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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 Lesley Patterson-marx LesleyPattersonMarx.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
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TABLE OF CONTENTS
MAY 2012
21 Silverman Premieres Riley suntrust Classical series
May 3, 4 & 5
29 Esperanza Spalding
Special Event
May 7
31
Special Event - Open Rehearsal
Universe Symphony May 8
37
Bank of america popS series
Chris Botti May 17, 18 & 19
39
Special Event
Side-by-Side Concert May 24
departments
programs
Nashville Symphony Giancarlo Guerrero, conductor Kelly Corcoran, associate conductor Christopher Norton, guest conductor Tracy Silverman, electric violin
10 12 55 62 67 68 69 76 86 90 91 92 94
High Notes Backstage: Principal Keyboard Bob Marler Upcoming Events Conductors Orchestra Roster Board of Directors Staff Roster Annual Fund: Individuals Annual Fund: Corporations A Time for Greatness Campaign Legacy Society Guest & Facility Information Building Map
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Special event Patron Appreciation Concert May 25
43 Carmina Burana
Suntrust Classical Series
May 31, June 1 & 2
Visit our blog, Inside the Nashville Symphony, at:
NashvilleSymphony.tumblr.com
InConcert
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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
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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
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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
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SPECTACULAR SPECTACULAR A
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LAB 010-12, Lewis Communications, 7.125 x 10.875, TPAC, Inserts Spring 2012
High Notes
Beethoven Is Back! The Nashville Symphony is bringing back a beloved tradition this summer — all-Beethoven concerts! Beginning June 15, for three successive weekends, the orchestra will perform the music of perhaps the greatest composer in the history of Western civilization. It’ll be a nonstop celebration of all things Beethoven, featuring some of his most beloved music with some very special guests! See the ad on the back page for more details.
Community Concerts = Summer Fun
Summertime also means the return of our annual Community Concerts series, and we’re pleased to announce this year’s lineup. We’ll be traveling to parks around Middle Tennessee, so mark your calendar to enjoy a night of music and summer fun with the Nashville Symphony! Except where noted, all concerts are free and will be conducted by Associate Conductor Kelly Corcoran.
Thank you to our sponsor,
May 15: Calsonic Arena, Shelbyville (Admission: $5; conductor: Albert-George Schram)
June 7: East Park June 8: Bicentennial State Mall June 10: Crockett Park, Brentwood June 12: Cumberland University, Lebanon (Admission: $5)
June 19: Centennial Park July 4: Music City July 4th, Riverfront Park (conductor to be announced)
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At Regions, our mission is to “Make Life Better.” People want to have lives with meaning and purpose. They want something better — for themselves, their families and their communities. It’s a dream we all share. That’s why Regions looks for opportunities to improve life in Middle Tennessee. We are proud to support the Nashville Symphony, giving thousands of people the chance to enjoy the life-transforming power of musical classics free of charge.
MAY 2012
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High Notes
We celebrate George Mabry and Hazel Somerville
When the Nashville Symphony and Chorus perform Carmina Burana on May 31-June 2, we’ll take a moment to honor two talents who’ve been an important part of our music making over the past decade. The first is George Mabry, who served as the Nashville Symphony’s Chorus Director from 1998 until his retirement in December 2011. Beloved by singers, musicians and audience members alike, Mabry has played a critical role in the growth and development of the Nashville Symphony Chorus. Under his leadership, the ensemble has performed on several Nashville Symphony recordings, including Beethoven’s Missa Solemnis and Menotti’s Amahl and the Night Visitors, and has been featured in its own annual concert, Voices of Spring. Professor emeritus of music at Austin Peay State University in Clarksville, Tennessee, he also served as director of the school’s Center for the Creative Arts and director of choral activities until his retirement in 2003. Mabry is a published composer and arranger as well. In addition to his choral and instrumental compositions, some of which have been performed by the Nashville Symphony Chorus, he has written and produced musical shows for entertainment parks around the country, including Opryland U.S.A.
Carmina Burana also marks the last appearance of another important behindthe-scenes figure, Hazel Somerville, who is retiring as artistic director of the Blair Children’s Choruses. In her eight years with the groups, she has led them on tours to England, Germany, Ireland and across the United States. Many of her proudest moments have come in working with the Nashville Symphony — both on recordings, including Gershwin’s Porgy and Bess and Corigliano’s A Dylan Thomas Trilogy, and in performances with conductors including Sir Neville Marriner, Leonard Slatkin, Kenneth Schermerhorn and Giancarlo Guerrero. A native of South Carolina, Somerville previously served as an organist and choirmaster in New England and Florida. As director of Youth pro Musica in Boston, she prepared choruses for the Boston Pops under Keith Lockhart (including nationwide television performances), as well as collaborations with the Boston Camerata and the Harvard University Choir.
Thank you, George and Hazel, for all that you have brought to the Nashville Symphony!
InConcert
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backstage | meet our musicians
Bob Marler Principal Keyboard Member of Nashville Symphony since: 2010 Hometown: Franklin, Tennessee The piano plays a unique role in Percy Grainger’s The Warriors, which the orchestra will be performing both in Nashville and at Carnegie Hall. What’s involved for you? It’s a gigantic piece, very fast and aggressive. Grainger specified that the piece have at least three pianists, and he said they should be very powerful pianists. And he said if they’re not available, then an orchestra should use six or nine pianists. It’s a huge, very aggressive part, and in addition to being very virtuosic, it has a couple of sections where all three pianists use marimba mallets on the inside of the piano. Do you get to play inside of the piano very often? It’s not unusual for composers today to utilize nontraditional techniques. Richard Danielpour’s Darkness in the Ancient Valley, which we performed last fall, had a part on the piano where I had to use a pick on the strings. After working with it a while, I decided that a credit card sounded better. Have you performed at Carnegie Hall before? I have not, and I’m very excited to be going with the orchestra. It’s a significant and exciting thing. You know the old saying — how do you get to Carnegie Hall? Certainly, there’s been a lot of practice. The whole program has a lot of piano, so I’ve been trying to avoid getting tendonitis as a result of too much practice.
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Even though you became a member of the Nashville Symphony in the last couple of years, you’ve had a long history with the ensemble. My very first time performing with the orchestra was around 1983 or ’84, shortly after Kenneth Schermerhorn came. I did some concertos in honor of the movie Amadeus and some parks concerts. Then I started working with Nashville Ballet the first year they became a professional company, performing solo piano ballets. When the Ballet started performing with the orchestra, I discovered that was a unique opportunity to play concertos, because we did as many as seven or eight piano concertos that were ballets. Then, about 15 years ago, I started subbing regularly for [former principal keyboardist] Charlene Harb. So I guess joining the orchestra came as a natural fit for you? They had auditions, and that was a grueling process, with 45 or 50 minutes’ worth of music. The first few rounds are behind a curtain, but I was given a pass on Round One because I’d already been playing full-time with the orchestra for a year, after Charlene retired. In the last round, they took the curtain down, and the Maestro came out and asked the three of us who remained to play everything from beginning to end. Then he asked us all to play something with him conducting. Do you have a favorite piece of music you’ve performed with the Nashville Symphony? I would have to say it’s the concertos I’ve done, particularly with Nashville Ballet — a couple of Mozart concertos, Tchaikovsky’s grand Piano Concerto. Another favorite is Roberto Sierra’s Sinfonía No. 4, which we performed and recorded last month.
MAY 2012
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Giancarlo Guerrero & the Nashville Symphony at Carnegie Hall
The Nashville Symphony will perform at Carnegie Hall as part of the Spring for Music festival, and we want everyone to be part of the experience!
HEAR THE CONCERT LIVE! Tune in to Classical 910ne (91.1 FM) at 6:30 p.m. on Saturday, May 12!
.
Follow our progress at RoadToCarnegie.com
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CLASSICAL SERIES
Classical Series Thursday, May 3, at 7 p.m. Friday & Saturday, May 4 & 5, at 8 p.m.
Nashville Symphony Giancarlo Guerrero, conductor Kelly Corcoran, associate conductor Christopher Norton, guest conductor Tracy Silverman, electric violin Gyan Riley, banjo
PERCY ALDRIDGE GRAINGER
The Warriors: Music to an Imaginary Ballet
TERRY RILEY The Palmian Chord Ryddle for Electric Violin and Orchestra Starting From Here Iberia Slow Drag Towards the Clouds For Maresa Ghandi-Ji’s Danda Wedding Music for Gyan and Nicole The Afterglow (movements played without pause) Tracy Silverman, electric violin WORLD PREMIERE Commissioned by the Nashville Symphony, Giancarlo Guerrero, Music Director
INTERMISSION
SERGEI RACHMANINOFF Symphonic Dances, Op. 45 Non allegro Andante con moto (Tempo di valse) Lento assai - Allegro vivace Tracy Silverman plays a custom six-string electric violin built by Danny Ferrington, and he uses Thomastik Strings courtesy of Connolly Music Company. Concert Sponsor
Media Partners
Official Partners TM
InConcert
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CLASSICAL SERIES
PERCY GRAINGER Born on July 8, 1882, in a suburb of Melbourne, Australia; died on February 20, 1961, in White Plains, New York The Warriors Grainger composed The Warriors between 1913 and 1916 but continually revised the score throughout his career, making numerous alternative arrangements as well. Infused with sparkling, complex rhythms and irresistibly colorful orchestration, this is the most ambitious work completed by the Australian maverick, who labeled it “music to an imaginary ballet.” First performance: January 20, 1917, at Aeolian Hall in New York, with Walter Damrosch conducting the Symphony Society of New York. First Nashville Symphony performance: These are the Nashville Symphony’s first performances. Estimated length: 18 minutes Recommended listening: Sir John Eliot Gardiner elicits a fittingly exciting account from the Philharmonia Orchestra on a disc paired with Holst’s The Planets (Deutsche Grammophon). Richard Hickox’s recording of the new critical edition of the score for the complete Percy Grainger series on Chandos is also highly recommended.
