Experience 2017-2018 Volume 2 by Memphis Symphony

Experience 2017-2018 |

volum e

KAREN BUSLER

45 YEARS WITH THE SYMPHONY Read her story on p. 18

Some are born with

in their souls If authenticity had a soul, you would find it in Memphis. Creativity flows through our veins. This is the kind of city and university where original people are elevating the art of music in unforgettable ways. If you were born with music in your blood, you belong at UofM. DEGREES OFFERED B.M., M.M., D.M.A., Ph.D. AUDITION DATES Dec. 2, 2017 Feb. 3, 2018 Feb. 17, 2018 Feb. 24, 2018 memphis.edu/music

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contents

CONCERT EXPERIENCE Robert Moody, Music Director..................................................................................................................... 4 Andrew Crust, Assistant Conductor/Memphis Youth Symphony Conductor ....................... 6 Orchestra Roster................................................................................................................................................8 Memphis Symphony Chorus .....................................................................................................................10 Tchaikovsky’s Fifth ......................................................................................................................................... 13 Beethoven Seven.............................................................................................................................................23 Bernstein at 100...............................................................................................................................................33 Tribute to Prince ..............................................................................................................................................43 Choral and Organ Spectacular .................................................................................................................45 Double Piano Concerto! ...............................................................................................................................53 PATRON EXPERIENCE MSO Governance and Staff ........................................................................................................................68 Memphis Symphony League......................................................................................................................70 Advertiser Listing ............................................................................................................................................ 73 Supporting Partners ...................................................................................................................................... 74 Symphony Fund ............................................................................................................................................... 76 Contributors....................................................................................................................................................... 77 Tributes ................................................................................................................................................................83 Patron Information.........................................................................................................................................89

The Memphis Symphony Orchestra, Inc. is a qualified 501(c)(3) tax deductible organization funded by gifts from you, ticket sales, and contracted services. We are recipients of grants from ArtsMemphis and the Tennessee Arts Commission. ©2017|2018 Memphis Symphony Orchestra 610 Goodman Rd., Memphis, TN 38152 Your attendance constitutes consent for the use of your likeness and/or voice on all video and/ or audio recordings and in photographs made during Symphony events. FOR TICKETS (901) 537-2525 | MEMPHISSYMPHONY.ORG

MEMPHIS SYMPHONY ORCHESTRA | 3

Memphis Symphony Orchestra Robert Moody, Music Director

Toronto, Houston, Indianapolis, Detroit, Seattle, Fort Worth, San Antonio, Buffalo, Louisville, Columbus, Oklahoma City, and, in Europe, the Slovenian Philharmonic and the Vienna Chamber Orchestra. Summer festival appearances include Santa Fe Opera, Spoleto Festival USA, Eastern Music Festival, PortOpera, and the Oregon Bach Festival.

Robert Moody

Music Director

Robert Moody begins his tenure as Music Director of the Memphis Symphony with the 2017-18 season. He has been Music Director of the WinstonSalem Symphony (North Carolina) since 2005, Artistic Director of Arizona Musicfest since 2007, and Music Director of the Portland Symphony Orchestra (Maine) since 2008. Recent guest conducting appearances include the Chicago Symphony at Ravinia and the Los Angeles Philharmonic at the Hollywood Bowl, in addition to the symphonies of

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Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He has gone on to conduct at the opera companies of Santa Fe, Rochester, Hilton Head Opera, and North Carolina Opera. He also assisted on a production of Verdi’s Otello at the Metropolitan Opera, conducted by Valery Gergiev, and at The English National Opera, where he was Assistant Conductor for Weill’s Street Scene. He made his Washington National Opera and North Carolina Opera debuts in 2014, and he conducted Bartók’s Bluebeard’s Castle, Leoncavallo’s I Pagliacci, and Poulenc’s Dialogues of the Carmelites during 2016-2017. Moody served as Associate, then Resident Conductor, of The Phoenix Symphony (AZ) from 1998 through 2006. There he conducted a wide variety of concerts, including Classics, Chamber, Pops, Family, Handel’s Messiah, and

the New Year’s Eve gala. His ability to speak with ease from the podium helped new converts to classical music and enthusiasts alike to gain a greater appreciation for orchestral music. Audiences at his concerts grew considerably during his time in Phoenix. Moody also founded The Phoenix Symphony Chorus, and for seven years was Music Director of the Phoenix Symphony Youth Orchestra. Prior to Phoenix, Moody served as Associate Conductor for the Evansville (IN) Philharmonic Orchestra, and Music Director (and founder) of the Evansville Philharmonic Youth Orchestra. Moody conducted the first professional performance of a work by the brilliant young composer Mason Bates, now Composer-in-Residence with the Kennedy Center for the Performing Arts, and was instrumental in the commissioning and premiere performances of several of Bates’ important major works for orchestra.

Canyon Record label); and in 2010, the Winston-Salem Symphony released their performance (live from 2009) of Beethoven’s Symphony No. 9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012. Recently, he was honored to conduct on the Cancer Blows concert with Ryan Anthony, members of the Dallas Symphony, and a host of trumpet luminaries, to aid the fight against multiple myeloma. CD and DVD recordings of that live concert, held in Dallas, TX in March 2015, are now available for purchase.

Moody’s work can be heard on several commercially released compact disc recordings. He collaborated with the Canadian Brass for their Bach and Legends CDs; he is also the conductor for the CD Fourth World, highlighting the music of Native American recording artist R. Carlos Nakai (available on the

MEMPHIS SYMPHONY ORCHESTRA | 5

Memphis Symphony Orchestra Robert Moody, Music Director

Conductor of the Portland Symphony Orchestra in Maine, Andrew scripts, programs and conducts education and family concerts.

Andrew Crust

Assistant Conductor Memphis Youth Symphony Conductor As the new (2017-18) Assistant Conductor, ANDREW CRUST fills an important role for the Memphis Symphony Orchestra, conducting a variety of concerts including Pops, education, ballet, and his debut on the Classic Accents series in May, among others. Mr. Crust also serves as a key representative in the community and in the schools, acts as cover conductor for every MSO concert, and serves as conductor of the vitally important Memphis Youth Symphony. In his second season as Assistant

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Mr. Crust is an orchestra and opera conductor most active in the US and Canada. Some of his recent conducting positions include Cover Conductor of the Kansas City Symphony, Assistant/Cover Conductor of the Boulder Philharmonic, Music Director of the CU-Boulder Campus Orchestra, and Assistant Conductor of Opera McGill. Mr. Crust was selected as one of two Assistant Conductors for the Carnegie Hall Weill Institute’s National Youth Orchestra of the USA in 2017, where worked primarily with NYO2 and assisted the orchestra and Giancarlo Guerrero in a side-byside performance with the Philadelphia Orchestra, and a final concert at Carnegie Hall. Mr. Crust has performed as a conductor on three continents. Recent guest engagements include concerts with the Hartford Symphony, l’Orchestre de la Francophonie in Québec, the Boulder Opera Company, the Colorado New Music Ensemble, the Pendulum New Music Series, and the Colorado College Summer Music Festival. Abroad, he has led concerts with the Orchestra Giovanile Italiana in Italy, Hamburger

Symphoniker at the Mendelssohn Festival in Germany, the Moravian Philharmonic in the Czech Republic, the Filharmonia “Mihail Jora” of Bacau, Romania, and the Orquesta Sinfónica de Chile in Santiago. Mr. Crust has been influenced by a number of teachers and conductors from around the world, most notably Daniele Gatti, Marin Alsop, Alexis Hauser, Gary Lewis, Scott Yoo, Gustav Meier, and Markand Thakar. In 2017 he was awarded

first prize at the Accademia Chigiana by Daniele Gatti, and received a scholarship and an invitation to guest conduct in Sanremo, Italy. In 2016 he was selected to audition for Riccardo Muti and Renata Scotto for Muti’s Italian Opera Academy in Ravenna. He completed his doctorate at the University of Colorado Boulder in 2016 with academic emphasis on Brahms performance practice and made a French-to-English translation of Igor Markevitch’s analysis of Beethoven’s symphonies.

Memphis Youth Symphony Program String Ensemble & String Sinfonia Winter Concert 02.20.18 | 7:00 pm

String Ensemble & String Sinfonia Spring Concert 05.01.18 | 7:00 pm

String Orchestra Winter Concert 02.27.18 | 7:00 pm

String Orchestra Spring Concert 05.08.18 | 7:00 pm

Youth Symphony Concerto Winners Concert 03.04.18 | 7:00 pm

Youth Symphony Side by Side Concert with MSO 05.13.18 | 6:00 pm Cannon Center for Performing Arts

Please visit www.MYSP-Music.org for more information

MEMPHIS SYMPHONY ORCHESTRA | 7

Memphis Symphony Orchestra Robert Moody, Music Director

VIOLIN I Barrie Cooper, Concertmaster The Joy Brown Wiener Chair Marisa Polesky, Assistant Concertmaster Diane Zelickman Cohen, Assistant Principal Paul Turnbow, Assistant Principal Wen-Yih Yu Jessica Munson Greg Morris Long Long Kang VIOLIN II Gaylon Patterson, Principal The Dunbar and Constance Abston Chair Heather Trussell, Assistant Principal Erin Kaste, Assistant Principal Ann Spurbeck Lenore McIntyre VIOLA Jennifer Puckett, Principal The Corinne Falls Murrah Chair Michelle Pellay-Walker, Assistant Principal Irene Wade, Assistant Principal Beth Luscombe Karen Casey Kent Overturf CELLO Ruth Valente Burgess, Principal The Vincent de Frank Chair Iren Zombor, Assistant Principal Phyllis Long, Assistant Principal Jonathan Kirkscey

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Jeffrey Jurciukonis Hannah Schmidt Mark Wallace BASS Scott Best, Principal Chris Butler, Assistant Principal Sean O’Hara Andrew Palmer Timothy Weddle Jeremy Upton Sara Chiego FLUTE Karen Busler, Principal The Marion Dugdale McClure Chair Chris James* PICCOLO Chris James* OBOE Joseph Salvalaggio, Principal Saundra D’Amato Shelly Sublett, Assistant Principal ENGLISH HORN Shelly Sublett CLARINET Andre Dyachenko, Principal Rena Feller Nobuko Igarashi

BASS CLARINET

Wes Lebo

Nobuko Igarashi

Mark Vail

BASSOON

BASS TROMBONE

Susanna Whitney, Principal

Mark Vail

Michael Scott Christopher Piecuch CONTRABASSOON Christopher Piecuch HORN Caroline Kinsey, Principal The Morrie A. Moss Chair Robert Patterson TRUMPET Scott Moore, Principal The Smith & Nephew Chair Susan Enger J. Michael McKenzie TROMBONE Greg Luscombe, PrincipalÂ

TUBA Charles Schulz, Principal TIMPANI Frank Shaffer, Principal PERCUSSION David Carlisle, Principal Ed Murray, Assistant Principal HARP Marian Shaffer, Principal The Ruth Marie Moore Cobb Chair PIANO/CELESTE Adrienne Park, Principal The Buzzy Hussey and Hal Brunt Chair *Currently on leave

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

MEMPHIS SYMPHONY ORCHESTRA | 9

Memphis Symphony Chorus Lawrence Edwards, Artistic Director

of Memphisâ&#x20AC;&#x2122; Department of Music, a position he has held since 1987. He directs the University Singers and the group Sound Fuzion, and teaches undergraduate choral conducting. He also serves as advisor/teacher for graduate choral conducting students. During the summers he teaches graduate conducting at Villanova University in Philadelphia , and is active as a choral clinician throughout the country, working with junior and senior high honor choirs.

Lawrence Edwards Artistic Director

Dr. Lawrence Edwards has been the Artistic Director of the Memphis Symphony Chorus since 1988 and he often conducts both the orchestra and the chorus. Dr. Edwards is also Coordinator of Choirs for the University

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

Memphis Symphony Chorus The Memphis Symphony Chorus has performed many of the greatest works of choral music with the Memphis Symphony Orchestra for the past 50 years. The Symphony Chorus is

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led by Artistic Director, Dr. Lawrence Edwards, and performs between two and five concerts per season with the Memphis Symphony Orchestra. Since its formation in 1965, the Memphis

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

to devote to a weekly Monday rehearsal schedule during the season. Each new season for the Chorus begins in the late summer and lasts through their final performance, usually in May. For more info on the chorus, auditions, or fundraisers, please visit our website at www.memphissymphonychorus.org. Email info@memphissymphonychorus. org for more information.

Chorus membership grows through a twice-yearly audition process supervised by Dr. Edwards. Being a professional vocalist is not a prerequisite for acceptance; however, one must have in equal proportion vocal skill, ability to read music, a love for great choral music, as well as the time and energy MEMPHIS SYMPHONY ORCHESTRA | 11

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M A S T E R W O R K S Tchaikovsky’s fifth Saturday, February 17, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 18, 2018 at 2:30 p.m. at Germantown Performing Arts Center

KELLY KUO, CONDUCTOR

KAREN BUSLER, FLUTE

ERICH WOLFGANG KORNGOLD (1897 - 1957) Dance in the Old Style for Chamber Orchestra

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

WOLFGANG AMADEUS MOZART (1756 - 1791) Concerto No. 1 in G major for Flute and Orchestra, K. 285c [313] I. Allegro maestoso II. Adagio non troppo III. Rondo: Tempo di menuetto INTERMISSION PYOTR ILYICH TCHAIKOVSKY (1840 - 1893) Symphony No. 5

begins 1 hour prior to showtime Saturday, February 17 6:30 pm Morgan Keegan Lobby Sunday, February 18 1:30 pm Ballet Room

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Tchaikovsky’s fifth Saturday, February 17, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 18, 2018 at 2:30 p.m. at Germantown Performing Arts Center

Program Notes Michelle Pellay-Walker ERICH WOLFGANG KORNGOLD (1897-1957) Dance in the Old Style Duration: 7 1/2 minutes Erich Wolfgang Korngold was born in Brunn, Austria-Hungary (now Brno in the Czech Republic); his family relocated to Vienna a short while later. Able to play four-hand duets on the piano with his father by age five, he was recognised as a child prodigy, and began composing two years later. His composition skills were noted by both Gustav Mahler and Richard Strauss, with the former recommending that Korngold study with Alexander Von Zemlinsky. Focusing on operas and concert music during the early part of his career, he was appointed to a professorship at the Vienna State Academy in 1931. At the request of film director Max Reinhardt-and due to the rise of the Nazi regime-Korngold relocated to the United States in 1934, where his emphasis shifted to film score writing. He became America’s first film score composer of international stature, and approached the stories from an operatic framework, incorporating the use of leitmotifs (as originally developed by Richard Wagner) as an important development tool. His

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film scoring went on to great and much deserved acclaim, with Academy Award wins for Anthony Adverse (1936) and The Adventures of Robin Hood (1938), along with nominations for Captain Blood (1935) and The Private Lives of Elizabeth and Essex (1939). Subsequent composers influenced by his writing style in their film music include Alexander Courage, John Williams, and Danny Elfman. Very little is known about this recently discovered work beyond the fact that Korngold composed it in 1917, at age 22. The Helsinki Philharmonic, under the baton of John Storgards, premiered the work at a music festival commemorating the 50th anniversary of Korngold’s passing, in 2007. They released the first recording of the work (along with Korngold’s Symphony in F-Sharp Major) in 2011. In his review of the CD for Gramophone, Adrian Edwards makes the following observation: “…This work from the youthful Korngold….inhabits the world of Strauss’s ‘Le bourgeois gentilhomme’ so, although there are no characteristic grand romantic gestures, the orchestra play this dance with an affection and lightness of touch that makes it fresh and appealing.” The work takes the form of a minuet, alternating between winds and strings with the melodic material in the A sections, and contrasted with with lyrical string writing

in the Trio (which is recalled briefly at the beginning of the Coda). Altogether a

quartets and quintets, the clarinet

lovely and charming composition.

including The Marriage of Figaro, Don

concerto, and several important operas, Giovanni, and The Magic Flute.

