program development, and sustain the orchestra’s expanded operations in Schermerhorn Symphony Center.
90
JUNE 2012
FOUNDERS Gifts of $1,000,000+
AmSouth Foundation James W. Ayers - FirstBank Bank of America Alvin & Sally Beaman Foundation Lee A. Beaman, Trustee / Kelley Beaman, Trustee Mr. & Mrs. Dennis C Bottorff Ann & Monroe* Carell CaremarkRx Caterpillar Inc. & Its Employees The Community Foundation of Middle Tennessee Mike Curb Family Foundation Greg & Collie Daily Dollar General Corporation Laura Turner Dugas The Frist Foundation The Grimstad & Stream Families Patricia & H. Rodes Hart Mr. & Mrs. Spencer Hays HCA
Ingram Charitable Fund Gordon & Shaun Inman Ellen Harrison Martin Charles N. Martin Jr. The Martin Foundation Mr. & Mrs. R. Clayton McWhorter The Memorial Foundation Metropolitan Government of Nashville & Davidson County Anne* & Dick Ragsdale Mr. & Mrs. Ben R. Rechter The Grimstad & Stream Families Margaret & Cal Turner Jr. James Stephen Turner Charitable Foundation Vanderbilt University The Vandewater Family Foundation Ms. Johnna Benedict Watson Colleen & Ted Welch The Anne Potter Wilson Foundation
ESTATE PLANNING
NASHVILLE SYMPHONY LEGACY SOCIETY LEAVING A LEGACY, BUILDING A FUTURE
When Schermerhorn Symphony Center opened to the public in 2006, we envisioned our concert hall serving many generations for decades to come. If you have that same vision for the Nashville Symphony, then a planned gift can become your ultimate demonstration of commitment and support. You can help us plan for our future — and your own — through this creative approach to philanthropy and estate planning, which allows you to make a significant contribution to the Nashville Symphony while also enjoying income and tax benefits for you and your family. Great orchestras, like all great cultural institutions throughout history, are gifts to posterity; they are built and bestowed to succeeding generations by visionary philanthropists. To find out more about planned giving opportunities, please visit: NashvilleSymphony.org/plannedgiving, or contact Hayden Pruett, Major Gifts Officer, at 615.687.6615
The Nashville Symphony Legacy Society honors those patrons who have included the Symphony in their estate planning
THANK YOU
Anonymous Barbara B. & Michael W. Barton Julie & Frank Boehm Mr. & Mrs. Dennis C Bottorff Charles W. Cagle Donna & Steven Clark Mrs. Barbara J. Conder Mr. & Mrs. Roy Covert Andrea Dillenburg & Ted Kraus William M. & Mildred P.* Duncan Deborah Faye Duncan Annette & Irwin* Eskind Judy & Tom Foster Dr. Priscilla Partridge de Garcia & Dr. Pedro E. Garcia James C. Gooch Billy Ray Hearn Judith Hodges Judith S. Humphreys Martha R. Ingram Heloise Werthan Kuhn Sally M. Levine John T. Lewis
Clare* & Samuel Loventhal Ellen Harrison Martin Dr. Arthur McLeod Mellor Cynthia & Richard Morin Anne T. & Peter L. Neff Mr. & Mrs. Michael Nowlin Pamela K. & Philip Maurice Pfeffer Joseph Presley Eric Raefsky, MD & Victoria Heil David and Edria Ragosin Mr. & Mrs. Ben R. Rechter Fran C. Rogers Mr. & Mrs. Martin E. Simmons Irvin & Beverly Small Mary & K.C. Smythe Dr. John B. Thomison Sr. Louis B. Todd Judy & Steve Turner Alan D. & Connie F. Valentine Mrs. Johnna Benedict Watson Barbara & Bud Zander Shirley Zeitlin Anne H. & Robert K.* Zelle
*deceased InConcert
91
GUEST INFORMATION
DINING AT THE SCHERMERHORN
ARPEGGIO
Open before all nighttime series concerts and most special events, Arpeggio features a sumptuous four-course buffet including appetizer, soup station, four entrées and dessert. The price is $38 with water and tea, not including tax and gratuity. Arpeggio is located in the East Lobby, and doors open two hours before the performance. Reservations are preferred; please call 615.687.6400. For more information, visit NashvilleSymphony.org/Arpeggio.
SYMPHONY CAFÉ
Located in the West Lobby, the Symphony Café offers breakfast and lunch on weekdays and casual pre-concert dining in the evenings. Choose from a selection of gourmet soups, artisan sandwiches and fresh salads in addition to Seattle’s Best coffee and espresso. Symphony Café is open 8 a.m. to 2 p.m. Monday through Friday. On concert evenings, the Café opens two hours prior to the performance. Free Wi-Fi is available. BARS
Seven bars are located throughout the building offering premium spirits, cocktails, wine, beer, soft drinks and bottled water.
VISTING THE SCHERMERHORN RESTROOMS & WATER FOUNTAINS
CAMERAS, CELL PHONES & OTHER DEVICES
Restrooms and water fountains are available on the Lounge Level, located one floor below the Main Lobby; on the east and west sides of the Founders and Balcony Levels; and outside the Mike Curb Music Education Hall on the Founders Level. Located on the Lounge Level, unisex restrooms are available for disabled guests needing special assistance.
Cameras or audio recording equipment may not be brought into any space where a rehearsal, performance or lecture is taking place. Cellular phones, beepers and watch alarms must be turned off prior to the start of any event.