We like our revolutions simple. It’s somehow reassuring to assume musical pioneers have a consistent vision, and that their progressive thinking about art is reinforced by like-minded attitudes toward society. But human nature is too complex to oblige us with such neatly predictable paradigms. The case of Percy Aldridge Gainger presents a particularly fascinating example. A prodigy whose gifts were encouraged by a domineering mother who later committed suicide, the Australian-born Grainger relocated to Germany in his teens and then established himself as a pianist and composer in London. He evolved a remarkably independent perspective from his combination of interests, which embraced folk music, instrument building, sonorities overlooked in classical music, non-Western tuning and unconventional forms. Grainger anticipated several trends that would play a major role in the 20th-century avant-garde and is rightly compared with Charles Ives for his experiments with complex rhythmic layerings, which are prominently featured in The Warriors. He became most famous, however, for his arrangements of endearing folk tunes like “Country Gardens” and “Shepherd’s Hey.” At the same time, Grainger’s artistic freethinking was bedeviled by intense contradictions — above all, by the regressively racist stereotyping to which he resorted. Mind-boggling paradoxes characterized his ungovernable genius. Written at the height of his powers, The Warriors embodies Grainger’s most sustained and exciting work on a large-scale orchestral canvas. A close friendship with English composer Frederick Delius (to whom the score is dedicated) led to contacts with the conductor Thomas Beecham, a major player in London’s new-music scene who presided over the introduction of Sergei Diaghilev’s Ballets Russes to British audiences. The piece was long thought to have been originally intended for the stage, following from Beecham’s suggestion that Grainger write a new ballet score for the company. When an actual scenario wasn’t forthcoming, the composer went ahead and came up with his own “imaginary ballet.” 22
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What to listen for “No definite program or plot underlies the music, though certain mind-pictures set it going,” Grainger wrote in his note about The Warriors. These involved “the ghosts of male and female warrior types of all times and places” who “are spirited together by an orgy of war-like dances, processions, and merry-makings—broken, or accompanied, by amorous interludes, their frolics tinged with just that faint suspicion of wistfulness
all holiday gladness wears.” The sense of an irrepressible life force overflows from Grainger’s pile-up of rhythmic layers and textures. His coloristic orchestration is expanded to include a large array of tuned percussion to replicate the sonority of the Balinese gamelan, which was a key inspiration. The score includes unusual instructions for the treatment of the pianos, and — in a parallel to Ives’ experiments in complex simultaneity and spatial music — even requests three conductors to cope with the exuberant counterpoint happening independently in the percussion and off-stage brass. Instead of a logical exposition of ideas, Grainger lets loose with one on top of another, presenting a cornucopia of 15 separate themes that collide and combine in eight interlinked sections. The result is a psychedelic rhapsody, the musical equivalent of kaleidoscopic free verse that jump cuts from muscular, military swagger to tender episodes associated with “the pursuit of voluptuous pleasures.” Stravinsky’s Petrushka and Rite of Spring had clearly captivated the composer’s ear, but the dizzying effect of all these combined energies is Grainger’s own.
CLASSICAL SERIES
According to Alessandro Servadei, however, who edited the recent critical edition of the score, “the work was never intended to be staged as a ballet, but was rather the result of an experiment in composing something Grainger described as ‘danceable music,’ music that would be later drawn upon to provide material for an actual ballet score.” In other words, Beecham may have suggested that he approach the realm of ballet by first undertaking “a preliminary orchestral work, in order to allay Grainger’s concerns about his lack of experience in choreography.” Progress on The Warriors was interrupted by the outbreak of World War I and Grainger’s decision to settle in the United States, where he became a citizen. The composer’s scenario for the work has invited contradictory interpretations regarding the influence of the war; some critics have suggested that The Warriors is a “primitivist” glorification of battle, while others see it as a savage parody. Grainger’s penchant for selfmythologizing complicates the matter, and he endured sharp personal criticism for not fighting in the war, though he did enlist in the U.S. Army as a bandsman.
The Warriors is scored for a large orchestra of 2 flutes, piccolo, 2 oboes, bass oboe, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tuba, timpani, 3 percussion players as well as tuned percussion (xylophone, wooden marimba, glockenspiel, steel marimba or bar-piano, and staff and tubular bells), celesta, 3 pianos, 2 harps and strings.
“An Imaginary Ballet” For his own program note to The Warriors, Grainger imagined “a sort of Valhalla gathering of childishly overbearing and arrogant savage men and women of all the ages.” The language he uses to describe these warriors reveals his own peculiar notions about race and ethnicity: “…old Greek heroes with fluttering horse-haired helms; shining black Zulus, their perfect limbs lit with fire-red blossoms; flaxenhaired Vikings clad in scarlet and sky-blue; lithe bright Amazons in windswept garments side by side with squat Greenland women in ornately patterned furs; Red Indians resplendent in bead-heavy dresses and negrito Fijians terrible with sharks’ teeth ornaments, their wooly hair dyed pale ochre with lime; graceful cannibal Polynesians of both sexes, their golden skins wreathed with flowers and winding tendrils; — these and all the rest arm in arm in a united show of gay and innocent pride and animal spirits, fierce and exultant.” InConcert
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CLASSICAL SERIES TERRY RILEY Born on June 24, 1935, in Colfax, California; currently resides in Camptonville, California The Palmian Chord Ryddle for Electric Violin and Orchestra Terry Riley wrote The Palmian Chord Ryddle on a commission from the Nashville Symphony and music director Giancarlo Guerrero. He completed the first draft at his Sri Moonshine Ranch in Northern California between January and April 2011, devoting the rest of the year to editing and revision. Rather than follow formal classical concerto models, this work for electric violin and orchestra was animated by moments of spontaneous inspiration and weaves references to key figures from the composer’s lifelong musical journey into a virtuosic tapestry. First performance: The Nashville Symphony is giving the world premiere with these performances. Estimated length: 30 minutes Recommended listening: Of the many recordings of Riley’s landmark In C, try the classic version from 1968, in which the composer himself appears on saxophone (remastered on Sony). Some of Tracy Silverman’s collaborations with Riley can be found on Banana Humberto 2000, featuring the Paul Dresher Ensemble (Sri Moonshine) and The Book of Abbeyozzud, a beautiful collection of recent pieces for guitar and violin on New Albion.
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Composer, performer, artistic pioneer and allaround musical guru Terry Riley remains far too intensely active at 76 to be embalmed as a “living legend.” Even though he became a formative influence on modern music nearly a half-century ago, Riley himself never stopped evolving in new directions. The native Californian’s early breakthrough work, In C (1964), was a cornerstone in the development of American Minimalism; its widespread impact has often been compared to that of The Rite of Spring. Riley’s influence crossed barriers between contemporary classical and popular music, leaving traces in the work of such artists as Brian Eno, Tangerine Dream and Pete Townshend. Townshend even gave a nod to his influence by titling one of The Who’s greatest hits “Baba O’Riley.” Though he is often still carelessly labeled a Minimalist, the techniques of repetitive process associated with that movement are merely one part of an expansive and colorful palette. Riley has always been an intrepid musical traveler, and his inspirations span a wide spectrum. Along with a diversity of non-Western musics, these include what he has gleaned from close study of Indian classical and folk traditions. Added to the mix are Riley’s countless collaborations over a long career of performing and improvising with various bands and ensembles. That spirit of exploration underlies The Palmian Chord Ryddle, which carries forward Riley’s recent forays into writing for the orchestral medium. The composer notes that he started trying out the concerto format with The Sands (1991), written for his frequent collaborators, the Kronos Quartet, and orchestra. The last few years have seen SolTierraLuna (2007), a triple concerto for two guitars and violin and chamber orchestra, and Zephir, a concerto from 2009 for Italian violinist Francesco D’Orazio. “In general I probably wouldn’t write a concerto unless it was for someone I’ve worked with and whose playing I know,” Riley says, adding that Nashville resident Tracy Silverman was a powerfully motivating force. The two have collaborated for years on numerous projects, including playing together in one of Riley’s bands, the All Stars. “Tracy has been instrumental in
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“In general I probably wouldn’t write a concerto unless it was for someone I’ve worked with and whose playing I know,” Riley says, adding that Nashville resident Tracy Silverman was a powerfully motivating force. The two have collaborated for years on numerous projects.
developing the technology of the electric violin,” he says — a further inducement to explore this unusual sonic combination. It’s interesting to note that another concerto written for Silverman and his electric violin — John Adams’ The Dharma at Big Sur — pays direct homage to Riley’s influence in a movement named after the latter’s famous composing ranch (“Sri Moonshine”). Riley points out that improvisation and written-out composition are two different worlds — “and I have a foot in each one.” While Ryddle is a product of the latter, a spirit of spontaneity and unpredictability significantly shaped the score. Riley began with the highly chromatic gesture presented at the opening, “but I didn’t have a conscious plan after that,” he adds. Instead, he intuitively drew on his experience with raga melodies and scales from Indian classical music, as well as from memories and associations relating to loved ones in his life. On one level, Ryddle is a kind of musical autobiography that refers to his parents, friends and his son Gyan, also a composer and a guitarist. (The two frequently perform together, and Gyan is featured on six-string banjo in this performance.) Even the title came spontaneously. Riley, who has used dream journals for other pieces such as Autodreamographical Tales, recalls a dream in which he was discussing an ancient mode called the “Palmian.” He decided to apply that to the opening passage, from which the rest of the piece’s melodic material is spun out and eventually resolved. The odd, archaic spelling of “Ryddle” implies the mysteriously ancient origin of this mode.
In the Composer’s Words The vastly extended range of the amplified, sixstring electric violin is eminently suited to the many layers of reference on which Riley touches in Ryddle. Overall, he explains, his concertos don’t follow the classical mold of the soloist battling things out with the orchestra. “The soloist sets the tone for the orchestra as well. Even though it’s a large ensemble, the orchestration itself is very sparse.” The seven interlinked sections of Ryddle take their cue from the soloist’s musings, whether the impulse veers toward archaic Eastern European modes, jazz, the Carnatic tradition from southern India or the gentle reminiscence of In C heard in the final section. Riley has provided the following description of his piece: What I most humbly would like to say about The Palmian Chord Ryddle is that it leaped into my consciousness as a very spontaneous work full of the things in music that I find colorful, dynamic, beautiful, challenging, humorous, loving, friendly, joyous, stark and universally minded. In the writing process, waves of ideas came quickly flooding in, each succeeding wave carrying away some of the old themes and rhythms and carrying in the new. The first section (“Starting from Here”) begins with what I later was to call the Palmian chord (D, E, F, F#, G#, A, B, C, C#), a scale or cluster of notes forming the theme of the opening section and shaping its harmonies. This gives way to the next part, “Iberia,” with its Moorish-infused energies that I experienced while living in Andalusia in the early ’60s. Next is the “Slow Drag,” dedicated to Wilma and
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Charlie, my mom and pop, who were Charleston dancing champions in the ’30s. The bluesy harmonies of the “Slow Drag” were written especially for Tracy’s abilities to weave melody, harmony and bass simultaneously through the full range of the electric violin, like a one-man string quartet. Pulsing drums lead us out of the “Slow Drag” into “Towards the Clouds,” where large orchestral buildups of long tones in slowly shifting harmonies create nebulous colors and release quick, birdlike flight formations in the woodwinds. Then a poignant, slow movement with melodies in the Lydian mode (“For Maresa”) leads seamlessly to an exuberant south Indian dance movement in which virtuosic themes are passed around the orchestra (“Ghand-Ji’s Danda”). This jaunty music suggests images of Mahatma Gandhi with his walking-stick (“danda”). There is a buildup in the section “Wedding Music for Gyan and Nicole” (inspired by my son’s wedding), but the concerto ends quietly with “The Afterglow”: a moment allowing reflection on the nonstop journey that precedes it. If The Palmian Chord Ryddle could be said to have a form, I would say it is in wave form, each wave unknown to itself until it emerges in full recognition of its nature. I could not have planned it thus: it just came out that way. In addition to solo electric violin, Riley’s score calls for 2 flutes, piccolo, oboe, English horn, bass clarinet, alto saxophone, bassoon, contrabassoon, 2 trumpets, flugelhorn, 2 trombones, tuba, timpani, 3 percussionists, drum kit, piano, harp, USB keyboard, 6-string banjo and strings.