WOLFGANG AMADEUS MOZART (1756-1791) Flute Concerto No. 1 in G Major, K. 313

The first of Mozart’s two flute concerti

Duration: 25 minutes

Jean, a wealthy Dutch businessman

Born in Salzburg, and considered to be one of the greatest child prodigies in the history of music, Wolfgang Amadeus Mozart spent much of his time between the ages of six and fifteen on tour throughout Europe and England. Amongst the royalty for whom he performed were King George III (England), King Louis XV (France), and Empress Maria Theresa (Austria). By the time he was eight years of age, he had composed his first of over forty symphonies, and by age twelve he had composed his first opera. From 1773 to 1777, he was employed as a court musician in Salzburg. Following his resignation from this post, Mozart spent short periods of time in Augsburg, Mannheim, Paris, and Munich. The last ten years of his life were spent in Vienna, where many of his greatest works were composed. Included in this impressive list are several symphonies, a number of piano concerti, string

was written in 1778, being commissioned the previous year by Ferdinand De who would appear to have been in the market for some “easy” flute repertoire to play. The work takes on the form of a standard Classical era concerto in three movements, and is scored for oboes (replaced by flutes in the slow movement), horns, and strings. According to Joseph Stevenson’s notes for AllMusic, Mozart accepted the commission with the understanding that several works were to be ready for De Jean before he left for Paris in midFebruary of 1778. By the aforementioned date, the total commission was still incomplete, and Mozart wrote to his father, “It is not surprising I have been unable to finish them, for I never have a single hour’s quiet here...Moreover, you know I become quite powerless when I am obliged to write for an instrument I can’t stand.” That last is quite eyebrowraising, especially considering the beauty of the work, most especially in the second movement!!

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Tchaikovsky’s fifth Saturday, February 17, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 18, 2018 at 2:30 p.m. at Germantown Performing Arts Center

PIOTR ILYICH TCHAIKOVSKY (1840-1893) Symphony No. 5 in E Minor, Opus 64

nationalistic sound base. The Fifth Symphony was composed

Duration: 50 minutes

between May and August of the

Piotr Ilyich Tchaikovsky, arguably 19th

November in Saint Petersburg. It is a

century Russia’s most famous composer, was originally from a small town called Votkinsk, relocating to Saint Petersburg with the rest of his family at age 10. He began studies to become a government clerk, graduating at age 19,…and took up his study of music theory two years later. He entered the Saint Petersburg Conservatory shortly after it was established, resigning his government position once it became obvious that his musical studies would bear fruit. Upon completion of his coursework, he became a music professor at the University of Moscow. Many American concertgoers first become acquainted with his works thanks to early exposure as children to his Christmas ballet, The Nutcracker; that was certainly true for me!! Happily, there is much more to be considered when approaching Tchaikovsky’s music. Tchaikovsky’s compositions are decidedly western in form whilst still maintaining a Russian flavour, unlike the works of the “Mighty Five,” who eschewed western form and focused almost entirely on a Russian

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year 1888, and premiered later that massive work, and is highlighted by the use of a primary theme that occurs in each movement of the piece. This important 19th century compositional technique has been a feature of several works performed by the MSO recently, including Dvorak’s New World Symphony (with which we opened the current season), and Berlioz’s Symphonie Fantastique (which was featured during the second half of the previous season). In the case of the Tchaikovsky, the motto theme opens the introduction of the first movement; reappears to bridge the return to the main theme and in the coda of the second movement; is gently referenced at the end of the third movement; and opens and closes the last movement, in addition to being prominently featured in the middle section. While this Symphony was not initially well received, especially in the United States, it has gone on to become one of Tchaikovsky’s most popular works.

versatile musician with a diverse repertoire, including over 80 operas, he also continues as Music Director and Conductor of the Butler Opera Center at The University of Texas at Austin.

Kelly Kuo conductor

Praised by the Cincinnati Enquirer as “a leader of exceptional musical gifts, who has a clear technique on the podium and an impressive rapport with audiences,” Kelly Kuo’s self-effacing, collaborative style along with his fresh approach to programming have been heralded by critics and audiences alike. Kuo recently extended his contract through 2021 as Artistic Director of Oregon Mozart Players, having “transformed this chamber group into...a band of professional, enthusiastic and superior musicians, playing confidently as one unit” (The Register Guard). A

This season Kuo leads performances of Mozart’s Così fan tutte, Britten’s The Rape of Lucretia, and Verdi’s Falstaff at the BOC, makes his conducting debut with the Memphis Symphony, and performs at the Zenith Chamber Music Festival. Recent conducting engagements have included Lyric Opera of Chicago, Cincinnati Opera, Anchorage Opera, Indianapolis Chamber Orchestra, Ballet Fantastique, Kentucky Opera, Lexington Philharmonic, Malta Philharmonic Orchestra, concert:nova, and New York Harlem Production’s Porgy and Bess in Hamburg, Munich, and Las Palmas, in addition to having curated and conducted the Cincinnati Chamber Orchestra’s inaugural Summermusik festival as Interim Music Director. An Oregon native and recipient of a 2009 Solti Foundation U.S. Career Assistant Award for young conductors, Kuo continues to concertize as a keyboardist as the only living pianist to have studied with two pupils of the Russian virtuoso Vladimir Horowitz. He holds a master’s degree in piano performance from the Manhattan School of Music and is an alumnus of the Houston Grand Opera Studio. MEMPHIS SYMPHONY ORCHESTRA | 17

Tchaikovsky’s fifth Saturday, February 17, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 18, 2018 at 2:30 p.m. at Germantown Performing Arts Center

BRAVA KAREN BUSLER! percussionist during the 1950s. Her father, Vernon Drane, was a saxophonist in the Bill Justis Band and a lifelong associate with Amro Music Store. As a little girl, Karen sometimes went to rehearsals with her mother where she was a cherished child of Maestro DeFrank’s orchestra. At age 9 she chose the flute and her musical training began in earnest.

Karen Busler flute

With immense respect and appreciation, the Memphis Symphony Orchestra gratefully acknowledges the extraordinary contribution of Karen Busler, principal flutist. After 45 years of continuous musical service, Karen is closing her MSO chapter this season. The darling daughter of a Memphis musical family, Karen Busler was born the same year as the Symphony, 1952. Her mother, Winifred Drane, was an MSO

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After years of performing in school bands and as an early member of the Memphis Youth Symphony, Karen studied flute with Paul Eaheart at the University of Memphis and earned her Bachelor of Music degree in Flute Performance with honors. She also studied with the late Murray Panitz, principal flutist of the Philadelphia Orchestra. By age 20, it was time for Karen’s relationship with MSO to resume. After 17 years of playing 2nd/assistant principal flute in the MSO, Karen won the Marion Dugdale McClure Principal Flute Chair, a position she has held for 28 years. Her fondest memories are of the MSO’s “golden years” under Alan Balter. “Maestro Balter had such musical depth and talent, always touching our hearts. I was so privileged to be a soloist during his last season.”

Karen has also been a frequent soloist with MSO and the Memphis Chamber Music Society; plays principal flute for Opera Memphis and Ballet Memphis; and is a charter member of the IRIS Orchestra. She has shared the stage with a parade of great musicians, and particularly enjoyed Itzhak Perlman, Zara Nelsova, James Galway, Jean-Pierre Rampal, Yo-Yo Ma, Andre Watts and Roberta Peters. Karen toured Alaska in 1999 and 2002 with the Rosetta Trio, of which she is a founding member. She has judged competitions and performed as a member of the National Flute Association.

A professional musician inspired to give back to her art form, Karen has been a coach, teacher and mentor for other talented flutists in a variety of settings, including the Hot Springs Music Festival. Her humanitarian work, however, for the International Childrenâ&#x20AC;&#x2122;s Heart Foundation (ICHF) as a producer, director, coordinator and featured performer has been an even greater source of personal satisfaction. The ICHF benefit concerts raised many thousands of dollars for the charity. Karen also founded and led The Assisi Concerts, a series presented by St. Francis of MEMPHIS SYMPHONY ORCHESTRA | 19

Tchaikovsky’s fifth Saturday, February 17, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 18, 2018 at 2:30 p.m. at Germantown Performing Arts Center

Assisi Catholic Church. Finally, she is the founder, director and conductor of the Lumen Christi Schola Cantorum, a singing group that specializes in Gregorian Chant and Renaissance Polyphony. Singing has been one of Karen’s lifelong passions and it connects closely with her deep and abiding faith. Married to Dr. William J. Busler, Professor Emeritus (Chemistry) of Christian Brothers University, Karen is looking forward to retirement with her husband. When asked about how she intends to spend her “free time,” she has been very clear: “In addition to doing some writing, traveling, getting more involved with church, taking care of myself and simply enjoying life, family, and friends, I want to be open and available to take advantage of whatever presents itself to me as time goes on. Who knows

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what will come down the pike that could very well change the course of my life? I think it’s a fantastic opportunity to be retired and ready with time to experience new things I haven’t even thought of yet. To be free to pursue those new directions is a real gift, and a blessing I don’t take for granted. Of course I’ll never stop playing; that’s part of the fabric of my heart, but to be available for new and different adventures is incredibly exciting to me! I think this is one of the most important reasons why I’m retiring and the answer to what I’m going to “do” for the rest of my life. I want everyone to know how incredibly grateful I am for the 45 years I’ve been privileged to play with the symphony. I can only hope I’ve given as much joy as I’ve received.”

MEMPHIS SYMPHONY ORCHESTRA | 21

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Classic Accents Beethoven Seven Saturday, February 24, 2018 at 7:30 p.m. at Harris Concert Hall, University of Memphis Sunday, February 25, 2018 at 2:30 p.m. at Germantown Performing Arts Center

ANDRES CLADERA, CONDUCTOR

CHARLES YANG, VIOLIN

TOBIAS PICKER (b. 1954) Opera Without Words I. The Beloved II. The Minstrel III. The Idol IV. The Gladiator V. The Farewell

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

LEONARD BERNSTEIN (1918 - 1990) Serenade for after Plato’s Symposium for violin and chamber orchestra I. Phaedrus. Pausanius. Lento Allegro II. Aristophanes. Allegretto III. Erixymachus. Presto IV. Agathon. Adagio V. Socrates. Alcibiades. Molto tenuto - Allegro molto vivace

Saturday, February 24 6:30 pm Harris Hall

begins 1 hour prior to showtime

Sunday, February 25 1:30 pm Ballet Room

INTERMISSION LUDVIG VAN BEETHOVEN (1770 - 1827) Symphony No. 7 in A Major, Opus 92 I. Poco sostenuto - Vivace II. Allegretto III. Presto IV. Allegro con brio MEMPHIS SYMPHONY ORCHESTRA | 23

Beethoven Seven Saturday, February 24, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 25, 2018 at 2:30 p.m. at Germantown Performing Arts Center

Program Notes TOBIAS PICKER (b. 1954) Opera Without Words Duration: 25 minutes Tobias Picker, a native of New York City, began composing when he was eight years of age. He studied at the Manhattan School of Music (BM 1976), the Juilliard School (MM 1978), and Princeton University, where his principal teachers included Charles Wuorinen, Elliott Carter, and Milton Babbitt. He began receiving commissions while still in his late teens, and some of the organizations for whom he has provided works include the Metropolitan Opera, the Rambert Dance Company, the San Francisco Symphony Orchestra, and the Chamber Music Society of Lincoln Center. He has been awarded a Guggenheim Foundation Fellowship (1981), the Charles Ives Scholarship (1984), the American Academy of Arts and Letters Award in Music (1992), and in 2012, was elected to lifetime membership in the AAAL. He has served as Composer in Residence for the Houston Symphony Orchestra, the Santa Fe Chamber Music Festival, and the Pacific Music Festival. Picker was appointed Artistic Director of the Tulsa Opera in June of 2016.