COAT CHECK
To enhance the acoustical experience inside Laura Turner Concert Hall, guests are invited to check their coats at one of several complimentary coat-check locations on each seating level. The most convenient is on the Lounge Level, located one floor below the Main Lobby.
92
JUNE 2012
LATE SEATING
As a courtesy to the performers and other audience members, each performance will have designated breaks when latecomers are seated. Those arriving after a performance begins will be asked to remain outside the entrance door nearest their ticketed seats until the appropriate break.
HOW MAY WE ASSIST YOU?
PARKING & TRANSPORTATION
Have a question, request or comment? Please visit our Concert Concierge, which is available to help you with anything you might need during your visit. Located in the Main Lobby, Concert Concierge is open through the end of intermission.
Located directly across Third Avenue from the Schermerhorn, the Pinnacle at Symphony Place offers Symphony patrons pre-paid parking at a discount! To purchase, please call 615.687.6401.
CONCERT CONCIERGE
SERVICES FOR GUESTS WITH DISABILITIES
Schermerhorn Symphony Center has been carefully designed to be barrier-free and meets or exceeds all criteria established by the Americans with Disabilities Act (ADA). All public spaces, restrooms, meeting rooms, offices, backstage dressing rooms and orchestra lounge, and production control rooms will accommodate performers, staff and guests with disabilities. Interior signage and all elevators make use of Braille lettering for directional signs in both public and backstage areas, including all room signs. An infrared hearing system is available for guests who are hearing impaired. Headsets are available at no charge on a first-come, firstserved basis from the coat-check area on the Lounge Level, and from the Concert Concierge. Accessible and companion seating are available at all seating and price levels with excellent acoustics and sight lines to the stage. Transfer seating is also available to allow guests in wheelchairs to transfer easily to seats in the hall. Please arrange in advance for accessible seating by calling a customer service representative at 615.687.6400. EMERGENCY MESSAGES
Guests expecting urgent calls may leave their name and exact seat information (seating level, door number, row and seat number) with any usher. Anyone needing to reach guests during an event may call the Security Desk at 615.687.6610. LOST AND FOUND
Please check with the House Manager’s office for any items that may have been left in the building. The phone number for Lost and Found is 615.687.6450.
PARKING AT THE PINNACLE
VALET
Valet parking, provided by Parking Management Company, is available on Symphony Place, on the north side of the building between Third and Fourth avenues. We also offer pre-paid valet parking; for more details, call 615.687.6401. CHAUFFEURED TRANSPORTATION
Grand Avenue, the official transportation provider for the Nashville Symphony, offers town cars, sedans, limousines and bus transport for individuals and groups of all sizes. To make a reservation, please contact GrandAvenueLimo.com or 615.714.5466.
TICKET SALES The Box Office is on the Fourth Avenue side of the building closest to Symphony Place. Tickets may be purchased with MasterCard, VISA, American Express, Discover, cash or local personal checks. Limited 15-minute parking is available on Fourth Avenue just outside the Box Office. Regular Hours: 10 a.m.-6 p.m. Monday-Friday 10 a.m.-2 p.m. Saturday Hours on Concert Days: 10 a.m. to intermission Monday-Saturday Call for hours on Sunday Tickets are also available by visiting NashvilleSymphony.org or by phoning the Box Office at 615.687.6400. CAN’T MAKE A CONCERT?
If you are unable to use your tickets, you may exchange them for another performance, availability permitting, or you may donate them for a tax deduction. Tickets must be exchanged or donated by 6 p.m. on the day before the performance. Some restrictions may apply. Call 615.687.6401.
InConcert
93
MAP
ORCHESTRA LEVEL LOW 1ST FLOOR
Concert Concierge
West Atrium
Box Office
East Atrium
Bar
Bar
Symphony Store
Symphony Cafe
Security
94
JUNE 2012
Bar
West Lobby
Laura Turner Concert Hall
Loge Hall Loge Boxes
Martha Rivers Ingram Courtyard
Loge Hall Loge Boxes
Arpeggio East Lobby
FOUNDERS LEVEL 2ND FLOOR
RESTROOMS
EXIT West Grand Staircase
East Grand Staircase
STAIRS
Classical Conversations, additional bar & restrooms located in third-floor Balcony Lobby
ELEVATOR
Founders Boxes
Board Room
Laura Turner Concert Hall
Founders Boxes
Founders Hall
Bar
Bar
Founders Circle
COAT CHECK
FOOD
Orchestra View
WIFI ACCESS
Curb Room
CONCERT CONCIERGE InConcert
95
CHRIS ISAAK
PINK MARTINI
THE CHIEFTAINS
CHARLIE HADEN AND QUARTET WEST
MAHLER’S EIGHTH
HANDEL’S MESSIAH TCHAIKOVSKY MEETS TECHNO
SINGLE TICKETS ON SALE! FRIDAY, JULY 20 YOUR FIRST CHANCE TO BUY TICKETS TO ALL UPCOMING CONCERTS IN OUR 2012/13 SEASON! SPECIAL ONE-DAY OFFERS!
ALL THAT CLASSICAL JAZZ
FAIRY TALES AND FATE
UNCOMMON FOLK B E ET H OV E N LI VES UPSTAIRS
Lovers and Pranksters HARMONIC CONVERGENCE
NashvilleSymphony.org | 615.687.6400