SERGEI RACHMANINOFF Born on April 1, 1873, in Semyonovo, Russia; died on March 28, 1943, in Beverly Hills, California Symphonic Dances, Op. 45 Rachmaninoff composed the Symphonic Dances in 1940. His orchestral swan song, this symphonic suite takes a retrospective look over the composer’s earlier career, but with a hauntingly spare, pared-down style that features some of his most imaginative orchestral touches. First performance: January 3, 1941, with Eugene Ormandy conducting the Philadelphia Orchestra. First Nashville Symphony performance: October 18 & 19, 1996, with Music Director Kenneth Schermerhorn. Estimated length: 38 minutes Recommended listening: Mariss Jansons and the St. Petersburg Philharmonic pair Symphonic Dances with the Third Symphony in an especially thrilling interpretation of music by Rachmaninoff (EMI). Rachmaninoff became a permanent — and unceasingly homesick — exile from his native Russia in the wake of the 1917 Revolution. Settling in the United States not only left him emotionally unmoored but forced Rachmaninoff to readjust his musical priorities out of financial necessity. From his early years, he pursued the combined roles of performer (both conducting and concertizing as piano soloist) and composer; but the loss of his Russian base of support forced Rachmaninoff to take up more concert engagements as a pianist to support his family.
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What to listen for A bleak, brief introductory passage hints at the pared-down character of Rachmaninoff ’s late style. The music soon takes on momentum and is driven by a potent and restless three-note rhythmic idea. Much of the movement’s drama is generated from the contrast between this opening material and the folk song-like melody that is given so unforgettably to the saxophone. The manner in which Rachmaninoff allows the opening theme to creep back into the scene is magnificently staged. His predilection for bell-like sounds emerges in a colorful coda that brings the music to a gentle rest. The second movement unfolds as a rueful waltz, its anxiousness intensified by repeated interruptions of momentum. Details are worried over in gorgeously detailed solo writing, like a quickly fragmenting dream the composer wants to preserve before it dissipates entirely. The final movement alternates between extreme slow and fast tempos. Here Rachmaninoff recalls some of the spirit of the opening movement, but the atmosphere is decidedly more demonic. Indeed, the famous medieval chant of Dies irae from the Requiem Mass appears (in various slightly disguised forms) as one of the themes alongside the main theme originating from Russian sacred chant. Aside from its obvious reference to death and judgment in this context, the Dies Irae had served in several other Rachmaninoff compositions as a kind of fatalistic leitmotif. Toward the end of this piece, though, Rachmaninoff introduces a more hopeful sacred melody taken from his luminous a cappella choral music, the All-Night Vigil. Its consoling presence robs the Dies irae of its sting.
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A brutal touring schedule often brought him to the point of exhaustion. Moreover, a condition of permanent homesickness aggravated his creative paralysis, no matter how closely the tall, thin, aristocratically poised composer tried to replicate the atmosphere of his beloved pre-Revolutionary Russia. Rachmaninoff ’s compositional output thus dwindled to just a handful of works in his final 25 years. The Symphonic Dances represents the very last of these. From the start, Rachmaninoff was imagining Symphonic Dances in several dimensions. In its most familiar form, as the concert suite we hear, it stands as an unofficial Fourth Symphony (or even Fifth, if you count the earlier choral symphony The Bells, based on Edgar Allan Poe). Rachmaninoff also prepared a version for two pianos, reflecting his dual personalities as composer and pianist. Meanwhile, another work — the Rhapsody on a Theme of Paganini — had recently found new success as a ballet choreographed by Mikhail Fokine. Rachmaninoff approached Fokine with the idea of a new collaboration based on Symphonic Dances, but the choreographer died in 1942, before such a project could proceed. An earlier title Rachmaninoff considered was Fantastic Dances, and at one point he suggested a loose program by using times of day as titles for each of the work’s three movements (“Noon,” “Twilight,” and “Midnight”). He later abandoned those as unnecessary distractions and allowed only the conventional tempo indications to stand. Perhaps the titles were meant to suggest periods in his personal life. Events in Europe during the summer of 1940, when Rachmaninoff composed the work, may well have triggered a desire to reflect on the direction his life had been forced to take in a violent century. Symphonic Dances can be approached as a guarded retrospective survey of his past career, as Rachmaninoff laces the score with self-quotations from a number of earlier works.
Rachmaninoff ’s score calls for a large orchestra of piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals, triangle, tambourine, tam-tam, xylophone, glockenspiel, tubular bells, harp, piano and strings. —Thomas May is the Nashville Symphony’s program annotator. He writes extensively about music and theater.
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About the Soloist TRACY SILVERMAN, electric violin Lauded by the BBC as “the greatest living exponent of the electric violin,” Tracy Silverman defies musical boundaries. The world’s first concert electric violinist, he was recently named one of 100 distinguished alumni by The Juilliard School. Shortly after graduating in 1980, he built one of the first six-string violins and began performing on the innovative instrument. Formerly first violinist with the Turtle Island String Quartet, Silverman has worked with a virtual who’s who of the orchestral, rock, pop, new music and jazz fields, including artists as diverse as legendary composers John Adams and Terry Riley, conductors Neeme Järvi and Esa-Pekka Salonen, jazz pianist Billy Taylor, rock band Guster and tabla master Zakir Hussain. In 2003, Pulitzer Prize-winning composer John Adams composed The Dharma at Big Sur, a concerto for electric violin, specifically for Silverman, who recorded it with the BBC Symphony for Nonesuch Records. A composer himself, Silverman recently premiered his second electric violin concerto, Between the Kiss and the Chaos, and tours internationally as a soloist with orchestras, with his one-man performances and as a collaborator with many other artists and chamber ensembles, including the Calder Quartet. He has appeared on numerous national TV and radio programs, including NPR’s Performance Today and St. Paul Sunday, and has been profiled on CBS News Sunday Morning with Charles Osgood. He is a faculty member at Belmont University and at Vanderbilt University’s Blair School of Music in Nashville, where he lives with his wife and four children.
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SPECIAL EVENT
Special Event Monday, May 7, at 7 p.m.
Esperanza Spalding, double bass, electric bass and lead vocal Leo Genovese, piano, rhodes and keyboards Jef Lee Johnson, electric guitar and backing vocals Lyndon Rochelle, drums and backing vocals Chris Turner, backing vocal Tia Fuller, musical director and alto saxophone Daniel Blake, tenor and soprano saxophone Aaron Burnett, tenor saxophone Jeff Galindo, trombone Corey King, trombone Igmar Thomas, trumpet Leala Cyr, trumpet and backing vocals
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About the artist
ESPERANZA SPALDING Bassist, vocalist and composer Esperanza Spalding was born in Portland, Oregon, and discovered her musical calling at the age of 4, after watching cellist Yo-Yo Ma perform on Mister Rogers’ Neighborhood. Within a year, she had taught herself to play the violin well enough to land a spot in a community orchestra that was open to both children and adults. As a teenager, she discovered the bass and began playing blues, funk, hip-hop and a variety of other styles on the local club circuit. She went on to earn a degree from Berklee College of Music and performed with jazz icons such as Michel Camilo and Joe Lovano. Spalding has gone through a variety of phases during her brief recording career. She presented the many different sides of her writing on Esperanza, her 2008 debut recording. For her 2010 follow-up, Chamber Music Society, she was joined by longtime colleagues Leo Genovese (keyboards) and Terri Lyne Carrington (drums), plus percussionist Quintino Cinalli, vocalists (including the legendary Milton Nascimento) and a string trio (arranged by Gil Goldstein and Spalding). The disc garnered the Best New Artist GRAMMY® — the first time the award has gone to a jazz musician. Spalding’s latest release, Radio Music Society, expands the cast of musicians to include Joe Lovano, Jack DeJohnette, Billy Hart, hip-hop giant Q-Tip, Algebra Blessett, Lalah Hathaway, Gretchen Parlato and Lionel Loueke, as well as the horn section of Memory’s American Music Program ensemble. CapStar_Arts Ads-Sizes_CapStar_ArtsAd_6.625x5.125 6/22/11 10:51 AM Page 1
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SPECIAL EVENT
Special Event - Open Rehearsal Tuesday, May 8, at 7 p.m.
Universe
Symphony Nashville Symphony Giancarlo Guerrero, conductor Kelly Corcoran, associate conductor Albert-George Schram, resident conductor Larry Austin, guest conductor Christopher Norton, guest conductor CHARLES IVES Universe Symphony realized and completed by Larry Austin Past — From Chaos, Formation of the Waters and Mountains Present — Earth and the Firmament, Evolution in Nature and Humanity Future — Heaven, the Rise of All to the Spiritual (movements played without pause)
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CHARLES IVES Born October 20, 1874, in Danbury, Connecticut; died May 19, 1954, in New York City Universe Symphony Realized and completed by Larry Austin for multiple orchestras Estimated length: 36 minutes In 1911, Charles Ives began writing his Universe Symphony — a work so complex that he ultimately left it unfinished. He did, however, leave a written invitation for a future composer to complete the piece. Denton, Texas-based composer Larry Austin is one of only a small handful of composers to attempt this massive undertaking. As realized and completed by Austin, the Universe Symphony remains one of the least frequently performed works in Ives’ catalogue because of the massive forces required for performance.