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Co-Commissioned by the National Symphony Orchestra and the Nashville Symphony Orchestra, and dedicated to the composer’s mother (Henriette Simon Picker, 1917-2016), Opera Without Words was written in 2015, and given its 2016 premiere in Washington, D.C., by the National Symphony Orchestra, Christoph Eschenbach conducting. The work is presented in five movements (The Beloved, The Minstrel, The Idol, The Gladiator, The Farewell), and the composer describes it as follows (from www.tobiaspicker.com): “Opera Without Words is a music drama about some of the fascinating people I have known. In beginning to compose this work, I found myself reviewing the differences and similarities between a concerto for an orchestra and an opera. As a result, I approached this new orchestral work as I would an opera; I hired a librettist, Irene Dische, and set her words not to voices but to musical instruments, unfettered by considerations of vocal range and technique. When I finished the opera with words, I removed the text, leaving but a few traces and artifacts of the deleted libretto in the score.” LEONARD BERNSTEIN (1918 - 1990) Serenade for Violin after Plato’s ‘Symposium’ Duration: 30 minutes

American classical music, with the exception of Charles Ives (whose serious works date from at least 1892), is mostly a 20th and 21st century phenomenon, and of the many composers who have made notable contributions to this art form, perhaps none is more iconic than Leonard Bernstein. Though probably best known for his role as Music Director and Conductor of the New York Philharmonic (1958-1969), attempting to pigeonhole Bernstein would be ludicrous. In addition to his skills as a conductor, he was a concert pianist, composer, author, lecturer,… in other words, he wore a LOT of hats!! Bernstein was a native of Lawrence, Massachusetts, studying conducting and piano at Harvard University, and at the Curtis Institute of Music. His instructors included Walter Piston, Fritz Reiner, Randall Thompson, and Serge Koussevitsky (while Bernstein was a student at Tanglewood). One of Bernstein’s lasting legacies was bringing the NYPhil’s Young People’s Concerts to an unprecedented level of attention by virtue of the concerts being broadcast on CBS. The series won numerous awards in the field of educational television, and served as a model for how classical music and the symphony orchestra continue to be introduced to school-aged children.

concerto in five movements, takes its inspiration from Plato’s “Symposium,” a dialogue of statements in praise of the Greek god, Eros (Love), taking place between several speakers. Bernstein wrote the work in 1954; the premiere performance was given the same year in Venice, Italy, by the Israel Philharmonic Orchestra, with Bernstein conducting, and Isaac Stern featured as violin soloist. In addition to the violin, the Serenade is scored for harp, percussion, and strings. Each movement represents a different speaker or speakers, offering various philosophical points of view on the subject of love, and taking on different characteristics that reflect the specific philosophy being presented: Phaedrus and Pausanias, Aristophanes, Eryximachus, Agathon, Socrates and Alcibiades. Bernstein wrote the following description of the piece (extracted from the Los Angeles Philharmonic program notes): “There is no literal program for this Serenade. The music, like Plato’s dialogue, is a series of related statements in praise of love. The ‘relatedness’ of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements in the preceding one, a form I initiated in my Second Symphony.”

This Serenade, essentially a violin MEMPHIS SYMPHONY ORCHESTRA | 25

Beethoven Seven Saturday, February 24, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 25, 2018 at 2:30 p.m. at Germantown Performing Arts Center

LUDVIG VAN BEETHOVEN (1770 - 1827) Symphony No. 7 in A Major, Opus 92 Duration: 40 minutes “I must despise the world which does not know that music is a higher revelation than all wisdom and philosophy.” Absolutely no compromise, absolutely no surrender. I guess that’s one of the reasons Beethoven was my childhood hero, and it didn’t hurt that he was also my beloved father’s favourite composer. Beethoven requires little by way of introduction for the experienced concert-goer: He is considered by many to have been the greatest composer in the history of western art music, and the claim is not without merit. A Classicist after the model of Haydn and Mozart, it is Beethoven’s stylistic innovations that pushed the music of the 19th century into what we now call the Romantic Period. Born in Bonn, Germany, Beethoven hailed from a family of musicians, much in the way that Bach and Mozart had before him; his grandfather (Ludwig) served as the court music director, with his father (Johann) holding a low-ranking position as a tenor. Young Ludwig also served in the Bonn court (as organist and violist) before permanently relocating to Vienna at age 22. We know all

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of the stories, of course: how his virtuosity at the keyboard took Vienna by storm, his successful assertion that artists deserved as much respect as the nobility, his furious disgust when Napoleon Bonaparte proclaimed himself Emperor of France, but perhaps most important of all, his coming to terms with his incurable deafness, rather than committing suicide (if you have not read the Heiligenstadt Testament, make sure that you have a box of Kleenex handy when you do so). Beethoven’s compositions are usually divided into three distinct writing periods. The Early works (up to about 1802) exhibit the greatest influence of Haydn and Mozart while still incorporating much of Beethoven’s intense personality and individualism. The Middle works (1803-1814) tend to be of longer length as well as “heroic” in character. The Late works (1815-1827) can be intimate in expression, or “harsh and modernsounding,” and in many cases use a great deal of complicated polyphony— such as the inclusion of a triple fugue near the end of the Finale of the Ninth Symphony. The Symphony No. 7 was written in the Bohemian spa town of Teplice during the second half of Beethoven’s “middle” period of composition (between 1811 and 1812), and received its premiere

in Vienna on 8 December 1813, with the composer at the podium. The work is scored for a standard sized classical orchestra, and is written in four movements. The first, in sonata form with a slow introduction, features a dotted notation pattern, which permeates the entire movement, giving it a sense of compelling forward motion and rhythmic drive. The second movement, probably the most well known of the four, is in double variation form; the lyricism of the secondary melody is echoed in the very beautiful trio. [Note: This movement was encored at its premiere performance, and movie aficionados may well remember its use in a particularly heartbreaking scene from the 1995 hit movie, Mr. Holland’s Opus.] The third movement is a boisterous scherzo, which includes two repeats of the trio instead of the usual one--and there’s a hint of a THIRD repetition before the movement’s close! That leaves the finale, a joyfully foot-stomping and headlong sonata form, featuring one of Beethoven’s first orchestral triple forte (fff) designations, to be found near the conclusion of the coda. A closing poignant fact in connection with this work: It was the last composition conducted by Leonard Bernstein before his passing on 19 August 1990, featuring the Boston Symphony Orchestra at the Tanglewood

Music Festival in Lenox, Massachusetts.

Andres Cladera conductor

Uruguayan conductor Andres Cladera, Associate Conductor with Opera Colorado and Artistic Director of Opera Steamboat, is a versatile and cultivated artist in both the operatic and symphonic worlds. He has prior conducting experience with Opera San Antonio, Opera Colorado, Carnegie Mellon Philharmonic, Opera Theater of Pittsburgh, Edgewood Symphony, Opera Steamboat, Chatham

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Beethoven Seven Saturday, February 24, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 25, 2018 at 2:30 p.m. at Germantown Performing Arts Center

Baroque and San Antonio Symphony. Mo. Cladera holds a Masters of Music degree from Carnegie Mellon University and Bachelors of Fine Arts degrees in Piano and Voice Performance from College of Charleston. Cladera was awarded the Outstanding Young Conductor of the year by the Association of Choral Directors of America, as well as first place in several international piano competitions including: Luis Troccoli International Piano Competition, Luis Cluzeau Mortet Piano Competition, as well as the Young Artist Encouragement Award from the Metropolitan Opera House. Upcoming engagements include: Frida with Cincinnati Opera, and Cavalleria Rusticana with Opera Steamboat and La Boheme with Opera Orlando. Maestro Cladera is represented by Encompass Arts LLC.

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Charles Yang violin

Described by the Boston Globe as one who â&#x20AC;&#x153;plays classical violin with the charisma of a rock starâ&#x20AC;?, Juilliard graduate Charles Yang began his violin studies with his mother in Austin, Texas, and has since studied with world-renowned pedagogues Kurt Sassmanshaus, Paul Kantor, Brian Lewis and Glenn Dicterow. He has performed as a soloist with orchestras and in recitals in the United States, Europe, Brazil, Russia, China, and Taiwan, and is the recipient of numerous awards and honors. Mr. Yang has been a frequent

guest on the Emmy Award winning PBS show From the Top, and has also been heard on NPR in Washington, DC, Boston, Texas. Not only confined to classical violin, Mr. Yang’s improvisational crossover abilities as a violinist, electric violinist, vocalist, and guitarist have led him to featured performances with a variety of artists in festivals and events such as, Summit Series, Google Zeitgeist, Conde Nast 25th Anniversary, Youtube Music Awards, The Aspen Music Festival, The Cayman Arts Festival, The Moab Music Festival, Auction Napa Valley, The EG Conference, Interlochen, Goldman Sachs, TED, and onstage at venues such as Carnegie Hall, Alice Tully Hall, Lincoln Center’s Metropolitan Opera House, David H. Koch Theater, Dizzy’s and David Rubinstein Atrium; The Long Center, The Royal Danish Theatre, Le Poisson Rouge, Highline Ballroom, Joe’s Pub, Rockwood Music Hall, Ars Nova, The Metropolitan Museum of Art, and TheForbidden City in Beijing among many others. He has performed in the presence of two former US Presidents, the Queen of Denmark and has shared the stage in collaborations with artists including CDZA, SBTRKT, Steve Miller, Jon Batiste, Yitzhak Rabin Jake Shimabukuro, the Orchestra of St. Lukes, Ray Benson, Marcelo Gomes, Misty Copeland, Michael

Barrett, Daxun Zhang and various other famous musicians in the classical space. His career has been followed by various news media including The New York Times, The New York Post, The Huffington Post, Playbill, The Boston Globe, Fortissimo, The Austin-American Statesman, The Austin Chronicle, Shenzhen Daily, The Strad,Dallas Daily, Cincinnati Enquirer, and Juilliard Journal. Mr. Yang is featured in Nick Romeo’s book, Driven as well as Discovery Channel’s Curiosity. He has an amazing live set (mixed with classical, contemporary and original pieces), usually accompanied by a pianist and has played events all over the world. The Texas Observer has noted, “Mr. Yang is a true crossover artist, a pioneer who can hop between classical and popular music and bring fresh ideas to fans of both genres. Rather than maintaining an insular focus and simply assuming that an audience for classical music will always exist, he wants to actively create that audience, to persuade and seduce others into enjoying a type of music as passionately as he does.”

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Leading From Every Chair® Orchestrating Success in Emerging Leaders Put on the shoes of an orchestra musician and you’ll find yourself walking around in a professional organization with a business structure that rivals sophisticated Fortune 500 companies. Truth is, an orchestra like the Memphis Symphony, with its families of instruments, sections and chairs, closely mirrors the hierarchy and complexity of the corporate business model. Each musician holds a position with leadership responsibility, some more than others, much like you’ll find in the for-profit workplace. In 2007, a group of MSO musicians teamed up with human resource staff at FedEx headquarters to develop an enhancement to an existing leadership training program. The idea was to use the orchestra as a model for the creative side of leadership. After a year of planning and development, the result was a one-day workshop that not only inspires participants, but also provides a microcosm for exploring a full range of leadership skills.

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In the years since the project was conceived, Leading From Every Chair® has developed into a responsive tool for leadership training. Musicians themselves present the content, taking participants through an interactive exploration of the leadership skills that drive effective communication, teamwork, creativity and collaboration. The experience is so unexpected that participant leaders are forced to step back and examine their own workplace challenges from a completely new perspective. Depending on the needs of the client, the MSO customizes each application to meet specific goals. To learn more about Leading From Every Chair® and how it could positively impact your business, contact Rhonda Causie, Director Innovation & Impact, at rhonda.causie@memphissymphony.org or (901) 537-2500.

In Memory OF ERIC AND HELGA CORNELL BY THEIR CHILDREN GLORIA AND EDDIE FELSENTHAL AND BUNNY AND CHARLES BURSON. Music was an essential ingredient in their lives, a legacy for their children and grandchildren. They were subscribers to the Memphis Symphony, then known as the Memphis Sinfonietta, since the era of Vincent deFrank. Although devotees of classical music, they were avid fans of Leonard Bernstein and his new American music.

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proud supporter of the

Memphis Symphony Orchestra

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M A S T E R W O R K S Bernstein at 100 Saturday, March 3, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, March 4, 2018 at 2:30 p.m. at Germantown Performing Arts Center

ROBERT MOODY, CONDUCTOR JAMIE BERNSTEIN, NARRATOR MARY BOEHLKE-WILSON, SOPRANO

MEMPHIS SYMPHONY CHORUS AND UNIVERSITY OF MEMPHIS SINGERS DR. LAWRENCE EDWARDS, ARTISTIC DIRECTOR CORORIO, JOELLE NORRIS, DIRECTOR

LEONARD BERNSTEIN (1918 - 1990) Kaddish, Symphony No. 3 (1978 revision) I. Invocation: Adagio Ia. Kaddish I: L’istesso tempo -Allegro molto II. Din-Torah: Di nuovo adagio IIa. Kaddish II: Andante con tenerezza III. Scherzo: Presto scherzando, sempre pianissimo IIIa. Finale: Adagio, come nel DinTorah - Allegro vivo, con gioia INTERMISSION

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

LEONARD BERNSTEIN (1918 - 1990) Chichester Psalms for Chorus and Orchestra I. Psalm 108: 2 Psalm 100 II. Psalm 23 Psalm 2: 1-4 III. Psalm 131 Psalm 133: 1 LEONARD BERNSTEIN (1918 - 1990) Simple Song from Mass

Saturday, March 3 6:30 pm Morgan Keegan Lobby Sunday, March 4 1:30 pm Ballet Room

begins 1 hour prior to showtime.

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Bernstein at 100 Saturday, March 3, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, March 4, 2018 at 2:30 p.m. at Germantown Performing Arts Center

Program Notes LEONARD BERNSTEIN (1918-1990) American classical music, with the exception of Charles Ives (whose serious works date from at least 1892), is mostly a 20th and 21st century phenomenon, and of the many composers who have made notable contributions to this art form, perhaps none is more iconic than Leonard Bernstein. Though probably best known for his role as Music Director and Conductor of the New York Philharmonic (1958-1969), attempting to pigeonhole Bernstein would be ludicrous. In addition to his skills as a conductor, he was a concert pianist, composer, author, lecturer,… in other words, he wore a LOT of hats!! Bernstein was a native of Lawrence, Massachusetts, studying conducting and piano at Harvard University, and at the Curtis Institute of Music. His instructors included Walter Piston, Fritz Reiner, Randall Thompson, and Serge Koussevitsky (while Bernstein was a student at Tanglewood). Other important influences on Bernstein included Dmitri Mitropoulos and Aaron Copland. In 1943, he was appointed Assistant Conductor of the New York Philharmonic, and made his major conducting debut with the orchestra on 14 November 1943, filling in at the

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last minute--and without a rehearsal-for an ailing Bruno Walter (news of the debut made the front page of the New York Times the following day, and as the concert had been featured in a national radio broadcast via CBS, he became instantly famous overnight). Serving as Music Director of the New York City Symphony from 1945 to 1947, Bernstein also began to establish his career as a composer, and his international guest conducting appearances also began to flourish. Shortly following his appointment as the NY Phil’s Music Director, what would become one of Bernstein’s lasting legacies was to bring the orchestra’s Young People’s Concerts to an unprecedented level of attention by virtue of the concerts being broadcast on CBS. The series won numerous awards in the field of educational television, and served as a model for how classical music and the symphony orchestra continue to be introduced to school-aged children. Upon his resignation from the position in 1969, he was given the lifetime title of Laureate Conductor (he was also named Laureate Conductor by the Israel Philharmonic in 1988). Resignation notwithstanding, Bernstein continued to be closely associated with the orchestra, making frequent guest appearances and recordings with them for the remainder of his life. The number of accolades,

awards, and accomplishments garnered by this towering figure is far too numerous to list here,...but the following item must be mentioned: On 25 December 1989, Bernstein led a performance of Beethoven’s Symphony No. 9 with the Bavarian Radio Symphony Orchestra, along with members of the New York Philharmonic, London Symphony Orchestra, Orchestre de Paris, and Leningrad Philharmonic, in celebration of the fall of the Berlin Wall. Televised internationally from East Berlin’s Schauspielhaus (having been performed in West Berlin the previous day), the concert was viewed by an estimated 100 million people. What a wonderful legacy we have been gifted by one of the 20th century’s great humanitarians!! Symphony No. 3, “Kaddish” Duration: 45 minutes Bernstein’s third symphony, written in 1963 and dedicated to the memory of John F. Kennedy, was premiered on 10 December 1963 by the Israel Philharmonic Orchestra in Tel Aviv, with the composer on the podium. The American premiere took place a month later, on 10 January 1964, in Boston, featuring the Boston Symphony Orchestra conducted by Charles Munch. The orchestration is huge, featuring a

narrator, a solo soprano, mixed chorus, boy choir, and a very large orchestra. “Kaddish” (which means “sanctification”) is the name of the Jewish prayer for the dead; however, its focus is not so much on death as it is an affirmation of life, an expression of a desire for peace, and an ongoing praise of God. The text of the Kaddish proper is sung in Hebrew, with the surrounding narrations spoken in English. Bernstein’s 1963 narration was intended for a female speaker; the subsequent 1977 revision is gender-neutral. As originally written, it represents a combination of Bernstein’s prayers, questions, and arguments with the Almighty, and as such, is inevitably full of conflict: “.... [The Prophets] argued with God the way you argue with somebody who’s so close to you that you love so much, that you can really fight....The more you love someone, the more you can get angry with him, and when you have a reconciliation, the more close you become than ever.” [Quote extracted from Naxos CD liner notes to Bernstein: Kaddish and Chichester Psalms, No. 8.559456] Jamie Bernstein describes her 2002 text not so much a revision as a commentary upon her father’s words,... including questioning some elements of the original text. The music itself is an interesting mix of atonal serialism (12-tone writing) paired with more MEMPHIS SYMPHONY ORCHESTRA | 35

Bernstein at 100 Saturday, March 3, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, March 4, 2018 at 2:30 p.m. at Germantown Performing Arts Center

traditional diatonic tonality. Chichester Psalms Duration: 20 minutes The Chichester Psalms immediately followed the third symphony in composition order, and was commissioned for the 1965 Southern Cathedrals Festival at Chichester Cathedral in England. The premiere performance actually took place on 15 July 1965 in New York City’s Philharmonic Hall (conducted by Bernstein), with the Chichester Festival performance occurring two weeks later, featuring the combined Cathedral Choirs of Chichester, Salisbury, and Winchester, conducted by Chichester Cathedral Organist and Choirmaster John Birch. Bernstein’s commentary on the piece is almost as fascinating as the piece itself. He commented during a 1977 press conference (www.leonardbernstein.com): “I spent almost the whole year (1964) writing 12-tone music and even more experimental stuff. I was happy that all these new sounds were coming out, but after about six months of work I threw it all away. It just wasn’t my music; it wasn’t honest. The end result was the Chichester Psalms which is the most accessible, B-flat majorish tonal piece I’ve ever written.”

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And then there’s this, from a poem submitted earlier to the New York Times on 24 October 1965 (same source as previous reference): “...For hours on end I brooded and mused On materiae musicae, used and abused; On aspects of unconventionality, Over the death in our time of tonality... Pieces for nattering, clucking sopranos With squadrons of vibraphones, fleets of pianos Played with the forearms, the fists and the palms -And then I came up with the Chichester Psalms. ... My youngest child, old-fashioned and sweet. And he stands on his own two tonal feet.” And so it does. The three movement work features settings of Psalms 108 (verse 2) and 100, 23 and 2 (verses 1-4), 131 and 133 (verse 1); it is sung entirely in Hebrew, and is scored for solo boy treble (a countertenor may also be used in this role), choir, and an orchestra consisting of trumpets, trombones, percussion, harps, and strings. The first movement begins with the Psalm 108 “Wake-Up” call and continues with the very joyful Psalm 100. In a meter of 7/4, this movement contains some rather demanding intervallic leaps in either direction required of the chorus.

The second movement provides some very interesting contrasts. It begins with a pastoral and tranquil setting of Psalm 23, featuring the solo boy treble (representing David), with a repeat of text by the chorus sopranos. This is interrupted by the male voices singing the first four verses of Psalm 2 (Handel used these verses in Part the Second of his great oratorio, Messiah); the music itself, which is quite jagged and harsh despite its quietness, consists of some material that the composer cut from his earlier masterpiece, West Side Story. The complexity of this movement is reminiscent of West Side Story’s “Tonight” Ensemble in that the two thematic ideas are combined. It finishes with the last verses of Psalm 23, along with a sinister hint of Psalm 2 in the background. The third movement begins with a very dramatic introduction featuring the strings, recalling material from the first movement, and eventually settles into a gentle rendition of Psalm 131. Psalm 133’s first verse concludes the work: Behold, how good and how pleasant it is for brethren to dwell together in unity! Amen. Hymn and Psalm: “A Simple Song” from MASS Duration: 5 minutes MASS: A Theatre Piece for Singers,

Players, and Dancers, was commissioned by Jacqueline Kennedy Onassis for the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C., and was given its premiere on 8 September 1971, conducted by Maurice Peress and directed by Gordon Davidson, with choreography provided by Alvin Ailey. It is a large and eclectic work, primarily based upon the Tridentine Roman Catholic Mass (in Latin), but also containing additional texts (in English) written by Bernstein and Stephen Schwartz. “A Simple Song” was originally intended to be a part of Franco Zeffirelli’s 1972 film, Brother Sun, Sister Moon, commemorating the life of Saint Francis of Assisi. Bernstein worked in Italy with lyricist Leonard Cohen for about three months on a score for the film before both men withdrew from the project. [Note: Bernstein also briefly collaborated with Paul Simon on the film, and as a result, wound up with a quatrain, written by Simon, and presented to Bernstein for use in the Mass (it found its way into the trope “Half of the People”).] Bernstein used “A Simple Song” in his Mass as its second movement. It continues to be the most popular and most often performed section of the Mass,...and it’s easy to hear why. As I was listening to the original 1971 recording, as performed

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Bernstein at 100 Saturday, March 3, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, March 4, 2018 at 2:30 p.m. at Germantown Performing Arts Center

by Alan Titus, not only did I find myself settling into a peaceful state (thanks in part to its ballad-like nature), but I was also vividly reminded of the opening of Aaron Copland’s Clarinet Concerto; the orchestral timbres and chord progressions are similar, along with that same sense of peace. Text to “A Simple Song” (Lyrics by Leonard Bernstein and Stephen Schwartz):

And the sun shall not smite me by day, or the moon by night. Blessed is the man who loves the Lord lauda, lauda, laude, and walks in his ways. from Verloren Verleden, released February 12, 2016 all rights reserved

Sing God a simple song, lauda laude Make it up as you go along, lauda laude Sing like you like to sing, God loves all simple things. For God is the simplest of all, For God is the simplest of all. I will sing the Lord a new song, to praise him, to bless him, to bless the Lord. I will sing his praises while I live, all of my days. Blessed is the man who loves the Lord, Blessed is the man who praises him. Lauda, lauda, laude, and walks in his ways. I will lift up my eyes, to the hills from which comes my help. I will lift up my voice to the Lord, singing lauda, laude. For the Lord is my shade, is the shade upon my right hand.

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Jamie Bernstein narrator

Jamie Bernstein is a narrator, writer and broadcaster who has transformed a lifetime of loving music into a career of

sharing her knowledge and enthusiasm with others. She grew up in an atmosphere bursting with music, theatre and literature. Her father, composerconductor Leonard Bernstein, together with her mother, the pianist and actress Felicia Montealegre, and their legions of friends in the arts, created a spontaneous, ebullient household that turned Jamie into a dyed-in-the-wool cultural enthusiast. Jamie’s symphony pops concert, “Bernstein on Broadway,” produced with conductor Michael Barrett, has enjoyed success with the Vancouver Symphony, the Minnesota Orchestra, the Phoenix Symphony, the San Antonio Symphony and the Rochester Philharmonic among others. An evening of Leonard Bernstein’s music for Broadway, the “Bernstein on Broadway” program features Jamie’s concert narration performed live with orchestra and vocalists. Replicating her father’s lifelong compulsion to share and teach, Jamie has written and produced several concerts for families and young people on the music of Copland, Mozart, Bernstein and others. The acclaimed program “The Bernstein Beat,” a family concert about her father modeled after his own groundbreaking Young People’s Concerts has been presented

by Carnegie Hall Family Concerts, the Caramoor Festival and orchestras across the country. In 2009 Jamie was commissioned by the Philadelphia Orchestra to write a youth concert narration in partnership with the Philadelphia Orchestra’s Education Department based around Pennsylvania State curriculum standards for school children. The final program, “Music Can Morph: Folk Music in the Concert Hall,” was presented by the Philadelphia Orchestra in nine sold out school time concerts during the 2009-2010 season. Jamie also travels the world as a concert narrator, appearing with orchestras from Philadelphia to Minnesota, Havana to Beijing. In addition to her own scripts, Jamie also performs standard concert narrations, such as Walton’s “Facade,” Copland’s “A Lincoln Portrait,” Prokofiev’s “Peter and the Wolf” and her father’s Symphony No. 3, “Kaddish.” She is a frequent speaker on musical topics, including in-depth discussions of her father’s works. In her role as a broadcaster, Jamie has produced and hosted numerous shows for radio stations in the United States and Great Britain. In addition to hosting several seasons of the New York Philharmonic’s live national radio broadcasts, Jamie has presented several series for New York’s classical station, MEMPHIS SYMPHONY ORCHESTRA | 39

Bernstein at 100 Saturday, March 3, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, March 4, 2018 at 2:30 p.m. at Germantown Performing Arts Center

96.3 FM WQXR, including annual live broadcasts from Tanglewood. Jamie has also presented a series for BBC Radio 3, “Fast Machine,” about the music scene in New York City. In addition to writing her own scripts and narrations, Jamie writes articles and poetry which have appeared in such publications as Symphony, DoubleTake, Town&Country and Gourmet.

Mary Boehlke-Wilson soprano

Soprano Mary Wilson is acknowledged as one of today’s most exciting artists,

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with Opera News heralding her first solo recording, Mary Wilson Sings Handel, as one of their “Best of the Year.” Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire, Wilson recieves critical acclaim from coast to coast. In high demand on the concert stage, she has most recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Singapore Symphony, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, National Symphony of Costa Rica, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Eugene Symphony, Buffalo Philharmonic, Pacific Symphony, Colorado Symphony, Dayton Philharmonic, Memphis Symphony, Colorado Music Festival, IRIS Chamber Orchestra, VocalEssence, Berkshire Choral Festival, and at Carnegie Hall and the Hollywood Bowl. She has frequently worked with conductors Jeffrey Thomas, Nicholas McGegan, Bernard Labadie, Martin Pearlman, Martin Haselböck, Robert Moody, JoAnn Falletta, Michael Stern, Anton Armstrong, and Leonard Slatkin. With the IRIS Chamber Orchestra, she sang the World Premiere of the song cycle “Songs Old and New”

written especially for her by Ned Rorem. She was named an Emerging Artist by Symphony Magazine in the publication’s first ever presentation of promising classical soloists on the rise. On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World Premiere performances of Dove’s Flight, Glass’ Galileo Galilei, and Petitgi-rard’s Joseph Merrick dit L’Elephant Man. A national finalist of the 1999 Metropolitan Opera National Council Auditions, she has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Opera Memphis, Southwest Opera, the Brooklyn Academy of Music and the Goodman Theatre. An accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She is an Assistant Professor of Voice at the University of Memphis, and resides in Memphis, Tennessee, with her husband, son, and two dogs.

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P O P S ! Tribute to Prince Saturday, April 21, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts

PRESENTED BY

ANDREW CRUST, CONDUCTOR MEMPHIS SYMPHONY CHORUS DR. LAWRENCE EDWARDS, ARTISTIC DIRECTOR Party like it’s 1999! The Memphis Symphony, backed by a full rock band, presents a symphonic tribute to Prince. Every classic hit, with the full force of the Memphis Symphony. Hear them all: “Purple Rain,” “When Doves Cry,” “Little Red Corvette” and more!

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A Rock ‘n’ Roll Landmark. Now an Unforgettable Event Destination. T H E H O M E O F E LV I S P R E S L E Y

Following the greatest expansion since it opened to the public 35 years ago, Elvis Presley›s Graceland now offers all-new, one-of-a-kind event venues that will create a unique and unforgettable experience for your guests.

Elvis Presley’s Memphis TM

At Elvis Presley’s Memphis, our new entertainment and exhibit complex, allow your guests to enjoy Elvis’ life career like never before. Guests can enjoy dinner and live music at Presley Motors Automobile Museum, surrounded by Elvis’ incredible collection of cars, or enjoy drinks and views of Elvis’ legendary jumpsuits at Elvis: The Entertainer Career Museum. Our Graceland Soundstage allows you to create your own event setting with 20,000 square feet of space.