In the Composer’s Words The Universe Symphony was American composer Charles Ives’ last, most ambitious, yet uncompleted composition. Sketches for what would have been his fifth symphony were begun in 1911 (possibly as early as 1908), continued until 1915 and were resumed in 1927 and 1928, with periodic updates by Ives up until three years before his death in 1954. There are 36 extant sketch pages that I believe are definitely part of the Universe Symphony, including completed music, musical sketches and fragments, and detailed narrative and graphic descriptions concerning the form, continuity and transcendental aesthetic of the work. Of its creation motif, Ives wrote on a sketch page: “The Universe symphony is an attempt in tones, every form and position known or unknown (to me) as the eternities are unmeasured, as the source of universal substances are unknown, the earth, the waters, the stars, the ether, yet these elements as man can touch them with hand and microscope and labeled as chemicals and atoms, as the eternal motion, life of things and man, their bulk, their destiny. They are not single and exclusive strains, but incessant myriads, for ages ever and always changing, growing, but in ages ever always a permanence—
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in humans of the earth for a man’s lifetime, of life and death and future life—the only known is the unknown, the only hope of humanity is the unseen spirit—what can’t be done but what reaching out to do (as we feel like trying it) is to cast eternal history, the physical universe of all humanity past, present and future, physical and spiritual, to cast, then, a ‘universe of tones.’ ” I began in 1974 to transcribe the musical material and to study Ives’s plan for the Universe Symphony from reproductions of the extant unpublished manuscripts in the Charles Ives Archives of the Music Library of Yale University. I was inspired by the rich musical material found in the sketches for the Universe Symphony and by Ives’s open invitation to other composers in his memos to expand on and even to carry out his aspirations for the work. Since 1974, I have completed four extended compositions based on distinct orchestral strata in Ives’s material: First Fantasy on Ives’s Universe Symphony: the Earth (1975), for two brass quintets, narrator and tape; Second Fantasy on Ives’s Universe: the Heavens (1976), for clarinet, viola, keyboards, percussion and tape; Phantasmagoria: Fantasies on Ives’s Universe Symphony (1977, revised 1981), for orchestra, narrator, digital synthesizer and tape; and Life Pulse Prelude (1974-84), for 20-member
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by one of the four assistant conductors, are scored variously for violins, violas, high winds and solo percussion. The two “Earth” orchestras are the “Rock formation” orchestra, scored for brass and low winds, and the “Earth chord,” scored for cellos and contrabasses. In late 1974, I devised a 20-player, computer-controlled click-track system, which I used to record a performance of my realization of the first three cycles of Ives’s “life pulse” percussion orchestra. That system made it possible to record, in succession, four fiveplayer realizations. That limited system was superseded in 1984 with the completion of my Life Pulse Prelude, providing a 16-track tape machine to play (through headphones) the 12 synthesizer-generated click tracks for the 20 percussionists to perform, “live,” through the “life pulse” music’s complete 10 cycles. Now, with the realization and completion of the entire Universe Symphony, two additional, distinct click tracks have been added for two of the “Heavens” orchestras, making the number of different click tracks total 14. Twenty-five performers each follow their separate tempo on headphones: 20 percussionists, plus five conductors. I believe that composers and percussionists have all, from time to time, experimented with the musical effect created by combining prime number pulses: e.g., clapping two-against-three or even three-against-four, or several performers playing in different tempos, coming into phase at some agreed-upon interval. Is the notion of combining 22 different meters and tempos, coming into phase every eight seconds, an elementary, even primitive idea? Yes. Was Ives really serious about this experiment? Yes. Is the musical effect...special? Absolutely! —Larry Austin Larry Austin’s realization of Ives’ Universe Symphony calls for 2 flutes, piccolo, alto flute (doubling piccolo), 2 oboes, English horn, 3 clarinets, bass clarinet (doubling clarinet), 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 2 trombones, 2 bass trombones, tuba, 2 pianos, celesta, 24 percussion, harp and strings. This instrumentation is divided into seven smaller orchestras of unique groupings, conducted by five conductors. InConcert
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percussion orchestra. I have since worked to incorporate the material and performance techniques developed for these pieces into what now has eventuated in this composed realization of the entire Universe Symphony, certainly Ives’s most ambitious and, I believe, his most compelling and visionary work. Four types of compositional material are found in Ives’s sketches for his Universe Symphony: virtually complete scoring (except for details of orchestration, dynamics, articulation and phrasing); incomplete scoring; virtually complete formal, structural and aesthetic descriptions of the nature and technical specifications; and brief and often fragmentary musical and textual sketches exemplifying particular aspects or techniques that Ives was conceiving for the work. My own intent has been to realize and complete both Ives’s explicit and implicit compositional, formal and aesthetic intent for the work. Hence, to the extent intended and possible, I have meant this realization and completion of Ives’s Universe Symphony to be experienced as a 100 percent Ives composition. From my study and performance experience with Ives’s material, I believe strongly that the following conclusions can be well supported: 1. The instrumentation is comprised of multiple orchestras (sometimes called “groups”) of nominal size and primarily made up of related instruments. 2. The continuity for the work is sustained in three uninterrupted sections called Past (A), Present (B) and Future (C), with Ives’s suggested option of preceding these sections with 10 “life pulse” percussion orchestra cycles. 3. The “basic unit” tempo for the entire work is uniformly quarter-note = 60 MM. The myriad details about instrumentation, tempo and formal continuity in Ives’s Universe Symphony have been important for me to sort out, since they have had direct bearing on the first full, completed realization of one of three macro-layers of the Universe Symphony, the “life pulse” music. Here, Ives calls for a 20-member percussion orchestra, each player performing in a different meter and at a different tempo, coming into metric phase every eight seconds. The other two macro-layers are called by Ives “the Heavens” and “the Earth.” The four “Heavens” orchestras, each conducted in different meters and tempos
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POPS SERIES
Pops Series Thursday, May 17, at 7 p.m. Friday & Saturday, May 18 & 19, at 8 p.m.
Nashville Symphony Albert-George Schram, conductor
Chris Botti, trumpet Billy Kilson, drums Robert Hurst, bass Geoffrey Keezer, piano Leonardo Amuedo, guitar Lisa Fischer, vocals Caroline Campbell, violin Selections to be announced from the stage
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About the artist Renowned trumpeter and composer Chris Botti has established himself as an important, innovative force in the contemporary music world, and has more than 3 million album sales to his credit. Born in Portland, Oregon, he was encouraged to pursue music by his mother, a concert pianist. He had an early taste of the international world through his Italian father, who took the family to live in Italy for several years during Botti’s childhood. The composer’s firm connection with his Italian roots is evident in the title song for his album Italia, which he co-wrote with David Foster. A different but equally significant influence entered Botti’s life when, at age 12, he heard Miles Davis play “My Funny Valentine.” The impact of Davis’ performance persuaded him to make a lifetime commitment to the trumpet, and also launched the affection for melody, space and balance that have been intrinsic aspects of Botti’s musical vision. After attending Indiana University, studying with teachers such as David Baker, and further honing his skills with jazz trumpeter Woody Shaw and jazz saxophonist George Coleman, Botti moved to New York in the mid1980s. He worked there with a variety of artists ranging from Natalie Cole to Sting. Impressions, Botti’s new Columbia Records CD, is the latest in a stellar parade of albums — starting with 2004’s When I Fall in Love and continuing with To Love Again, Italia and the CD/DVD Chris Botti in Boston — that have firmly established him as the world’s largest-selling jazz instrumentalist. They have also earned him a cluster of GRAMMY® nominations and three No. 1 albums on Billboard’s Jazz Albums listings. Through his impressive body of work, Botti has developed a form of musical expression that begins in jazz and expands beyond the limits of any single genre.
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SPECIAL EVENT
Special Event Thursday, May 24, at 7 p.m.
Side-by-Side Concert Kelly Corcoran
Nashville Symphony Kelly Corcoran, conductor Curb Youth Symphony Carol Nies, music director Yusuke Yamanaka, piano SERGEI PROKOFIEV Concerto for Piano No. 1 in D-flat Major, Op. 10 I. Allegro Brioso Yusuke Yamanaka, piano CHRIS LOWRY Celebration Overture GUSTAV HOLST Jupiter, the Bringer of Jollity from The Planets PIOTR ILYICH TCHAIKOVSKY Finale from Swan Lake, Op.20a GUSTAV MAHLER Adagietto from Symphony No. 5 in C-sharp Minor OTTORINO RESPIGHI Pines of the Appian Way from The Pines of Rome
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About the SOLOIST YUSUKE YAMANAKA, piano Yusuke Yamanaka is a senior at Maryville High School. A student of David Northington at University of Tennessee-Knoxville, he has received several awards and recognitions in local and state competitions, including an honorable mention in the 2011 Music Teachers National Association competition, second place in the 2011 TMTA competition, first place in the 2010 and 2011 Blount County Keyboard Teachers’ Association competition, and first place in the 2011 Sonata Festival. In 2010, he attended the Tennessee Governor’s School for the Arts, where he also studied with Jerome Reed of Lipscomb University and Amy Dorfman of Vanderbilt University. In addition to these recognitions, he performed with the Maryville-Alcoa College Community Orchestra as a guest soloist in 2012. He is the son of Takanosuke and Kumiko Yamanaka.
Curb Youth Symphony VIOLIN I Annie Bender****+ Nathan Lowry****+ Kameron Myers****+ Joy Fan+ McKenzie Fetters+ Ben Gu Chole Harvel+ Joseph Huang+ Mary Grace Johnson+ Katie Lee+ Alan Liang+ Christa MacKrell Jenna Mangum+ Rebecca Marino+ Veronica Marino+ Joshua Palazzolo Allison Pao+ Linda Xu+ Kaili Wang+ VIOLIN II Katie Lee**+ Joseph Huang**+ Jenna Mangum**+ Linda Xu**+ Rebecca Marino*+ Veronica Marino*+ Tim Choi David Fan Joy Fan+ McKenzie Fetters+ Lillian Fisher Chelsea Guo Timothy Jiang Vanessa Kieper+ Gene Li+ Richard Li+ Carmel Mackrell Tina Qian+ Jacqueline Ramos Michael Snyder+ Jessica Song VIOLA Olivia Palazzolo**+ 40
CAROL NIES, music director
Lincoln Pent** Sarah Beth Summers**+ Christian Rogers* Joseph Choi+ James Dai John Harland Michael Lee+ Will Magnum+ Alex Wall+ Dawn Wu+ CELLO Mary Grace Bender**+ Matthew Palazzolo**+ David Bender+ Briana Browne+ Kang Huh+ Adelaide Morphett Lucy Qu Connor Webber+ Esther Chung Maggie Liston+ Charlene Hong Meredith Lee+ Race Allen Alexis May+ Nicole Yim+ BASS A.J. Powlis**+ Joseph Cahoon**+ Quantez Roderickous Coger**+ Jacob Jezioro**+ Bridgid Browne+ FLUTE Megan McKinney**+ Jordan Frazier*+ Danielle Maeng+ Katie Roddy+ Jennifer Sai PICCOLO Katie Roddy**+ Danielle Maeng**+
OBOE Jonathan Hearn**+ Kali Poore**+ Luke Bryson+ ENGLISH HORN Luke Bryson**+ CLARINET Katy Coffer**+ Michaela Cundari**+ Frances Ding Audrey Jones BASSOON Nicole Neeley**+ Brian Curl+ Brennan Langenbach+ HORN Amber Garrison**+ Jesse Coker+ Ethan Mattingly+ Dylan May Taylor Womack+ TRUMPET Matt Loggins**+ Christopher Waterman**+ Elizabeth Ayers Brittany Belcher+ Justin Bowen Emery Herrmann+ TROMBONE Richard Lees**+ Jessica Robbins**+ Eric Dixon+ Nathan Pierce+ TUBA Bryan Self**+
TIMPANI Austin Paul**+ Philip Gorodetzky**+ PERCUSSION Austin Paul**+ Griffin Dove+ Byrnna Farris+ Chandler Franco+ Philip Gorodetzky+ Sean Harvey+ HARP Kristin Quint**+ Amy Thompson**+ ASSISTANT CONDUCTOR Jazmin Johnson ORCHESTRA ASSISTANTS Robin Winkowski Audrey Lee Collin Lewis Eleni Miller OPERATIONS MANAGERS Jazmin Johnson Robin Winkowski Quantez Roderickous Coger Kameron Myers Matthew Palazzolo Joshua Palazzolo Olivia Palazzolo **** Concertmaster *** Assistant Concertmaster ** Principal * Assistant Principal + Side-By-Side Concert Participant
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Special Event Friday, May 25, at 7 p.m.