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M A S T E R W O R K S Choral & Organ Spectacular Saturday, May 5, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, May 6, 2018 at 2:30 pm at First Baptist Church of Memphis

ROBERT MOODY, CONDUCTOR PIOTR BUSZEWSKI, TENOR

MEMPHIS SYMPHONY CHORUS AND UNIVERSITY OF MEMPHIS SINGERS DR. LAWRENCE EDWARDS ARTISTIC DIRECTOR

JEAN SIBELIUS (1865 - 1957) Symphony No. 5 in E-Flat major, Opus 82 I. Tempo molto moderato Allegro moderato - Presto II. Andante mosso, quasi allegretto III. Allegro molto - Misterioso

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

INTERMISSION

Saturday, May 5 6:30 pm Morgan Keegan Lobby

HECTOR BERLIOZ (1803 - 1869) Te Deum, Opus 22 I. Te Deum, Hymn II. Tibi omnes, Hymn III. Preludium IV. Dignare, Prayer VI. Te ergo quaesumus, Prayer VII. Judex crederis, Hymn and Prayer VIII. Marcia (March for the Presentation of the Colors)

begins 1 hour prior to showtime

Sunday, May 6 1:30 pm Fellowship Hall

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Choral & Organ Spectacular Saturday, May 5, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, May 6, 2018 at 2:30 pm at First Baptist Church of Memphis

Program Notes JEAN SIBELIUS (1865 - 1957) Symphony No. 5 in E-Flat major, Opus 82 Duration: 30 minutes The year 1865 was a notable one not only for the ending of America’s Civil War; two of Scandinavia’s greatest composers were also born that year: Danish composer Carl Nielsen in June, and Finland’s Jean Sibelius in December. A doctor’s son, Johan Julius Christian was given the nickname Janne as a child, adopting the French spelling Jean (by which he is now known) during his student years. His early music studies included piano and later violin, and he would appear to have taken up composing during his late teens. Though it was his intent to study law upon entering Imperial Alexander University (the University of Helsinki since 1919), it was not long before he turned his attentions almost exclusively to the violin and to composing. Martin Wegelius became his primary composition instructor, later instructors would also include Albert Becker (in Berlin) and Karl Goldmark (in Vienna). In addition to the seven symphonies for which he is best known, Sibelius also wrote over a dozen evocative tone poems, many of which were inspired by the Kalevala, the 19th century epic

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poem of Finnish folklore and mythology compiled by Elias Lonnrot. Sibelius did very little composing during the last thirty years of his life. In 1955, his 90th birthday was widely celebrated, most notably by the Philadelphia Orchestra (Eugene Ormandy, conductor) and the Royal Philharmonic Orchestra (Sir Thomas Beecham, conductor); both orchestras gave special performances of his works in Finland that year. He passed away the following September at age 91, succumbing to a brain hemorrhage. The Finnish government commissioned Sibelius to write the Fifth Symphony in honour of the composer’s 50th birthday. The import of such an occasion weighed heavily on Sibelius, as he wrote early on to a friend: “...Once again in a deep valley. But I’m already beginning to see dimly the mountain I shall surely climb....For an instant God opens His door and ‘His’ orchestra plays the 5th Symphony” (from James Hepokoski’s handbook, “Sibelius: Symphony No. 5”, p. 33, Cambridge University Press 1993). Composed in 1915, the work was premiered by the Helsinki Philharmonic Orchestra, Sibelius conducting, on 8 December 1915--the composer’s birthday, which was declared a national holiday. A revised version of the symphony was performed a year

later; the final revisions took place in 1919, and that is the version performed today. Three movements comprise the work. A sense of symmetry is provided by the tempo relationships within and between the movements: The first starts slowly and ends at a rapid pace, the second is moderately paced (with two strategically placed stretti), and the third begins fast and ends at a slower speed. Musicologists are divided over whether the first movement is one large movement, or two fused smaller ones. For what it’s worth, the earlier two versions of the piece contained four movements. Nevertheless, questions persist: Are we dealing with a single or a double exposition? Where does the recapitulation begin? Where is the coda in relation to the end of the recapitulation? I know what my response to all this would be!! The second movement is by turns lilting and pastoral, picking up steam a couple of times, only to return to a feeling of peace and quiet serenity. The juxtaposition of the winds with pizzicato upper strings definitely enhances the sense of placid calm that one might experience on a walk in the woods, taking in nature’s beauty. The last movement features the famous “Swan Hymn,” inspired in part by a specific instance in which Sibelius witnessed sixteen swans taking off in flight. The six

astounding chords that close the piece were incorporated in the 1919 version. HECTOR BERLIOZ (1803 - 1869) Te Deum, Opus 22 Duration: 50 minutes Louis-Hector Berlioz was born in La Côte-Saint-André, located in the Auvergne-Rhône-Alpes region of southeastern France. Unlike many performer/composers with whom we are familiar, Berlioz was not a child prodigy, and in fact, did not begin studying the subject until he was twelve years old. At that time, he began to write small works, and learned harmony from reading textbooks on the subject. He never trained as a pianist (his physician father discouraged it), but did become proficient on guitar and flute. At age eighteen, Berlioz was sent to Paris in order to begin medical studies, but he had no interest in the subject, and formally abandoned those studies three years later, in favour of pursuing a career in music. He entered the Paris Conservatoire in 1826 as a composition student of Jean-François Le Sueur and Anton Reicha. Hard work and persistence resulted in him winning the coveted Prix de Rome in July of 1830. Earlier that year, he had begun work on the piece that would bring him lasting fame, the Symphonie Fantastique, a

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Choral & Organ Spectacular Saturday, May 5, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, May 6, 2018 at 2:30 pm at First Baptist Church of Memphis

quasi-autobiographical description of his love for (and obsession with) the Irish Shakespearian actress Harriet Smithson (whom he would eventually marry, though the marriage wound up being an unhappy one and only lasted seven years). Several of his best known works followed: Harold in Italy (1834), the Requiem (1837), and the choral symphony Romeo et Juliette (1839). In addition to his composition skills, Berlioz was a gifted writer, providing musical critiques for over thirty years; his text on Western musical instruments, the highly acclaimed Treatise on Instrumentation, was published in 1844, and was studied by a number of important composers, including Modest Mussorgsky, Gustav Mahler, Richard Strauss, Nikolai Rimsky-Korsakov. In 1850, Berlioz became head librarian for the Paris Conservatoire, having held the position of deputy librarian for the previous eleven years. He was made a Chevalier of the Ordre national de la Légion d’honneur in 1839, and elevated to Officier in 1864. Berlioz’s works are known for their brilliant timbres and unconventionally large orchestrations. The Te Deum (also known as Ambrosian Hymn, or A Song of the Church) is one of Berlioz’s more ambitious works, both in terms of length and scoring. It was originally intended as the climax

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of a grand symphony celebrating the exploits of Napoleon Bonaparte, but was ultimately dedicated to Albert, Prince Consort and husband of Queen Victoria. The work was written in 1849, and premiered on 30 April 1855 at the Church of Saint-Eustache in Paris--with Berlioz conducting an enormous force of 900-950 singers and instrumentalists. The work is divided into six individual movements; by and large, Berlioz has kept the original text, but reordered some of the sections for dramatic effect (in some cases, he has also lifted lines from one section and placed them in another). Each movement is labelled either a Hymn or a Prayer (Berlioz’s designations), with exception of the last movement, which receives both designations. In the order presented, the movements are: Te Deum (Hymn), Tibi omnes (Hymn), Dignare (Prayer), Christe, Rex gloriae (Hymn), Te ergo quaesumus (Prayer), and Judex crederis (Hymn and Prayer). In addition to the choral movements, Berlioz composed two instrumental movements, which today are very rarely performed. When they are used, the Prelude normally occurs between movements two and three, with the Marche pour la présentation aux drapeaux (March for the presentation of the colours) concluding the work. The lavish scoring includes tenor solo, two mixed choirs,

a children’s choir, organ, and orchestra. The orchestration between the choral movements and the instrumental movements differs slightly: In the Prelude, Berlioz calls for the addition of a piccolo and six snare drums,...while the Marche adds a piccolo saxhorn (a brass instrument resembling a small tuba)-and TWELVE harps!! Te Deum: Latin and English Text (as originally written, with Berlioz’s sequence and description): 1. Hymn Te Deum laudamus; te Dominum confitemur. We praise Thee, O God; we confess Thee our Lord. Te æternum Patrem; omnis terra veneratur. Thee, the Father everlasting, all the earth doth worship. 2. Hymn Tibi omnes Angeli, tibi cœli, et universæ potestates; To Thee, the Angels, to Thee the heavens, and all the powers; Tibi Cherubim et Seraphim, incessabili voce proclamant; To Thee the Cherubims and Seraphims cry out without ceasing; Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Holy, holy, holy, Lord God of Sabaoth.

Pleni sunt cœli et terra, majestatis gloriæ tuæ: Full are the heavens and earth of the majesty of Thy glory: Te gloriosus Apostolorum chorus; Thee the glorious choir of the Apostles; Te Prophetarum laudabilis numerus; Thee the laudable number of the Prophets; Te Martyrum candidatus laudat exercitus. Thee the white-robed army of Martyrs, doth praise. Te per orbem terrarum, sancta confitetur Ecclesia. Thee the holy Church throughout the world doth confess Patrem immensæ majestatis, The Father of incomprehensible majesty, Venerandum tuum verum, et unicum Filium, The venerable, true, and only Son, Sanctum quoque Paraclitum Spiritum. And the Holy Ghost, the Paraclete. 4. Hymn Tu Rex Gloriæ, Christe. Thou art the King of Glory, O Christ. Tu Patris sempiternus es Filius. Thou art the everlasting Son of the Father. Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum. Thou, being to take upon Thee to deliver man, didst not abhor the Virgin’s womb.

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Choral & Organ Spectacular Saturday, May 5, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, May 6, 2018 at 2:30 pm at First Baptist Church of Memphis

Tu devicto mortis aculeo, aperuisti credentibus regna cœlorum. Thou, having overcome the sting of death, hast opened to believers the kingdom of heaven. Tu ad dexteram Dei sedes, in gloria Patris. Thou sittest at the right hand of God in the glory of the Father. 6. Hymn and Prayer Judex crederis esse venturus. Thee we believe to be the judge to come. 5. Prayer Te ergo quæsumus, tuis famulis subveni, quos pretioso sanguine redemisti. We therefore pray Thee help Thy servants, whom Thou hast redeemed with Thy precious blood. Æterna fac cum sanctis tuis, in gloria numerari. Make them to be numbered with Thy saints in eternal glory. Salvum fac populum tuum Domine O Lord save Thy people, and bless Thy inheritance, Et rege eos, et extolle illos usque in æternum. And govern them; and exalt them for ever. Per singulos dies, benedicimus te, Every day we bless Thee,

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Et laudamus nomen tuum un sæculum, et in sæculum sæculi. And we praise Thy name for ever and ever. 3. Prayer Dignare Domine die isto, sine peccato nos custodire. Vouchsafe, O Lord, to keep us this day without sin. Miserere nostri, Domine, miserere nostri. Have mercy on us, O Lord, have mercy on us. Fiat misericordia tua Domine super nos, quemadmodum speravimus in te. Let Thy mercy, O Lord, be upon us; as we have put our trust in Thee. In te Domine speravi; non confundar in æternum. In Thee, O Lord, have I put my trust; let me not be confounded for ever.

include his debut with the Memphis Symphony in Berlioz’s Te deum, and his debut with the Dallas Opera for Szymanowski’s King Roger. Prior to AVA, Piotr studied at the Juilliard School of Music with Doctor Robert C. White, and the Accademia Nazionale di Santa Cecilia Opera Studio in Rome under the tutelage of Renata Scotto. Prior to that Piotr studied at the Fryderyk Chopin Music University in Warsaw. Other recent engagements include Rinuccio in Gianni Schicchi at the Trentino Music Festival, Tinca in Il Tabarro and Flaminio in L’amore dei tre re at the Academy of Vocal Arts.

Piotr Buszewski tenor

Young Polish tenor Piotr Buszewski is currently completing his residency at the Academy of Vocal Arts in Philadelphia where he recently sang outstanding performances of Edgardo in Lucia di Lammermoor. This season he debuts Alfredo in La Traviata at AVA and later this summer 2018 he will make his debut as the Duke in Rigoletto at the Wolftrap Festival. In the summer of 2017 Piotr performed the role of Ernesto in Don Pasquale at Brevard Music Center. Prior to that, he debuted the role of Nemorino in L’elisir D’amore with Oberlin in Italy. Upcoming engagements

In 2016 Piotr received third prize in the Zinka Milanov International Voice Competition, as well as Special Prize at the Otto Edelmann Voice Competition. In 2015 he was awarded second prize in the Marcella Sembrich International Voice Competition and the Hal Leonard Voice Competition. Piotr has sung in master classes with Renata Scotto, Deborah Voigt, Tito Capobianco, and Christopher Macatsoris. He is currently a student of Bill Schuman. Te Deum: Latin and English Text (as originally written, with Berlioz’s sequence and description):

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“Hear Me Dance” by General Hambrick. Photo by Patricia Possel

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PAUL & LINNEA BERT

Classic Accents Double Piano Concerto! Saturday, May 19, 2018 at 7:30 pm at Harris Concert Hall, University of Memphis Sunday, May 20, 2018 at 7:30 p.m. at Germantown Performing Arts Center

ANDREW CRUST, CONDUCTOR

CATHAL BRESLIN, PIANO

ARTINA MCCAIN, PIANO

FELIX MENDELSSOHN (1809 - 1847) Scherzo in G minor from Octet for Strings, Opus 20 FRANZ SCHUBERT (1797 - 1828) Symphony No. 5 in B-flat major, D. 485 I. Allegro II. Andante con moto III. Menuetto: Allegro molto IV. Allegro vivace INTERMISSION WJOCIECH KILAR (1932 - 2013) Orawa

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

begins 1 hour prior to showtime Saturday, May 19 6:30 pm Harris Hall Sunday, May 20 1:30 pm Ballet Room

FRANCIS POULENC (1899 - 1963) Concerto in D minor for Two Pianos and Orchestra I. Allegro ma non troppo II. Larghetto III. Finale: Allegro molto