Patron Appreciation concert Nashville Symphony Kelly Corcoran, conductor Paul Laraia, viola SAMUEL BARBER Overture to The School for Scandal JOHANNES BRAHMS Hungarian Dances Nos. 12-15 orchestrated by Albert Parlow No. 12 in D minor: Presto No. 13 in D major: Andantino grazioso - Vivace No. 14 in D minor: Un poco andante No. 15 in B-flat major: Allegretto grazioso BÉLA BARTOK Concerto for Viola and Orchestra completed & orchestrated by Tibor Serly Moderato Lento - Adagio religioso - Allegretto Allegro vivace Paul Laraia, viola
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LUDWIG VAN BEETHOVEN Symphony No. 2 in D major, Op. 36 Adagio Molto - Allegro con brio Larghetto Scherzo: Allegro Allegro Molto
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About the SOLOIST PAUL LARAIA, viola Praised for his extraordinary grasp of phrasing, character and color, violist Paul Laraia has performed concerts at Carnegie Hall, Jordan Hall, Concert Hall Frits Philips, the Strathmore Arts Center, the Max M. Fisher Music Center and the Kimmel Center’s Verizon Hall. He has been featured multiple times on National Public Radio and Detroit Public Television. Originally from Sewell, New Jersey, Laraia entered the New England Conservatory of Music in 2007 under Kim Kashkashian, with a full scholarship. He has performed at the Sarasota Music Festival, National Orchestral Institute and Yellow Barn Festival, where he collaborated with acclaimed artists such as Donald Weilerstein, Roger Tapping, Anthony Marwood, Michael Kannen, Maria Lambros, Natasha Brofsky and Mark Hill. From 2007 to 2009, Laraia was part of the Bela String Quartet, winners of the New England Conservatory Honors Ensemble Competition. In 2010, he competed at the Sphinx Competition and received second prize for his performance of Bartók’s Viola Concerto. In 2011, Laraia returned to the Sphinx Competition and was awarded first prize directly after the first round of the competition. Laraia will be recording his debut CD next December for the White Pine label, and he will be soloing with 15 major American orchestras over the next year-and-a-half. He plays on a 17 1/4inch viola by Douglas Cox in the style of Gasparo da Salo, provided by Cox through the Sphinx Instrument Fund program, and he performs as part of the Sphinx Professional Development Program, sponsored by GM.
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Classical Series Thursday, May 31, at 7 p.m. Friday & Saturday, June 1 & 2, at 8 p.m.
Nashville Symphony Giancarlo Guerrero, conductor Nashville Symphony Chorus Douglas Rose, interim director Blair Children’s Chorus Hazel Somerville, director Terri Richter, soprano Christopher Pfund, tenor Stephen Powell, baritone RALPH VAUGHAN WILLIAMS Serenade to Music LOWELL LIEBERMANN Symphony No. 3, Op. 113 Largo-più mosso-slow waltz Allegro Larghissimo (movements played without pause) Commissioned by the Magnum Opus Project INTERMISSION Continued on next page InConcert
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CARL ORFF Carmina Burana Fortuna imperatrix mundi [Fortune, Empress of the World] O Fortuna Fortune plango vulnera I. Primo vere [In Springtime] Veris leta facies Omnis Sol temperat Ecce gratum Uf dem Anger [On the Lawn] Tanz Floret silva Chramer, gip die varwe mire Reie – Swaz hie gat umbe – Chume, chum geselle min Were diu werlt alle min II. In taberna [In the Tavern] Estuans interius Olim lacus colueram Ego sum abbas In taberna quando sumus III. Cour d’amours [The Court of Love] Amor volat undique Dies, nox et omnia Stetit puella Circa mea pectora Si puer cum puellula Veni, veni, venias In trutina Tempus est iocundum Dulcissime Blanziflor et Helena [Blanziflor and Helena] Ave formosissima Fortuna imperatrix mundi [Fortune, Empress of the World] O Fortuna Terri Richter, soprano Christopher Pfund, tenor Stephen Powell, baritone
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RALPH VAUGHAN WILLIAMS Born on October 12, 1872, in the village of Down Ampney in Gloucestershire, England; died on August 26, 1958, in London Serenade to Music Ralph Vaughan Williams composed Serenade to Music in 1938 for the jubilee concert celebrating the 50th anniversary of the debut of legendary conductor Sir Henry Wood, to whom the work is dedicated. Recognized after Elgar’s death as England’s leading composer, Vaughan Williams here sets to music an ode from The Merchant of Venice, resulting in one of his most radiantly uplifting scores. First performance: October 5, 1938, in London, with Sir Henry Wood conducting. First Nashville Symphony performance: April 3, 1951, at Ryman Auditorium with Music Director William Strickland. Estimated length: 15 minutes Recommended listening: Adrian Boult leads a classic performance of the original version for 16 vocal soloists on EMI’s British Composers series; the disc includes several other of Vaughan Williams’ bestloved pieces. Tonight’s program begins with a gentle evocation of the power of music itself by one of the major figures in the modern English musical renaissance of the last century. Growing up in a well-off family that counted Charles Darwin as a relative, Ralph Vaughan Williams took until early middle age to establish his identity as a composer. Slowly and painstakingly, he evolved a style influenced by his research into his native land’s early music and folk heritage, while a period of study with French master Maurice Ravel helped animate his feel for orchestration. By the time of Serenade to Music, Vaughan Williams was a mature master whose artistic authority was called on to honor one of England’s most respected musical figures: the conductor Sir Henry Joseph Wood (1869-1944), a new music champion who founded the Proms concerts, which remain a highlight of the London concert season. For a special concert to mark the golden jubilee of Woods’ conducting career, Vaughan Williams thought up a highly personal tribute in the form of a work for voices and orchestra praising the art of music. He conceived the piece not for an abstract chorus but for a choir of 16 solo singers — all of them renowned performers of the era, with ties to Woods and the composer (four each of sopranos, altos and tenors, and two baritones and two basses). The original was designed not only to blend these singers, but also to spotlight their individual vocal personalities in brief solos, to the point that Vaughan Williams even inscribed each singer’s initials at the corresponding moment in the score. He later arranged the music into several more pragmatic alternative versions to facilitate performance. There are versions for solo violin and orchestra, for solo vocal quartet plus chorus and orchestra, and — as in the version we hear on this program — for chorus and orchestra, with each solo line sung by the entire section. For his text, Vaughan Williams chose an especially fitting paean to music from the final act of Shakespeare’s The Merchant of Venice. Set in the outdoors in the moonlight at Belmont, the resourceful Portia’s idyllic estate away from the bustle of Venice, the scene begins with Lorenzo and Jessica (Shylock’s daughter) waiting for Portia to return. The recently eloped couple reflects on the magic atmosphere of the night. Lorenzo then invokes the “sweet harmony” enveloping them as they gaze
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upon the firmament. Later, Portia arrives with her maid and observes how the setting is especially conducive to enjoying music’s power. Vaughan Williams cut several lines from this passage and repeated a phrase to round out a self-contained text for Serenade to Music.
What to listen for It’s a truism that words ultimately cannot describe music, but here Vaughan Williams uses music to illuminate words. He imagines a musical equivalent to the wondrous combination of lyricism, otherworldly reflection and romantic elation conveyed by Shakespeare’s incomparable verse. The result allows us to imagine we are hearing what the characters in the play themselves describe. The word “serenade,” moreover, points to the nocturnal mood that sets the stage for this moment of epiphany. A brief orchestral introduction sets out the main musical ideas, one of them turning on a “bluesy” shift between major and minor that suggests a haunting melancholy. Vaughan Williams deftly transitions from one texture to the next. Harmonic changes capture the text’s sense of wonder, eliciting the light and shadow of Shakespeare’s observations, including a noticeably troubled darkening of atmosphere around the image of “the man that hath no music in himself.” It’s easy to sympathize with this suspicion of the Philistine indifferent to art: “let no such man be trusted.” Yet for all this variety, Vaughan Williams establishes a structurally satisfying sense of unity, tapering the piece with a reminiscence of the opening music that fades in seraphic calm. The version of Serenade to Music heard on this program is scored for chorus and an orchestra consisting of 2 flutes (2nd doubling piccolo), oboe, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, bass drum, harp and strings.
LOWELL LIEBERMANN Born on February 22, 1961, in New York City; resides in Weehawken, New Jersey Symphony No. 3, Op. 113 Liebermann composed his Symphony No. 3 in 2010 on a commission from the Magnum Opus Project. Kathryn Gould is the founding patron and commissioner, and Meet The Composer serves as project manager. Praised for his ability to connect with contemporary audiences, Liebermann returns to the symphonic genre for the first time since his Whitman-inspired Second Symphony from 1999. The Third was affected by the emotional climate of two catastrophes in 2010 — the Deepwater Horizon oil spill and Nashville’s flooding — but mixes moments of “humor and hope” with its dark irony. First performance: November 4, 2010, with JoAnn Falletta conducting the Virginia Symphony. First Nashville Symphony performance: These are the orchestra’s first performances. Estimated length: 22 minutes Recommended listening: For an example of Liebermann’s orchestral writing, try the Symphony No. 2 with Andrew Litton and Dallas Symphony, which is paired with his popular Flute Concerto (Delos). The Fedele Trio’s recording of piano trios, coupled with the much-recorded Sonata for Flute and Piano, opens a window into Liebermann’s chamber music (Artek).
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As a whole, Liebermann says, the Third Symphony is “dark and ironic, but not without its moments of humor and hope.” At the turn of the millennium, in an article in Time magazine called “Back to the Future,” cultural critic Terry Teachout applied the catchphrase “the New Tonalists” to describe a variety of composers “who happily embrace traditional tonality, the harmonic language of most Western music, from Bach to rock.” What these composers shared was a preference for “a full-blooded style that is at once unmistakably contemporary…and rooted in the technique of the past.” Among the group of American composers Teachout singled out (including George Tsontakis, A.J. Kernis and Paul Moravec, all of whom remain active today) was Lowell Liebermann. His just-premiered Second Symphony, which sets the poetry of Walt Whitman, served as the anchor for the story. “Emotional directness is the hallmark of the New Tonalism,” Teachout observed, singling out Liebermann for being “unafraid of grand gestures and openhearted lyricism.” A native of New York City, Liebermann entered musical life as a prodigy overflowing with talent. He began with piano at 8 and started studying composition at 14. The following year he wrote his official Opus 1, the Piano Sonata No. 1, which he performed at Carnegie Hall in 1977. He went on to study with David Diamond and Vincent Persichetti at Juilliard. Liebermann has been lauded for composing with a sense of connection to his performers, ensuring that they are given meaningful challenges. He himself fuses the dual roles of composer and performer and remains an active pianist and conductor. Compositions across the genres reveal Liebermann’s fluency in large-scale symphonic, concerto and chamber realms, and his catalogue also includes two major operas: the acclaimed The Picture of Dorian Gray (1995), after Oscar Wilde’s novel, and Miss Lonelyhearts for Juilliard’s centenary in 2005, which is based on Nathanael
West’s black comedy about an advice columnist. Liebermann’s chamber music has developed an especially popular following and has even featured as a clue to a Jeopardy! question. According to the Grove Dictionary, Liebermann’s music “is notable for its stylistic resourcefulness and polished craftsmanship” and “resists identification with any particular school of composition.” In an interview with Bruce Duffie, the composer once remarked that “classical music is a continuum and it’s enriched by associations from the past.” Shostakovich is a notable influence on Liebermann’s orchestral palette, while the influence of Sibelius’ symphonic world has left its mark on the Symphony No. 3 in particular.