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Double Piano Concerto! Saturday, May 19, 2018 at 7:30 pm at Harris Concert Hall, University of Memphis Sunday, May 20, 2018 at 7:30 p.m. at Germantown Performing Arts Center

Program Notes FELIX MENDELSSOHN (1809 - 1847) Scherzo in G minor from Octet for Strings, Opus 20 Duration: 4 minutes Felix Mendelssohn, one of the best loved composers of the nineteenth century, was born into a wealthy and prominent Jewish family in Hamburg, Germany; the family moved to Berlin two years after Felix’s birth. He began piano lessons with his mother at age six, and also studied with Marie Bigot and Ludwig Berger. Counterpoint and composition lessons were taken with Carl Friedrich Zelter. The musical genius of this extraordinarily gifted child was recognised at an early age, and rightfully placed at the same level as that of his famous predecessor, Wolfgang Amadeus Mozart. Mendelssohn was a brilliant keyboard performer before reaching the age of ten, and by his mid-teens, his composition output already included symphonies, concerti, chamber music, and vocal works. The String Octet in E-Flat Major, Opus 20, which was composed at age sixteen, is still considered to be one of the greatest pieces of string chamber music ever written. The Overture to A Midsummer Night’s Dream followed a year later. Both works show remarkable maturity and mastery of form. As an adult, Mendelssohn championed the works of

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other composers, and is perhaps most noted for resurrecting interest in the music of Johann Sebastian Bach. His performance of Bach’s Saint Matthew Passion (in Berlin in 1829) was the first to occur in the nearly eighty years following Bach’s passing, and established Mendelssohn’s reputation as an international force in the world of music. Mendelssohn would go on to take the position of conductor of the Leipzig Gewandhaus Orchestra at age twenty-six, and he founded the Leipzig Conservatory of Music at age thirty-three. A happily married father of four, Mendelssohn was well-travelled, and a skilled painter and writer in addition to his musical talents. This Scherzo, originally composed as part of the brilliant String Octet in E-Flat Major, was orchestrated by Mendelssohn for use as an alternative third movement to his earlier Symphony No. 1 in C Minor, Opus 11. The symphony proper was written in 1824, and was given its public premiere in 1827 by the Leipzig Gewandhaus Orchestra, Johann Philipp Christian Schulz directing; a private performance, in honour of Fanny Mendelssohn’s 19th birthday (the composer’s older sister), had taken place during the fall of 1824. Mendelssohn dedicated the score of the Symphony to the Royal Philharmonic Society; they gave the London premiere of the work, with Mendelssohn on the podium, in 1829. It was for this latter performance that the

original third movement Minuet was replaced by the newly orchestrated Scherzo. Marked allegro leggierissimo (“as light as possible”) and scored for an orchestra of traditional Classical period size, the movement was inspired by a section near the end of Part One of Goethe’s Faust: “Walpurgis-Night’s Dream” (or “Oberon and Titania’s Golden Wedding-Feast”). And yes, thanks to the delightful way in which this music skitters along, “A Midsummer NIght’s Dream” will definitely come to mind!! FRANZ SCHUBERT (1797 - 1828) Symphony No. 5 in B-flat major, D. 485 Duration: 27 minutes One of the great musical geniuses of the early 19th century, Franz Peter Schubert was also one of the most prolific, writing over 1500 works during his short 31-year life span. Schubert was born in Himmelpfortgrund (now a part of Alsergrund), in north-central Vienna. His father was a well respected schoolmaster, and gave young Franz his first formal instruction in subjects, including music, beginning at age six. A year later, both his father and his brother (Ignaz) were training him on the violin and piano respectively, and eventually, Franz would become the violist of the family string quartet; in fact, his first quartets were written for the family

ensemble. He also began to study music outside the family with Michael Holzer, organist and choirmaster of the local parish church, and around the same time, his emerging talents came to the attention of Antonio Salieri. In 1808, Schubert received a choir scholarship to study at the Stadtkonvikt (Imperial Seminary); while there, he became acquainted with the music of Haydn and Mozart. Salieri also began to train him in music theory and composition at this time. Leaving the Stadtkonvikt at the end of 1813, he took up teaching duties at his father’s school following a year of teacher training. He spent over two years there, instructing the youngest students, while he himself continued to take private composition lessons with Salieri. In 1816, he made the decision to discontinue his teaching duties (though he would resume them for a short time at his father’s new school the following year), and took up residence with a friend (Franz Von Schober), spending his days composing orchestral and choral works, along with the lieder for which he is so justifiably famous. He made similar living arrangements in 1818 with another friend (Johann Mayrhofer) following a summer residency at Zseliz (now Želiezovce, Slovakia), serving as music teacher to the family of Count Johann Karl Esterhazy. The 1820s saw Schubert’s works gaining wider exposure and recognition. He MEMPHIS SYMPHONY ORCHESTRA | 55

Double Piano Concerto! Saturday, May 19, 2018 at 7:30 pm at Harris Concert Hall, University of Memphis Sunday, May 20, 2018 at 7:30 p.m. at Germantown Performing Arts Center

became part of a close-knit group of artists, friends, and students, who had social gatherings featuring his music; these evening gatherings became known as Schubertiaden, and were a source of much enjoyment to all involved. Schubert’s great reverence for Ludwig van Beethoven was widely known, and he served as a torchbearer at Beethoven’s funeral procession in the spring of 1827. As he succumbed to his own fatal illness a year and a half later, one of Schubert’s final requests was to hear Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131. This was played for him five days before his passing. He was buried in close proximity to Beethoven in the village cemetery of Währing, Vienna. In 1888, both Schubert’s and Beethoven’s graves were moved to the Zentralfriedhof, where they now lie in repose next to those of Johann Strauss II and Johannes Brahms. Schubert wrote his Fifth Symphony when he was only nineteen years of age, mostly in September of 1816. That fall, the first performance of the work took place at the establishment of Otto Hatwig in Vienna’s Schottenhof. It is lightly orchestrated, omitting clarinets, trumpets, and timpani from an otherwise standard Classical period ensemble. In character, the work as a whole harkens

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back to the earlier stylistic elegance of Haydn and Mozart, rather than the more powerful and intense mood of Beethoven. The first movement, while in the expected sonata form, is the first of Schubert’s symphonies to eschew a slow introduction. Movement two is a lilting ternary form andante; the third movement uses the Classical minuet and trio as its basis, rather than a Beethovenlike scherzo. [Note: The similarities between the middle movements of this symphony and those of Mozart’s 40th are unmistakable, if not necessarily intentional.] A spirited yet light-hearted allegro vivace brings this charming work to a close. WJOCIECH KILAR (1932 - 2013) Orawa Duration: 8 1/2 minutes Wojciech Kilar was born in Lwów, Poland (since 1945 Lviv in USSR/Ukraine). His father was a gynecologist, and his mother was a theatre actress. After the forced deportation of Poles from Lviv in 1944, Kilar lived for a short time in Rzeszów, where he made contact with professor Kazimierz Mirski, who advised the young pianist to take up composition and first introduced him to the music of Ravel, Debussy and Szymanowski. At age 15, he had his first success as a composer in

Rzeszów, receiving second prize for his performance of his own “Two Children’s Miniatures” in the Competition of Young Talents. While in Kraków, Kilar studied piano with Maria Bilińska-Riegerowa, and took private lessons in harmony with Artur Malawski. In 1948, he moved from Kraków to Katowice. He finished his music middle school in Władysława Markiewiczówna’s class, after which he went to the State Higher School of Music in the class of Bolesław Woytowicz (piano and composition), graduating with top honours and the award of a diploma in 1955. In the same year, he won second place at the Competition for Symphonic Works as part of the V Youth Festival in Warsaw. He continued his post-graduate studies at the State College of Music (now the Music Academy) in Kraków from 1955 to 1958. In 1957 he took part in the International New Music Summer Course in Darmstadt. In 1959–60, a French government scholarship enabled him to study composition under Nadia Boulanger in Paris. Soon thereafter, he was awarded the Lili Boulanger Prize in Boston for his piece “Ode Béla Bartók in memoriam”. Kilar belonged to the Polish avant-garde music movement of the 1960s, sometimes referred to as the New Polish School. He simplified his musical language in 1972, and began to write pieces inspired by Polish folklore,

and also turned to sacred works. In 1977, Kilar was one of the founding members of the Karol Szymanowski Society. He chaired the Katowice chapter of the Association of Polish Composers for many years, and from 1979–81 was vice-chair of this association’s national board. He also served as a member of the Repertoire Committee for the “Warsaw Autumn” International Festival of Contemporary Music. Kilar was a prolific composer of film music, having written scores for over 140 films. He collaborated with many directors, and was brought to worldwide fame in 1992, when he wrote the music for Francis Ford Coppola’s “Dracula”. His concert works have been performed by several major international orchestras, including the Philadelphia Orchestra, the Cleveland Orchestra, and the New York Philharmonic. [Note: The bulk of this material is extracted from the composer’s official website: http://www. wojciechkilar.pl/biografia] Orawa is a geographical region of northern Slovakia (where it is spelled “Orava”) that is also contained in a small part of southern Poland; it takes its name from a major river that flows through the area. The Tatra Mountains, on the western edge of the Carpathian mountain range (and forming a natural border between the two countries), is

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Double Piano Concerto! Saturday, May 19, 2018 at 7:30 pm at Harris Concert Hall, University of Memphis Sunday, May 20, 2018 at 7:30 p.m. at Germantown Performing Arts Center

also to be found here. Orawa is the last in a series of four tone poems describing this picturesque region, and was completed in 1986. Scored for string orchestra (specifically fifteen solo strings), the work was premiered on 10 March 1986 in Zakopane by the Polish Chamber Orchestra, Wojciech Michniewski, conductor. Bedrich Smetana’s “Moldau” immediately comes to mind when considering the imagery that would have influenced Kilar: in this case, the swiftly flowing river, the mountains, the highland meadows, the flocks of sheep and their shepherds,... Kilar says the following in regards to the piece: “Orawa is the only piece in which I wouldn’t change a single note, though I have looked at it many times....What is achieved in it is what I strive for – to be the best possible Kilar.” FRANCIS POULENC (1899 - 1963) Concerto in D minor for Two Pianos and Orchestra Duration: 20 minutes Francis Jean Marcel Poulenc was born in the 8th arrondissement of Paris (the Place de la Concorde, the Avenue des Champs-Élysées, and the Arc de Triomphe de l’Étoile are all located here). His father was a joint owner of a successful pharmaceutical company,

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and it was intended that Francis should eventually join the family business. As with so many musicians before him, this turned out not the be the case. He began his study of the piano at age five, presumably with his mother (who was a very capable pianist in her own right), and was exposed to a great deal of eclectic literature under her influence. Largely self-taught, as his father refused to allow him to enroll in a music school, he did not begin formal studies in music until 1916, initially under the tutelage of pianist Ricardo Vines, who also encouraged Poulenc to compose. Early influences on his developing compositional style included Franz Schubert, Claude Debussy, Igor Stravinsky, and later Erik Satie. Aware of Poulenc’s ongoing concerns about his lack of formal musical training, Darius Milhaud would suggest composition lessons with Charles Koechlin, and Poulenc worked with him off and on from 1921 until 1925. Poulenc would eventually become associated with a group of young composers known as “Les Six”; collectively, their music was seen as a reactionary response against Wagnerian writing and French Impressionism. In much of his early music, Poulenc is seen as rather a lightweight, writing works sometimes described as “high-spirited” and/ or “irreverent.” Indeed, some of his

unorthodox instrumental combinations must have raised eyebrows on more than one occasion. Beginning in the mid-1930s, though, a more serious side began to emerge, including operas, sonatas, concerti, and chamber music. His religious works especially became widely performed both in England and in the United States, given their strong choral traditions; it took longer for them to gain a foothold in France. So Poulenc’s compositions, when considered as a whole, reflect the influences of his parents in creating his dual nature: the religious faith of his father, coupled with the worldly and artistic side of his mother. The Double Piano Concerto was commissioned by and dedicated to the Princess Edmond de Polignac, and composed during a three month period in the summer of 1932. The premiere was given on 5 September 1932, at the International Society for Contemporary Music in Venice. Poulenc appeared as soloist along with his childhood friend, Jacques Février; Désiré Defauw conducted the La Scala Symphony Orchestra. The concerto packs a great many moods into its relatively short length, at turns brilliant, or quietly expressive. The opening movement is in a quasi-ternary form, and the first theme group sounds like something that

might have been used in a silent movie chase scene: effervescent, jaunty, and just flat-out fun to listen to as well as to play. This contrasts with a calm, almost dreamlike sequence before returning to the madness, and ends quietly with a dreamy, ethereal state influenced by the sounds of a Balinese gamelan ensemble. The second movement is based upon a simple, song-like melody that immediately brings Mozart to mind; many of his piano concerti contain just such writing in their slow movements. The mood created here is peaceful, and could almost be a lullaby. The last movement takes on the characteristics of a rondo featuring flashes of virtuosity in the scale passages played by the pianists, contrasted with more lyrical writing in the intervening material. In his biography of Poulenc, Henri Hell writes, “The finale flirts with one of those deliberately vulgar themes never far from the composer’s heart.”

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Double Piano Concerto! Saturday, May 19, 2018 at 7:30 pm at Harris Concert Hall, University of Memphis Sunday, May 20, 2018 at 7:30 p.m. at Germantown Performing Arts Center

Her most recent solo and collaborative recital appearances include: Austin Civic Orchestra, Zagreb Brass Festival, Cypress Creek FACE Promenade Series, Balcones Orchestra, Texas A & M International University Master Performer Series, Texas Music Festival and Austin Chamber Music Center. McCain has released several award winning recordings as a soloist and as a chamber musician. Most recently, an American Prize winner in solo piano, two Global Music Awards: the album I, Too on Naxos Label w/Icy Monroe and the album Shades with husband, Martin McCain. She will release a solo album of works by American composers entitled “Heritage: The American Composer”.

Artina McCain piano

Described as a pianist with “power and finesse” (Dallas Arts Society), Artina McCain, enjoys an active career as a solo and chamber performer, educator and lecturer. She has performed nationally and internationally including the Czech Republic, Italy, China, Croatia and throughout the United States. McCain’s performances have been heard on Chicago’s WHPK, KUT (NPR affiliate), Toronto CKWR, Hong Kong’s RTHK, Houston’s KWWJ and Classically Austin’s KMFA Pianoforte program as both a soloist and chamber musician.