In the Composer’s Words Liebermann recalls that most of the composition took place “during the unfolding of two devastating and catastrophic events: the Nashville flooding and the Deepwater Horizon oil spill.” While not intending to create a programmatic work mirroring these events, they affected the “emotional climate” in which he wrote. As a result, “the music was colored by the conflicting emotions that each day’s news would bring.” As a whole, Liebermann continues, the Third Symphony is “dark and ironic, but not without its moments of humor and hope.” He has provided the following note about the work: In terms of its structural and thematic conciseness, the more enigmatic symphonies of Sibelius, particularly the Fourth and Seventh, were perhaps an influence. The work can be seen as dividing into three continuous sections which share material that is developed progressively and juxtaposed in a mosaic-like fashion over the course of the three sections. The Symphony contains several elements of dance music: because
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of this I toyed at one point with calling the work a “Dance Symphony,” but decided that this would have been a distortion of the work’s intent and, ultimately, a bewildering subtitle. The work’s thematic material is presented in various guises: as a slow and morbid waltz, an intentionally banal blues, a sardonic octatonic stride complete with walking bass and, in the final section, an elegiac sarabande. One of the most prominent thematic groups heard throughout the Symphony takes the form of a three-part chorale in various incarnations, which in part suggested the use of the three violin sections to match the six trios of woodwinds, trumpets and trombones. Harmonically, the Symphony makes use of a wide range of materials, often simultaneously: tonal, atonal, bitonal, whole-tone, modal, quartal and octatonic. The opening of the work presents in succession the three motives which comprise most of the Symphony’s thematic material: a step-wise ascending motive in the English horn and strings, heard against a descending whole-tone motive, followed by a wide-arching, disjointed chromatic melody in the violins and flutes, and a modally tinged, three-part chorale first heard in clarinets and violins. The central section is a jazz-inflected allegro which aspires to a kind of superficial jollity, but never loses its undercurrent of darkness and hysteria. The final section, marked larghissimo, is the emotional core of the work. A reflection on the passage of time, it further develops the chorale theme, ending with an intrusive and unresolved recollection of the allegro. The Symphony is scored for 3 flutes, 3 oboes, 3 clarinets (the 3rd player of each doubling respectively on piccolo, English horn and bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussionists, harp, piano (doubling on celesta) and strings (with the violins divided into three sections instead of the usual two).
CARL ORFF Born on July 10, 1895, in Munich, Germany; died on March 29, 1982, in Munich Carmina Burana Orff composed Carmina Burana between 1935 and 1936 as a “scenic cantata” intended to be fully staged. Using vivid rhythms and memorable musical images to set a collection of worldly poems from the Middle Ages, Carmina Burana remains one of the blockbuster hits of 20th-century repertory for chorus and orchestra. First performance: June 8, 1937, with Bertil Wetzelsberger conducting a staged production at the Frankfurt Opera. First Nashville Symphony performance: April 9, 1957, with Music Director Guy Taylor. Estimated length: 65 minutes Recommended listening: The composer himself approved Eugen Jochum’s highly touted account (Deutsche Grammophon), but among the many recent contenders, Christian Thielemann elicits a compelling interpretation with a great soloist lineup and the ensembles of the Deutsche Oper Berlin (Deutsche Grammophon).
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According to the composer, the impulse to write Carmina Burana came from an epiphany that was both visual and literary.
With Carmina Burana, Carl Orff hoped to launch an entirely new approach toward music and musical education, one that focused on universally innate musical ability. He believed this was best cultivated as part of a holistic program incorporating gymnastics and dance. Orff took as his own model what he considered the pattern of ancient Greek theater, intending to join the performing arts into a unified spectacle — though with an anti-Romantic understanding of “the complete work of art” that differed markedly from Wagner’s conception of all-the-arts-in-one. Thus Carmina Burana was first performed not as an abstract concert hall piece, but in the Frankfurt Opera House. Orff imagined full scenic complements for his score in the form of backdrops, costumes, lighting and dance, labeling it a “scenic cantata.” He additionally composed two related cantatas on classical themes (Catulli Carmina and Trionfo di Afrodite) that he intended to comprise an evening-length trilogy known collectively as Trionfi. Even when encountered in a concert setting, as it typically is, Carmina Burana clearly benefits from the feedback and electricity of live performance. According to the composer, the impulse to write Carmina Burana came from an epiphany that was both visual and literary. In a rare bookstore, Orff chanced upon a 19th-century edition of a miscellaneous anthology of medieval poems known as the Carmina Burana. These had been collected in a manuscript discovered at a Benedictine monastery in his native Bavaria. Burana is the Latin version of the German placename Beuern, the Bavarian town where the monastery is located, while Carmina is Latin for “songs/poems.” Orff recounted how he was at once taken with the words as well as the famous illustration of “The Wheel of Fortune” in the edition he thumbed through. The motley collection of poems, mostly in
Latin but with some medieval vernacular mixed in (Middle High German and Old Provençal) originated from the medieval goliards and/or their educated imitators. Goliards were essentially the rootless, wandering hippies of the era who dropped out and amused themselves writing profane lyrics with a satirical, anti-clerical and frequently obscene bent. The libidinous nature of such poems contrasted starkly with the lofty tone of the troubadours and the emerging cult of romantic love.
What to listen for Orff organizes the source poems into a canvas comprising 25 numbers, framing the whole with the iconic image of the Wheel of Fortune. He pointedly rejects conventional development of his musical ideas and the complex interweaving of different lines of music. Instead, Orff treats his extensive orchestra (which includes an expanded percussion section) as a resource, a big palette he can use to add color as desired. In place of the integrated symphonic blend of Romantic scores, he builds large blocks of sound that reinforce the mostly choral vocal parts. Indeed, the official full title of the work (“Songs of Beuern/Bavaria: Secular Songs for Singers and Choruses to Be Sung Accompanied by Instruments and Magic Images”) emphasizes the role of the singers and chorus. This music has an intensely theatrical sensibility: it makes prominent use of striking rhythms, percussion effects, contrasts of volume and almost ritually repetitive lines of melody. This procedure is sometimes described as a dumbed-down, populist version of Stravinsky’s choral works from the 1920s (especially Les Noces). Hints of the “primitivist” rhythmic emphasis familiar from The Rite of Spring are also frequently mentioned. But it may be more enlightening to think of Orff as a forerunner of
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The image of Fortune’s Wheel that inspired the composer serves as an organizing principle in the way he selects and groups his texts. Minimalism, radically stripping away rhetorical complexity to reconnect with music’s incantatory, pristine magical power. In Orff ’s thinking, the singers are accompanied not only by instruments, but “by magic images,” as his full title indicates — another example of the full-scale staged version that was part of his original conception. The image of Fortune’s Wheel that inspired the composer serves as an organizing principle in the way he selects and groups his texts. The chaotic urges of pleasure and desire illustrated by the poems and music are oriented around the recurrent, implacable figure of Fortune. Carmina Burana itself is framed as a vast circle, ending with the chorus that begins the piece, as if to signal the eternal return of the cycle of life. Within this frame, Orff portrays a triptych of sensual delights as manifested in nature (“In the Springtime” and “On the Meadow”), more briefly amid the social sphere of partying (the testosteroneheavy “In the Tavern”), and in the amorous and bittersweet awakening of courtship (“Court of Love”). Orff cleverly reinforces the rotations of the wheel — itself a basic emblem of desire — through his stanzaic repetitions of melodic material, evoking a sense of pre-Christian, pagan wisdom. The wheel is echoed in the poems’ images of the cycle of seasons, the luck of gambling, social role reversals, the swan turning on its spit and — in what are arguably the most enchanting sections of the score — the emotional ups and downs of sexual passion. By the time the image of Fortune returns to conclude the cycle, we realize how carefully Orff has balanced the score’s vigorous exuberance with introspective moments of calm, leading us to an understanding of pleasure and pain as opposite sides of the same coin. In addition to soprano, tenor and bass soloists, the work is scored for large and small mixed choruses and boys’ chorus and a large orchestra: 3 flutes (2nd doubling piccolo), 3 oboes (3rd doubling English horn), 3 clarinets (2nd doubling E-flat and bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion including xylophone, 3 glockenspiels and tubular bells, celesta, 2 pianos and strings.
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The Fortunes of ‘Carmina Burana’ Carmina Burana has survived with an uncanny indestructibility, having somehow remained immune to its use and abuse through countless recyclings in commercials and in the scores of less-than-mediocre thrillers. Far more problematically, the work’s fortunes during the Nazi era — when it was introduced — have tainted it for many listeners, as has the composer’s opportunistic behavior during those years. Curiously, Carmina Burana originally raised hackles for its “licentious” sexuality, which is made quite graphic in the music. But it quickly became touted as a high-profile example of accessible, populist new music during the Third Reich. Still, notes Richard Taruskin in his innovative Oxford History of Western Music, “If Bach and Beethoven could not prevent Nazi barbarity, it is hard to claim that Orff could have inspired it.”
Thomas May is the Nashville Symphony’s program annotator. He writes extensively about music and theater.