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McCain’s research interests include audience building, arts entrepreneurship and performance injury. As a strong advocate of performance injury prevention and alternative care, she has presented numerous lectures at music teacher conferences, universities, and hosts an annual Musicians Wellness Forum in Austin TX. Her article on performance injury and Muscle Activation Techniques was published in the journal Clavier Companion. As an arts entrepreneur, she directed several grant supported initiatives to bring outreach concerts to school children called Raise the Bar. The program presented concerts

to over 1,000 elementary and middle school students around rural Texas communities. McCain graduated cum laude from Southern Methodist University studying with Carol Leone. She received her Master of Music from Cleveland Institute of Music with Kathryn Brown and completed her Doctoral Studies at the University of Texas at Austin as a pupil of Anton Nel. A dedicated educator, Dr. McCain has taught at the Cleveland Institute of Music summer chamber music festival, Austin Chamber Music Center Academy and Summer Workshop and Blue Lake Fine Arts Camp. She has served on faculty at Texas Lutheran University, Huston-Tillotson University, Baldwin Wallace Conservatory of Music, and University of the Incarnate Word. Currently, she is an Assistant Professor of Piano at University of Memphis. More info www.artinamccain.com

Cathal Breslin piano

Cathal Breslin has been praised worldwide as one of the most exciting pianists of his generation with critical acclaim such as “superb intensity and passion” (Cleveland Plain Dealer), “energized and energizing” (Belfast Telegraph), “a deep connection to the music” (Tampa Oracle), and “noble poetry” (The Independent, London). Born in Derry, Northern Ireland, a growing international career has taken him to concert halls throughout Europe, U.S.A. and Asia, including halls such as Carnegie Hall in New York, Wigmore Hall in London, and the National Center for MEMPHIS SYMPHONY ORCHESTRA | 61

Double Piano Concerto! Saturday, May 19, 2018 at 7:30 pm at Harris Concert Hall, University of Memphis Sunday, May 20, 2018 at 7:30 p.m. at Germantown Performing Arts Center

the Performing Arts in Beijing. Recent concerto performances have been the Rachmaninov, Tchaikovsky, Prokofiev, Shostakovich, Liszt, Beethoven, Mozart, and Takemitsu concerti with the Turin Philharmonic, National Symphony Orchestra of Ireland, BBC Ulster Orchestra, Greensboro Symphony NC, Jackson Symphony TN, Camerata Ireland, RTE Concert Orchestra, with prestigious conductors such as Vladimir Altschuler, Giovanni Battista Rigon, David Brophy, Matthew Coorey, Barry Douglas, Christian Gansch, Gearoid Grant, Robert Houlihan, Courtney Lewis, Peter Shannon, Dmitry Sitkovetsky, and Niklas Willen. Recent solo recitals in Asia have been throughout China, Korea and Japan; in the United States in Florida, Ohio, Pennsylvania, New York, Michigan and Texas in United States; in Europe throughout Spain, Italy, Greece, Germany, Austria, Bulgaria, Poland and Portugal, U.K. and Ireland. Highlights in recent Seasons included a Carnegie Hall Recital in New York City, in Madrid, Lisbon, Sofia, Warsaw, recitals in Beijing, Tianjin, Nanjing, Qingdao, Ningbo, Suzhou, and Chongqing in China, concerts in Seoul and Busan in Korea, and Tokyo in Japan. As a chamber musician, Cathal performs as a member of Trio Festivale, and in duo recitals with flutists Sir James

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Galway and Lady Jeanne Galway, violinists Augustin Dumay, Anne Akiko Meyers, Dmitry Sitkovetsky, Kirill Troussov, Ye-Eun Choi, oboist Nicholas Daniel, cellists Jan Vogler, Raphael Wallfisch, and Jeffrey Zeigler. Other chamber music performances have included with the Brodsky Quartet, Houston Symphony Winds, Fitzwilliam Quartet, the Ceruti Quartet, and the Coull Quartet, and percussionists Andy Akiho and Ian Rosenbaum. Upcoming concerts this season include a major North American concert tour with Sir James Galway and Lady Jeanne Galway in Florida, Colorado and Canada, recitals with violinist Dmitry Sitkovetsky and soprano Measha Brueggergosman, and Rachmaninov Concerto No.2 with the Ulster Orchestra. In 2007 Cathal was awarded the Bronze Medal at the Viotti International Piano Competition in Vercelli/ Milan, Italy, a World Federation International Music Competition. Other international competition successes have included top prizes in “Carlet” in Valencia, “Grand Konzerteum” in Athens, and “Iowa” in the U.S. He has broadcast regularly for BBC Radio 3, RTE and Radio Ulster, RTVE Spain, and has performed on Japanese, Chinese, Spanish and Irish Television many times. His Mozart and Takemitsu recordings for the European

Broadcasting Union network have been broadcast in over 30 countries worldwide (including NPR, BBC, ABC, etc.) Cathal began his Conservatory studies at the Royal College of Music in London with John Barstow, continuing at the Royal Northern College of Music in Manchester with Kathryn Stott, Benjamin Frith and Alexander Melnikov. He then lived in Madrid for two years studying with Joaquin Soriano. In 2008 he received a Doctor of Musical Arts Degree in Piano Performance from the University of Michigan, studying with Arthur Greene, where he was also a Fulbright Scholar and Teaching Assistant.

in Belfast, N. Ireland. In addition to his positions as a Professor, he has taught master classes and lectured at Universities and Conservatories in the U.S., Canada, China, Korea, Hong Kong, Portugal, Bulgaria, Spain, U.K. and Ireland. Among other competitions, he has served as jury member of the prestigious 2015 Valencia International Piano Competition “José Iturbi” in Spain, a World Federation Competition.

Cathal greatly appreciates the kind financial support throughout his career from the Arts Council of N. Ireland, BBC, Culture Ireland, Diageo Ireland, Fulbright Ireland, and the Bank of Ireland. Cathal is also passionate about teaching, and he is currently an Assistant Professor of Piano and the Coordinator of Piano Studies at the Rudi E. Scheidt School of Music, University of Memphis, Tennessee, United States. Previous faculty positions included Bucknell University in Pennsylvania, Bloomsburg University of Pennsylvania, the National University of Ireland in Maynooth, and Queen’s University

MEMPHIS SYMPHONY ORCHESTRA | 63

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Orchestrating a bright future together!

MEMPHIS SYMPHONY ORCHESTRA | 65

A note of appreciation to the Memphis Symphony Orchestra... Thank you for contributing to the musical legacy of Memphis!

DEVELO P M ENT

• ACQ U I S I T I O N

•

L E AS I N G

•

ASS E T

M A N AG E M E N T

Tunes & Tales: A Musician’s Take By Joseph Salvalaggio There is magic in combining music and words. Movies, television programs and even commercials have their own soundtracks designed to elevate message and meaning. A story is more exciting, more suspenseful and more dramatic when combined with the right piece of music. A musician’s ear is uniquely sensitive to musical underpinnings, which is why musicians of the Memphis Symphony Orchestra have been combining classical music with children’s stories for almost a decade. Each year MSO’s Tunes and Tales program takes storybook concerts into schools and libraries all over Shelby County, and I am one of several

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MSO musicians responsible for creating and performing these. Inspiration for my own Tunes and Tales work comes from a great marriage of music and storytelling: the classic cartoons of Bugs Bunny. These zany little masterpieces,

set to Wagner’s Ride of the Valkyres or Rossini’s Barber of Seville, exposed my generation to classical music. Now, using Bugs as a model, I turn to the vast canon of great music written for orchestra, piano and other instruments for many of my storybook scores. The process begins with finding the right children’s book. Sometimes we read hundreds of titles to find the one that finally speaks to us. The books must be visually stunning, rich in educational applications and, most importantly, fun! A great Tunes and Tales book almost sings when you read it, abundant with opportunities to plug in live music that will support and drive the story. Next we carefully select musical excerpts to represent characters, action and setting. Is this a story about a band of happy Martians? Then look to Holst’s The Planets Suite. Is it about a scary witch? Try Mussorgsky’s Pictures at an Exhibition. Pieces like these, dramatic in their imagery and stunning in their vividness, turn storybooks into captivating experiences

for little listeners. Music possibilities are in the thousands and we search to find the phrase that just feels right for a chase scene or a sunrise. Now when I hear a new piece of music in the orchestra I immediately make connections, like “That would be great for a storm scene!” or “That sounds like a princess!” My catalogue of pieces has grown quite large and I am always ready to create a new musical score for one of our stories. Reducing the music is often the last step before rehearsal and performance. Orchestral music can include as many as 35 different instruments, but a Tunes and Tales ensemble typically has only 3 to 5 players. These small groups interact well with audiences and bring children in close to provide a complete concert experience ideal for young audiences. As the professional, resident orchestra of Memphis, we embrace our role as ambassadors of live classical music in our city. Knowing that we often give that first taste of classical music is exciting and we dedicate ourselves to bringing great quality. It’s hard, but gratifying work. For Tunes and Tales, the payoff comes when a child sings along to Twinkle, Twinkle Little Star (written by Mozart), or moves to the beat of the music, or simply smiles, and then we know the hard work is truly worthwhile.

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Governance and Staff Board of Directors OFFICERS Gayle S. Rose Chairman

Robert Patterson Musicians Representative Ashley Remmers John Speer

Belinda Anderson Vice Chair

Phil Stevenson

Carol Johnson Vice Chair

Jim Vining

Louise Barden Secretary

PAST CHAIRS

Pam Guinn Treasurer BOARD Ben Buffington Nancy Coe Mark Crosby Michael Douglas Jason Farmer Shea Flinn Dr. Suzanne Gronemeyer Mark Glover Scott Heppel Eula Horrell Symphony League Representative Ramon Marus Dr. Lisa Mendel Chorus Representative Gloria Nobles

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

Michael Uiberall Joseph Weller Dr. Russel L. Wiener* *deceased

Staff Peter Abell Chief Executive Officer Bryan Artiles Marketing Manager Rhonda Causie Grants & Projects Specialist

Karen Wright Executive Assistant Larry Edwards Memphis Symphony Chorus Artistic Director Rodney Gilchrist IT Support Kimberly Lind Accountant Joey Salvalaggio Education Specialist

Andrew Crust Assistant Conductor Memphis Youth Symphony Conductor Steven Fox Engagement Specialist Erin Kaste Orchestra Personnel Manager Rebecca Longcrier Box Office Manager Doug Mayes Production Manager Jane Mims Director of Development Robert Moody Music Director Rachael Patton Director of Artistic Operations Irene Wade Librarian

MEMPHIS SYMPHONY ORCHESTRA | 69

memphis symphony league different levels. We look forward to having you serve with us. Eula Horrell President, Memphis Symphony League

BOARD OFFICERS Eula Horrell President Betty Weiss First Vice President Dinah Makowsky Second Vice President for Education Mary Beth Bryce Recording Secretary LETTER FROM THE PRESIDENT As we enter the second half of our Memphis Symphony Orchestra concert season, we continue to enjoy the sounds of our orchestra led by our music Director, Robert Moody. We know how fortunate we are to have such a dedicated, energetic orchestra with a world renowned music director. And remember that the orchestra needs our support through our time, talents, and money. To this end, you can help by joining the Memphis Symphony League using the attached form. This will give you the opportunity to become involved at many

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Alice Dudas Corresponding Secretary Gail Kimball Treasurer Donna Flinn Nominations Florence Leffler Parliamentarian Billie Jean Graham Mary Lawrence Flinn Charlotte Neal MSL Advisors BOARD OF DIRECTORS Mary Booker Jean de Frank Mary Lawrence Flinn

Kathy Gardner Katherine Godoy Billie Jean Graham Nancy Lou Jones - Housing Chair Sissy Long Carol Martin Elisa Marus Amy Meadows Charlotte Neal â&#x20AC;&#x201C; MSL Advisor Gloria Nobles Representative for the MSL Tommie Pardue Julie Smith Shelly Sublett - Orchestra Representative Lura Turner - Media Chair Isabelle Welch Joy Wiener LIFETIME MEMBERS Abraham, Rev. Dr. Jane Anderson, Ms. Pat Barden, Louise Bohon, Scott E. Boyd, Janis Bryce, Mary Beth Burnett, Alice and Phil Clark, Kenneth Coe, Nancy Hughes Dudas, Alice Whitten and John Duignan, Kate and Chris Peck Flinn, Mary Lawrence Gerard, Jere Gronemeyer, Dr. Suzanne Halloran, Ann and Pat Handorf, Miriam and Charles

Horrell, Eula King, Kathryn A. Kirsch, Dorothy Leffler, Florence Liles, Kay Taylor Loeb, Katherine Manning Maroda, Dr. and Mrs. Stephen J., Jr. McDow, Phillip McDow, Mary Ellen Meadows, Amy and Dr. Dan T. Mims, Jane Montesi, Pam Nobles, Gloria Nunn, Madeline (Mrs. Stewart L.) Orgill, Irene and Joe Pardue, Ms. Tommie Parker, Lyda G. Perry, Sally (Mrs. Alan L.) Pritchard, Elizabeth A. and John E. Shields Rose, Gayle S. Savell, Sara T. Shields, John Singh, Ms. Vicki Smith, Irene and Fred Smith, Julie Spangler, Cynthia Hubard and Charles Earl Askew Tipton, Deborah Turner, Lura and Steve Turner, Ryan Turner, Megan Vaccaro, Maris T. Webb, Gina Welch, Isabelle and Lee MEMPHIS SYMPHONY ORCHESTRA | 71

memphis symphony league (continued)

2017-2018 Memphis Symphony League Membership Form (Please Print) Name

Spouse

Address City

State

Phone (home) Fax

(work)

Zip (cell)

Payment: I have enclosed a total of $ (Single $50; Couple $75; Presidentâ&#x20AC;&#x2122;s Circle $100; Presidentâ&#x20AC;&#x2122;s Circle of Lifetime Members $1,000) Check # Credit Card: AMEX/Visa/Mastercard CC# Signature

Exp. Date

Would You Like to be a Host Family? A host family agrees to host one or more musicians for the several days prior to, and during a scheduled performance (usually 3-4 days) The optimal host family can provide a private bedroom and bathroom and an area where practice can be done. Providing meals and libation is not required but very much appreciated. The musicians provide their own transportation. It is a wonderful way to get to know a musician from another city and show them great Memphis hospitality.