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TERRI RICHTER, soprano Soprano Terri Richter has earned national acclaim for her portrayals of Despina in Così fan tutte and Oscar in Verdi’s The Masked Ball. Her other notable opera roles include Susanna in Le nozze di figaro with Opera Idaho, and Dalinda in American Bach Soloists’ recent presentation of Handel’s Ariodante. Richter regularly appears as a soloist with orchestras, opera companies and early music ensembles throughout the U.S. Upcoming engagements include the role of Marie in Seattle Opera’s La fille du regiment. In addition, she will be a featured guest artist this season with ALIAS Chamber Ensemble performing Three Songs for Soprano and Orchestra by Osvaldo Golijov. In the 2011/12 season, Richter completed a 13-city national tour as a soloist in Monteverdi’s 1610 Vespers with Apollo’s Fire Cleveland Baroque Orchestra and Pacific Musicworks. She was also featured in performances of Bach’s Mass in B Minor by both American Bach Soloists and Music City Baroque Orchestra. Richter resides in Nashville and teaches on the voice faculty of both Middle Tennessee State University and Lipscomb University. She created and hosted the weekly radio program VoiceWorks, which aired on Seattle’s Classical King FM 98.1. CHRISTOPHER PFUND, tenor Acclaimed for his irreverent portrayal of the Roasting Swan in Carmina Burana, tenor Christopher Pfund has made the role a pillar of his career, performing it with major orchestras throughout North America. Pfund has also enjoyed success on the opera stage, with notable performances including Bardolfo in Falstaff with Glimmerglass Opera, and Emilio in Handel’s Partenoe with the New York City Opera. In recent seasons, Pfund has performed Carmina Burana with The Cleveland Orchestra,
Jacksonville Symphony, Brazil’s Philharmonic of Minais Gerais and the Prague Radio Symphony, among others. In addition, he has performed Haydn’s Creation with the Louisiana Philharmonic and Handel’s Messiah with the Buffalo Philharmonic. On the operatic side, Pfund has portrayed Sempronio in Haydn’s Lo Speziale with the Orchestra of St. Luke’s, Pong in Puccini’s Turandot with El Paso Opera and the Florentine Opera, and Tonik in Smetana’s The Two Widows with the Chautauqua Opera. He recorded the title role in Britten’s Albert Herring on the Vox label. A Colorado native, Pfund holds degrees from the University of Northern Colorado and Manhattan School of Music. STEPHEN POWELL, baritone Stephen Powell brings his rich baritone and remarkable stage presence to a wide range of music, from Monteverdi and Handel to Sondheim and John Adams. In 2011/12, he returns to the St. Louis Symphony Orchestra and Music of the Baroque as soloist in Bach’s Mass in B Minor. He will also appear with the Atlanta Symphony Orchestra in Bach’s St. Matthew Passion, and with the Baltimore Symphony Orchestra in Messiah. He sings the title role of Rigoletto in concert with the Minnesota Orchestra, and he also sings as soloist with the American Symphony Orchestra at Carnegie Hall in Franz Schmidt’s The Hunchback of Notre Dame. Powell has sung under the batons of Andrew Litton, Leonard Slatkin and Michael Tilson Thomas, among many others. He created the role of Felipe Nuñez in the world premiere of The Conquistador with San Diego Opera, and performed and recorded Bach’s Magnificat with Boston Baroque. An avid recitalist, Powell made his first recital appearance with New York Festival of Song, with Steven Blier at the piano. An alumnus of the Lyric Opera of Chicago Center for American Artists, he performs frequently with his wife, soprano Barbara Shirvis. InConcert
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ABOUT THE SOLOISTS
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Nashville Symphony Chorus SOPRANO
Beverly Anderson Esther Bae Amie Bates Kimberly Begin Mallory Broadfoot Mirand Burnett Anna Caldwell Angela Carr Amanda Dier Katie Doyle Becky Evans-Young Shiloah Fenn Abbey Francis Delphine Gentry Laurens Glass Katherine Graddy Tosha Greenway Grace Guill Jane Harrison Jeehee Hong Jamie Hormuth Vanessa Jackson Carla Jones Young-Soon Kang Alesia Kelley Sara King Barbara Laifer Heather Lannan Megan Latham Hayley Lewis Jennifer Lynn Janet Macdonald Lora Manson Becca Mathias Kimberly McLaughlin Dori Mikus Jean Miller Clementina Moreira Linda Naron Carolyn Naumann+ Lisa Pasto-Crosby Iris Perez Catherine Pratt Lauren Price Robin Rogers Sonya Sardon Janet Schmitt Esther Sooter
Jennifer Stevens* Brandi Surface Marva Swann Leah Taylor Marla Thompson Bethany Trainor Valerie Trantum Jan Volk 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 Carla Davis* Leriel Davis June Dye Susan Fouche Shanon Freeman Emily Gaskill Elizabeth Gilliam* Stefanie Griffith Leah Handelsman Rachel Hansbury Marah Harrington Sallie Hart Heidi Herzog Sarah Hiestand Gay Hollins-Wiggins Younhee Kim Jessica Laven Janice Lewis Aynsley Martindale Sarah Miller Karen Mitchell+ Betty Mullens Lisa Pellegrin+ Beth Philemon Ellen Purtell Gerda Resch
BLAIR CHILDREN’S CHOIR BOYCHOIR
Preston Abraham William Oscar Fox Will Growdon Nolan Harvel Josh Howard Graham Jackson Nicholas Key Jack Kiernon Andrew Maguire 52
MAY 2012
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DOUG ROSE, interim director
Debbie Reyland Emily Rich Nancy Roberts Stephanie Robinson Ursula Roden Carmen Sanders Jill Sayler Pat Sharp Laura Sikes Carla Simpson Maribeth Stahl* Sharon Taylor Debra Greenspan Watts Debra Lee Williamson Agnes Wojnicki
TENOR
DJ Cabeen David Carlton Thomas Clay Joe Fitzpatrick Cameron Frazier David Hayes William Hodge Cory Howell David Mahand John Manson** Mark Naumann William Paul John Perry+ David Piston Al Powers Robert Richardson Josh 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 Kent Dickerson Kyle Duckworth Patrick Dunnevant Andrew Du Perrieu Scott Edwards John Ford James Harrington* Richard Hatfield Charles Heimermann Kentaro Hirama Michael Hopfe Stanley Jenkins Carl Johnson Clinton Johnson Adam Ketron Matt Landman Josh Lindsay Christopher Loftin William Loyd** Bob MacKendree Matthew McNeill Bruce Meriwether Andrew Miller Stephen Mitchell Christopher Mixon Lance Morrow Dwayne Murray Darryl Pace Steve Prichard Paul Roark Fred Rowles Matthew Smedberg Larry Strachan+ Chad Stuible David Thomas+ Edwin Walker Adam Wegner David Williams John Williams Elizabeth Smith, accompanist John Roberts, librarian + Section Leaders * NSC Board Appointment ** NSC Board Member
HAZEL SOMERVILLE, director
Raphael McKerley-Geier Mack Page Brenden Quarles Matt Remke Will Remke Alex Vorhaus Jacob Williams Ethan Wood Sergei Wright
GIRLS’ CONCERT CHOIR Jamie Amadasum Caitlin Dobbins Mary Frampton Claudia Guerrero Virginia Guerrero Abby Hemenway Elena Hibbs Anna Hunley Isobelle Kabiling
Rebekah Lewis Erin Lewis Maria Rapisarda Emma Roke Christina Royer Jessica Schreiber Bailey Scogin Meagan Shaw Rebecca Sullivant Amber Thompson Clara Warford
4/25/12 9:42 AM
Preschool-12 | Co-Ed | Rigorous Academics | Award-Winning Fine Arts | Competitive Athletics | Christ-Centered Worldview
CPA Fine Arts 2011-12 Production of You Can’t Take it With You
Offering a full plate of Fine Arts opportunities
Visual Arts Band Choir Dance eatre Broadcasting
Christ Presbyterian Academy www.cpalions.org “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 •IC-May-2012.indd 53
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Support the
NASHVILLE SYMPHONY The Nashville Symphony is proud to be your orchestra. Come share our stories!
Led by Music Director Giancarlo Guerrero, the Nashville Symphony is comprised of 85 world-class musicians, who also serve as teachers and volunteers throughout our community. The orchestra’s recordings have received 14 GRAMMY® nominations and six GRAMMY® Awards, and our commitment to innovative programming has earned the Nashville Symphony an invitation to perform at Carnegie Hall in May 2012.
Each year, the Nashville Symphony reaches more than 200,000 children and adults through its free education and engagement programs. We share the joy of music through free concerts in parks and on campuses, as well as our annual Regions FREE Day of Music and “Let Freedom Sing!,” our musical celebration of the life and legacy of Dr. Martin Luther King Jr.
your story We invite you to support the Nashville Symphony and be a part of our story. Your gift sustains our abiding commitment to serving the Middle Tennessee community with great music and meaningful, life-changing programs for people of all ages. To make your tax-deductible donation, visit NashvilleSymphony.org/support or mail your check to: Nashville Symphony Schermerhorn Symphony Center One Symphony Place Nashville, TN 37201-2031 615.687.6500
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UPCOMING EVENTS
Y
U P C OM I NG
Tickets on Sale Now!
Call 615.687.6400 or visit NashvilleSymphony.org
June
Earth, Wind & Fire
! Willie Nelson SOLD OUT with the Nashville Symphony
with the Nashville Symphony June 23 at The Woods at Fontanel
Sarah McLachlan
June 5
with the Nashville Symphony
Summer Festival featuring Beethoven’s Triple Concerto June 15 Idina Menzel
with the Nashville Symphony June 16 at The Woods at Fontanel
Summer Festival featuring Beethoven’s “Emperor” Piano Concerto June 22
Idina Menzel
June 28 Summer Festival featuring Beethoven’s Ninth June 30
July Diana Krall July 13
Sarah McLachlan
Diana Krall
Earth, Wind & Fire
Willie Nelson •IC-May-2012.indd 55
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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
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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
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
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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
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Major Home Renovations, 2/11/12 Custom In-House Designs
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Food prepared with passion,
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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 ANz 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 • M i 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 •IC-May-2012.indd 60
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It’s the VANDERBILT
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If you are always sleepy and snore excessively, you may have sleep apnea, a serious medical condition. Left untreated, it can lead to complications like high blood pressure, heart disease and diabetes as well as general fatigue. The only way to know if you have this condition is to participate in a sleep study. The Vanderbilt Sleep Disorders Center, with sleep labs in two premier hotels, is the proven leader in diagnoses and treatment for sleep apnea. We are the only facility in the area accredited by the American Academy of Sleep Medicine. Call 615-343-5888 or visit VanderbiltSleep.com SLEEP DISORDERS CENTER NASHVILLE Marriott at Vanderbilt 2555 West End Ave.
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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
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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.
MAY 2012
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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.
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OVERBROOK SCHOOL Bringing out the best per formance in ever y child on the stage & in the classroom
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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
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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.
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4/25/12 2:33 9:42PM AM 10/27/11
33 PM
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
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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
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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
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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
May 2012
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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
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“There’s something special about this place.”
STUDIO TENN PRESENTS
LIVE ON STAGE AT THE FRANKLIN THEATRE
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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
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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
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.
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6 TH
GRADE
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Don’t Just Watch Great Art. Taste It.
Eight members prefer to remain anonymous.
Performances nightly at 50 local restaurants.
NashvilleOriginals.com
615.780.2403 | www.unitedwaynashville.org 250 Venture Circle, Nashville, TN 37228
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BAGH/TPAC 2012 ad_Layout 1 2/8/12 2:14 PM Page 1
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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 March 29, 2012
Virtuoso Society Gifts of $10,000+
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Anonymous (2) David & Diane Black Mr.* & Mrs. J. C. Bradford Jr. Mr. & Mrs. John Chadwick Mac & Linda Crawford Janine & Ben Cundiff Mr. & Mrs. Brownlee O. Currey Jr.
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 Margaret & Cal Turner Mr. & Mrs. Steve Turner
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. 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
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The Jane & Richard Eskind & Family Foundation Marilyn Ezell Allis Dale & John Gillmor Ed & Nancy Goodrich Carl & Connie Haley Mrs. Harold Hassenfeld 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
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 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 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
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
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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 The Vandewater Family Foundation 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
MAY 2012
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Conductor’s Circle
Gifts of $1,500 - $2,499
Anonymous (3) Jeff & Tina Adams James & Glyna Aderhold 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 Betty & Lonnie Burnett 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 Drs. Keith & Leslie Churchwell Mr. George D. Clark Jr. Esther & Roger Cohn Ed & Pat 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 E.B.S. Foundation 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
ANK 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 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 Dr. & Mrs. Nicholas Lippolis Robert A. Livingston Elizabeth & Jim Mancuso
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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 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 David & Adrienne Piston Charles H. Potter Jr. 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. Kenneth L. Roberts Margaret Ann & Walter Robinson Foundation Ms. Sara L. Rosson & Ms. Nancy Menke 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
InConcert
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annual fund
Drs. Walter Smalley & Louise Hanson Suzanne & Grant Smothers K. C. & Mary Smythe Jack & Louise Spann Mr. & Mrs. Hans Stabell Christopher & Maribeth Stahl Mr. & Mrs. James G. Stranch III Ann & Bob Street 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 Kris & G. G. Waggoner 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 Mr. & Mrs. Ridley Wills III Ms. Marilyn Shields-Wiltsie & Dr. Theodore E. Wiltsie Dr. & Mrs. Lawrence K. Wolfe Encore Circle
Gifts of $1,000 - $1,499
Anonymous (9) 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 Anita & Larry Cash 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.
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Edmondson Sr. Drs. James & Rena Ellzy Laurie & Steven Eskind Robert & Cassandra Estes Mr. & Mrs. DeWitt Ezell Ms. Paula Fairchild 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 Mr. & Mrs. James E. Orgain Alex S. Palmer Dr. Edgar H. Pierce Jr. Mr. & Mrs. Paul E. Prill Susan B. Ridley 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 Nita & Mike Shea Dr. & Mrs. Andrew Shinar 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
Jerry Adams Don & Judi Arnold Jeremy & Rebecca Atack Don & Beverly Atwood Mr. & Mrs. James E. Auer Jeff & Carrie Bailey Mr. & Mrs. Thomas N. Bainbridge Mr. & Mrs. Richard W. Baker 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 Irma Bolster 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 Richard & Marcia Cowan 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
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Concertmaster
Gifts of $500 - $999 Anonymous (12)
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Tere & David Dowland Mr. Frank W. Drake Mr. & Mrs. Glenn Eaden 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 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. 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 Mr. Steven C. Page Ms. Kathern W. Parker Mr. & Mrs. M. Forrest Parmley John W. & Mary Patterson 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 Allen Shoffner Crea & Alan Sielbeck 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. Robert Smyth Mr. & Mrs. James H. Spalding Ms. Maggie P. Speight Dr. & Mrs. Anderson Spickard Jr. Mr. & Mrs. Joe N. Steakley Dr. & Mrs. Robert Stein Gloria & Paul Sternberg
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Elizabeth Stewart & James Grosjean Dr. & Mrs. William R. Stewart Jean Stumpf Craig & Dianne Sussman Lorraine Ware & Reid Thompson Martha J. Trammell Van Tucker Ms. Rita R. Vann Larry & Brenda Vickers Dr. & Mrs. Martin H. Wagner Kay & Larry Wallace Dr. & Mrs. John J. Warner Bill & Ruth Wassynger 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 Mr. & Mrs. Ridley Wills II Gary & Cathy Wilson Edward & Mary E. Womack Mr. & Mrs. Stephen F. Wood Sr. Shu-Zheng & Li Li Yang Jane Yount Roy & Ambra Zent First Chair Gifts of $250 - $499 Anonymous (30) Drs. Shannon Snyder & Oran Aaronson Judith Ablon The Rev. Dr. & Mrs. W. Robert Abstein Ben & Nancy Adams Chip Alford Dr. & Mrs. John Algren 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
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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 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 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 Dr. André & Ms. Doreatha H. Churchwell Mr. Daryl Claggett Councilman & Mrs. Phil Claiborne Drs. Walter & Deborah Clair 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 Mr. Joe D. Creecy Mary & Jim Crossman R. Barry & Kathy Cullen Ms. Dana R. Curtis Mr. Brian B. Cuyler Rev. Frederick L. Dale Katherine C. Daniel 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 Michael & Beverly Dunn Kathryn & Webb Earthman Mr. & Mrs. Douglas Easterling Patricia & Larry Eastwood Ms. Susan S. Edwards Dan & Zita Elrod
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Dr. & Mrs. Ronald B. Emeson Ms. Kaaren Engel Mr. Phillip M. Englehart Ms. Ann Epperson Dr. Jack W. Erter Mr. James Eslinger Dr. & Mrs. James Ettien Ms. Claire Evans Dr. Ann Evers & Dr. Gary Smith Drs. Charles & Evelyn Fancher Kathryn Beasley & Chris Farrell Dana Ferris Mr. Vincent Fesmire 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 Mr. & Mrs. Andrew & Mary Foxworth Sr. Mr. & Mrs. J. Richard Franz Jim W. Freeland Scott & Anita Freistat Ms. Heather Funderburg Tom & Jennifer Furtsch 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 Ms. Leigh Ann Hale Scott, Kathy & Kate Hall John & Freda Hall Katherine S. Hall Mr. Robert T. Hall Mr. & Mrs. Robert M. Hamilton Jr. Walter H. White III & Dr. Susan Hammonds-White Mr. & Mrs. Clint Hanahan
Mr. & Mrs. Harry M. Hanna Mr. & Mrs. Richard W. Hanselman Patty & Bill Harbison 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. & Mrs. Ira Hartman 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 James & Christa Holleman William Hollings Frances Holt Paul Holt Mr. & Mrs. Robert E. Hooper Drs. Richard T. & Paula C. Hoos Samuel H. Howard Mr. Adam L. Huddleston Ms. Edith B. Hudson Dr. & Mrs. Louis C. Huesmann II Dr. Nedra Huggins-Williams The Hunt Family Foundation Michael & Evelyn Hyatt Mrs. Beverly Hyde Dr. & Mrs. Roger Ireson Dr. Anna M. Jackson Frances C. Jackson Ms. Laura R. Jackson Mr. & Mrs. Donald E. Jacobs Mr. & Mrs. Alan R. Javorcky Ms. Diane Johnson Joyce E. Johnson Mr. & Mrs. Larry D. Johnson Mary & Doug Johnston Donald & Catherine Joiner Pat & David Jones Frank & Audrey Jones Mr. & Mrs. Michael Jones Mr. Patrick D. Jones Sarah Rose Jones 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 Ms. Geri Kristof Tim Kyne 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 Rick & Shirley Lievanos 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. David J. Mahanes III 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 Callum, Julia & A. J. McCaffrey Mr. & Mrs. John D. McAlister Mrs. Joanne Wallace McCall Ms. Carolyn McClerkin Dr. & Mrs. Robert W. McClure Kathleen McCracken Peg & Al McCree Mary & John McCullough Bob McDill & Jennifer Kimball Dr. & Mrs. James B. McKee Jr. Dr. & Mrs. Timothy E. McNutt Sr. Sam & Sandra McSeveney Mr. & Mrs. Michael R. McWherter
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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. Riley Mitchell 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 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 82
Mr. Marico Portis Mr. & Mrs. Thomas Priesmeyer Mr. Jovan Quallo 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 Ms. Sandra L. Reeves 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 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 Dr. & Mrs. Don Russo 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 Dr. & Mrs. Stephen J. Schultenover Mr. & Mrs. Robert Scott Mr. Roderick Scruggs Drs. Fernando F. & Elena O. Segovia 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 Ms. Sara K. 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 Ms. Cynthia G. Waller Mrs. Bridgette K. Walsh Mr. & Mrs. Robert J. Warner Jr. Mr. & Mrs. Mark Wathen Gayle & David Watson Shirley Marie Watts Frank & Jane Wcislo H. Martin & Joyce Weingartner Dr. Matthew B. Weinger Mr. Kevin L. Welsh J. Jason Wendel M.D. Erin Wenzel Joni Werthan George & Julie West Franklin & Helen Westbrook J Peter R. Westerholm Dr. & Mrs. William Whetsell
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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 Ms. Carolyn D. Wilson The Wing Family Ms. Sandra Wiscarson Scott & Ellen Wolfe 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. Mark Young Mr. & Mrs. Michael A. Zibart James & Candice Zimmermann
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 Celebrating the best Nashville has to offer in Arts & Entertainment
For more information visit us online at:
www.NashvilleArtsandEntertainment.com and follow us on Twitter and Facebook
Prekindergarten through Grade 12
ANNUAL GUIDE
OU *denotes donors who are deceased
Where Children Are At Home Wıth The Arts
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
AnnuAl Edition
Display until December 31, 2011
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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
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The difference is one degree.
The global poor deserve access to the protections of their own justice systems. You can help us make it happen.
You’re just one degree away from a life-changing career move with a graduate degree from Lipscomb University’s Graduate School of Business.
Call (615) 966-1833, or go to onedegreeaway.lipscomb.edu MBA / Professional MBA Master of Accountancy / Master of Human Resources www.ijm.org GRADUATE SCHOOL OF BUSINESS
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.
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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!
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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!
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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 March 29, 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
Government Metropolitan Government of Nashville and Davidson County
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Mayor Karl F. Dean
Metropolitan Council
May 2012
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JOIN THE VIBRANT ARTS COMMUNITY AT BELMONT UNIVERSITY!
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 Foundation Wells Fargo
UPCOMING EVENTS Musical Theatre presents Hairspray March 16-18 and 23-25 The Belmont Jazz Festival March 27-31 The President’s Concert April 21
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 Dan McGuinness Irish Pub 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 OSHi Flowers The Elizabeth Craig Weaver Proctor Charitable Foundation Tennessee Christian Medical Foundation VSA Arts Tennessee
For more information or to purchase tickets, visit www.belmont.edu/musical or call 615-460-6408.
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.
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business partner Gifts of $2,500 - $4,999 American General Life & Accident Insurance Company AmSurg Corp 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 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
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.
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
In honor of Martha Ingram In honor of Mitchell Korn In honor of Tom Patterson & Mike Eldred's wedding In honor of Dr. Lawrence K. Wolfe's birthday
YOU
business associates Gifts of $500 - $999 APEX & Robert E. Lee Moving & Storage, Inc. Black Box Network Services BMW-MINI of Nashville R. H. Boyd Publishing Corporation Broadcast Music, Inc. 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
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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 Laurie Davis & Meredith Benning In honor of Bob Eisenstein's 95th birthday In honor of Harris Gilbert's 80th birthday In honor of Giancarlo Guerrero
memorial In memory of Carole Slate Adams In memory of Jessica Bloom In memory of Betty Boatright In memory of Scott Clayton, CLU In memory of Catherine Cook In memory of T. Earl & Nora Smith Hinton In memory of Davis Hunt In memory of Rodney Irvin In memory of Peter Katz In memory of John Kelingos In memory of Clare Loventhal In memory of Kala Welch MacLeod In memory of Mildred J. Oonk in memory of Babs Reinfeld In memory of Lisa Renegar In memory of Betty Richards In memory of Lenore S. Schermerhorn In memory of Ed Wanner
May 2012
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Pu
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.
MoreSurvivors.com
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.
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Arts Playbill
4/25/12 9:43 AM Client: Saint Thomas Health - Cardiac
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.
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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
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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 Mrs. Johnna Benedict Watson Barbara & Bud Zander Shirley Zeitlin Anne H. & Robert K.* Zelle
*deceased
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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.
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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.
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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.
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MAP
Orchestra Level Low 1st Floor
Concert Concierge
East Atrium
West Atrium
Box Office
Bar
Symphony Store
Bar
Symphony Cafe
Bar
West Lobby
Loge Hall Loge Boxes
Arpeggio Laura Turner Concert Hall
Loge Hall Loge Boxes
Martha Rivers Ingram Courtyard
East Lobby
Security
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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
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FRIDAY, JUNE 15
FRIDAY, JUNE 22
SATURDAY, JUNE 30
Lucas Richman, conductor Consecration of the House: Overture Triple Concerto for Violin, Cello & Piano *featuring the Eroica Trio Symphony No. 4
Alistair Willis, conductor Creatures of Prometheus: Overture Concerto for Piano No. 5 “Emperor” *featuring soloist William Wolfram Symphony No. 7
Giancarlo Guerrero, conductor Egmont: Overture Vivaldi — Piccolo Concerto in C Major *featuring soloist Norma Rogers Symphony No. 9
buy tickets At NashvilleSymphony.org 615.687.6400
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COncert sponsors
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