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HOW MUCH PERFORMANCE CAN YOU HANDLE? Our first performance SUV, the F-PACE combines agile performance with intelligent, driver-focused design and technology. The new Ingenium engines range from the 2.0-liter turbocharged diesel to the supercharged V6 with 380 hp, which is capable of 0-60 mph in 5.1 seconds. § At every level, the F-PACE offers maximum driving exhilaration. JAGUAR BLUFF CITY 6335 Wheel Cove | Memphis TN 38119 | 901-844-9400 www.jaguarbluffcity.com

Model Shown: 2018 Jaguar F-PACE S. European license plate shown. ‡This feature is not a substitute for safe and attentive driving, nor can it overcome all extreme circumstances. Please consult the owner’s manual or your local authorized Jaguar Retailer for more details. §Always obey local speed limits. *Class is cars sold by luxury automobile brands and claim is based on total package of warranty, maintenance and other coverage programs. For complete details regarding Jaguar EliteCare coverage, please visit JAGUARUSA.COM, call 1.855.JAGUARUSA / 1.855.524.8278 or visit your local Jaguar Retailer. © 2017 Jaguar Land Rover North America, LLC

ALL-NEW DISCOVERY

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In Graceland the All-New Discovery, all three rows have full-size adult seats. So there’s no need to squabble over where you want to sit. Even if 44 ............................................................................................................................................................ you’re seven large sailors, like Sir Ben Ainslie and the Land Rover BAR America’s Cup team. Find out for yourself. Book a test drive today.

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ArtsMemphis ..................................................................................................................................................... 64

Model Shown: 2017 Discovery HSE Luxury. European license plate shown. †Features are optional on certain models. ‡These systems are not a substitute for driving safely with due care and attention and will not function under all circumstances, speeds, weather and road conditions, etc. Driver should not assume that these systems will correct errors of judgment in driving. Please consult the owner’s manual or your local authorized Land Rover Retailer for more details. © 2017 Jaguar Land Rover North America, LLC

Ciao Bella ............................................................................................................................................................ 65

Highwoods Properties .................................................................................................................................. 66 Jaguar .....................................................................................................................................................................73 Service Experts ................................................................................................................................................. 88 Baker Donelson.................................................................................................................................................91 BMW ........................................................................................................................................................................92

MEMPHIS SYMPHONY ORCHESTRA | 73

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

$5,000 - $9,999

PAUL & LINNEA BERT $50,000 - $99,999

SCOTT & CAROLYN HEPPEL $15,000 - $49,999

$2,500 - $4,999

$10,000 - $14,999

LEMAY + LANG, LLC

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UP TO $2,499

NFC INVESTMENTS

FOUNDATIONS The Memphis Symphony Orchestra is fortunate to have many generous foundations whose commitment to the arts in Memphis enables us to present community programs. At this printing of Experience, the following institutions will join us for the 20172018 season.

IN KIND

BELZ FAMILY FOUNDATIONS HOHENBERG FOUNDATION JENIAM CLARKSON FOUNDATION BRIGGS FOUNDATION NAPA CAFE

ASSISI FOUNDATION GETTY FOUNDATION MEMPHIS SYMPHONY ORCHESTRA | 75

symphony fund January 1, 2017 - December 31, 2017

As a community-supported organization committed to Memphis, the MSO depends on the generosity of donors who make it possible for us to make meaningful experiences through music. We are pleased to offer the following benefits in response to your support:

request •

Plus all of the privileges below

BENEFACTOR’S CIRCLE ($5,000+) •

Early-access to acquire special VIP seating for Symphony in the Garden at Dixon Gallery & Gardens (two weeks in advance of public availability

•

Opportunity to donate 8 Saturday evening Masterworks concert tickets to a charity of your choice

STRADIVARIUS CIRCLE ($25,000+)

•

Stradivarius Circle donors receive premium recognition and customized benefits. Stradivarius Circle donors also receive benefits of all other levels plus recognition as a host for a program of the donor’s choice:

Opportunity to designate your gift as underwriting for special guest artist & host a private event for the guest list of your choice

•

Invitations to special guest artist events throughout the season when applicable

•

A visiting artist through the Guest Artists Circle

•

Plus all of the privileges below

•

A concert performance

PATRON’S CIRCLE ($2,500+)

•

An education or community program

•

Invitation to the annual Bob & Friends special event hosted by Maestro Robert Moody

•

Receive a 20% discount on all single ticket purchases

•

Plus all of the privileges below

Gifts above $100,000 carry special benefits, including naming rights. To learn more, contact Director of Development Jane Mims at 901-779-7824 or jane.mims@memphissymphony.org.

MAESTROS CIRCLE ($10,000+) •

Invitation to a backstage tour and toast

•

Special VIP seating for Summer Symphony at the Live Garden upon

76 | MEMPHIS SYMPHONY ORCHESTRA

GOLDEN CIRCLE ($1,000+)

Consider a gift to the Symphony Fund today! To donate, please visit the MSO office, go online to www.memphissymphony.org,

•

Access to Masterworks Series dress rehearsals upon request, subject to availability

•

Admission to the Golden Circle level donors-only VIP reception during intermission at Masterworks concerts

call 901-537-2500, or email: jane.mims@memphissymphony.org

•

VIP parking passes for all subscription concerts at the Cannon Center for the Performing Arts

•

Plus all of the privileges below

Thank you! Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission, and others make annual contributions to support the Memphis Symphony Orchestra. Because the MSO, like other orchestras throughout the country, obtains less than 30% of our income from ticket sales, these gifts and grants are crucial to our ability to provide music of the highest quality. The following community members have expressed their support for the Memphis Symphony Orchestra in FY16, between January 1, 2017 and December 31, 2017. We are most appreciative.

ASSOCIATE’S CIRCLE ($500+) •

Two VIP parking passes for the Cannon Center for the Performing Arts (upon request)

•

Plus all of the privileges below

MEMBER’S CIRCLE ($250+) •

•

One VIP parking pass for the Cannon Center for the Performing Arts (upon request) Listing in one issue of Experience Magazine’s Contributors section by cumulative donor level, listed alphabetically by last name

Contributors

$25,000+ Anonymous (3) ArtsMemphis Assisi Foundation AutoZone Paul & Linnea Bert Kitty Cannon & Jim Waller The Cannon Center for Performing Arts

MEMPHIS SYMPHONY ORCHESTRA | 77

symphony fund January 1, 2017 - December 31, 2017

George & Bena Cates

Roadshow BMW, Inc.

Federal Express

Estie Sheahan

Scott & Carolyn Heppel

John & Cristina Speer

Hohenberg Charity Trust

Bruce & Gillian Steinhauer

The Estate of Sigmund Hiller

Thomas W. Briggs Foundation

Buzzy Hussey & Hal Brunt

Ann & Jim Vining

Hyde Family Foundations

Patricia Walker

Pitt & Barbara Hyde

Mr. & Mrs. Joseph C. Weller

Jeniam Foundation Dorothy O. Kirsch Peabody Hotel Gayle S. Rose Rudi & Honey Scheidt Sheraton Hotels & Resorts Fred & Diane Smith Joy Brown Wiener

$5,000+ Anonymous (2) Peter and Jessica Abell Allied Pest Control Avery & Meadows, D.D.S. Bluff City Land Rover and Jaguar Alice and Phil Burnett Charles and Nancy Coe

$10,000+

The Crescent Club

Anonymous (1)

Michael & Maria Douglass

Baker Donelson Bearman Caldwell & Berkowitz

Mr. & Mrs. John Evans

Jack & Marilyn Belz

Jere Gerard

Ron & Anise Belz

Dr. Suzanne Gronemeyer

Belz Enterprises

Pam & Steve Guinn

Belz 2008 Foundation

Larry Hardy

Graceland

International Paper Foundation

Lowry & Laura Howell

Frank & Jeanne Jemison

Dr. & Mrs. Masanori Igarashi

Dr. Carol Johnson

The Kroger Company

Rose Johnston

Bryson & Laretha Randolph

Ellen Klyce

Ashley & John Remmers

Leslie and Nathaniel Landau

John Riley

Michael & Joane Lightman

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Farrell Calhoun, Inc.

Sylvia Goldsmith Marks

Ben & Lauren Keras

Mr. & Mrs. Alec McLean

Mr. Edwin Koshland III

Dr. & Mrs. Dan Meadows

Eva Lang & Scott LeMay

NewSouth Capital Management

LeMay+Lang, LLC

Robert Moody

Mr. & Mrs. Ramon A. Marus, Jr.

Pinnacle Bank

T.W. Medlin

Ann L. Powell

Zoe & Alan Nadel

Rose & Walter Montgomery Foundation

Mrs. Gloria Nobles

Trustmark Bank

Patricia Gray & Robert Patterson

Mrs. Charles E. Walker

Mrs. Robert R. Proctor

Jack & Cristina Ward

Mr. & Mrs. Robert J. Quinn

Becky & Spence Wilson

Regional One Health

$2,500+ Anonymous (4) Belinda and Calvin Anderson Louise & Will Barden Jack & Kathleen Blair David & Betty Blaylock Peggy Bodine Scott E. Bohon Karen Bowyer Marion & Margaret Boyd Boyle Investment, Inc. Benjamin and Beth Buffington Elizabeth and Charles Carter Bill & Foy Coolidge Mr. & Mrs. Mark Crosby David & Susan Ellison Mrs. Katherine Buckman Gibson Larry Hardy Jim Keras Automotives

Schadt Foundation, Inc. Debby & Steve Schadt Mary Scheuner Ron & Linda Sklar SouthernSun Asset Management Irene & Fred Smith Suntrust Bank Drs. Deanna Langfitt and Paul Thomas Dr. & Mrs. Otis South Warr III Barry & Cynthia White Mr. & Mrs. Charles L. Wurtzburger $1,000+ Anonymous (2) Peter & Fran Addicott Albert and Kathie Alexander Elizabeth & Lorin Allen Kay & Keith Anderson Carol & Bert Barnett Reed Baskin & Alice Nishiwaki

MEMPHIS SYMPHONY ORCHESTRA | 79

symphony fund January 1, 2017 - December 31, 2017

Stanley & Dorothy Bilsky Fiona & Lance Binder Janis Boyd J. Richard Briscoe Walter Brown Mary Beth & Tom Bryce Dr. & Mrs. Paul Burgar Bunny & Charles Burson David Burton Busterâ&#x20AC;&#x2122;s Liquors & Wines Joanne & George Buzard Canale Foundation Carol Lee & Joe Royer Dan & Rhonda Causie Ciao Bella Dr. Fenwick W. Chappell Gloria & Irvine Cherry Kenneth Clark Karen Clawson David & Barbara Crippen Paula Crocker Dr. Loren & Elaine Crown Carol Cummings Dr. Ray Curle Adrienne Davis Mike & Blanche Deaderick Alice & John Dudas Jane & John Dulin George & Jackie Falls Edward & Gloria Felsenthal Brooke & Nita Faye Ferris Donna Fisher Jim & Susan Fletcher Fred & Mary Lawrence Flinn Bill & Susan Frazee

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Barbara & Hiram Fry Germantown Commissary Dr. James Gholson, Sr. Jack Gibson Jimmy Gould & Katie Smythe Georgia Pacific Cellulose Donna & Robert Goodman Jerrold & Martha Graber Grey White Paws, Inc. Mimi Grossman Joanne Hackman Page Price Henrion Emil Henry Highwoods Properties Marian Himmelreich Sara Holmes Rob & Eula Horrell Eva & Bobby Hussey Susan & Frank Inman Jr. Lisa & Louis Jehl Betty Johnson Eric & Cynthia Johnson Mr. & Mrs. Robert K. Jones Susan Kingston Yoriko Kitai Preston & Sally Klinke KPMG Sara Lam Barbara Lapides Florence Leffler Dr. & Mrs. William Long Al & Janet Lyons Evelyn & Jerome Makowsky Malco Theatres, Inc. Debra McAdoo

Marion McClure Maurice & Lisa Mendel Nancy & Rodgers Menzies Bob & Jane Mims Monogram Foods Inc. Carey & Rick Moore NFC Investments Deborah Northcross Sarah and Dr. Frank Ognibene Paragon Bank Marianne Parrs Martha Pearson-Wesson Pauletteâ&#x20AC;&#x2122;s Restaurant John Pickens Chloee and G. Dan Poag Mary Alice Quinn Dr. Sandra Reed Mrs. Linda W. Rhea Anne Roane Diane Rudner Dr. Bill and Barbara Runyan Bev & Ken Sakauye Andrea & Dr. Craig Sander Mary M. Seratt Service Experts Patricia & John Seubert Bruce R. & Jane Scharding Smedley Eric & Connie Scott Irene & Fred Smith Julie Smith Charles Askew & Cynthia Spangler Phil and Leigh Ann Stevenson Irvin & Pat Tankersley Deborah Tipton Tish Towns

Lura & Steve Turner James Newcomb & Susan Van Dyck Robert Vidulich & Diane Sachs Lee & Mary Wardlaw Graham & Megan Warr Watkins Uiberall Jules & Elizabeth Weiss Lee & Isabelle Welch Drs. Benton M. Wheeler and Aimee M. Christian WLOK Radio Evelyn B. Wofford Jocelyn Wurzburg Lyn and Gordon Yukon $500+ Anonymous (2) Ben & Kathy Adams Bancorp South Ellen & Robert Bartolotta Carol Beachey & Donald Voth George & Linda Bond John & Nancy Bramlett Mr. & Mrs. Charles P. Cobb, Jr. Laura Crane Emily Davis Dr. Michael R. Drompp Bobbie & Dave Ferraro Dr. & Mrs. Carl Flinn Juan Fuentes Luther & Dot Gause Dr. Phillip George Paul & Marisa Hess Alice & David Howard Joanna Hwang

MEMPHIS SYMPHONY ORCHESTRA | 81

symphony fund January 1, 2017 - December 31, 2017

Janas L. Jackson David & Lisa Jennings John and Sandra Jones Paul and Sonia Jones Kathryn A. King Father Albert Kirk Chris Knott-Craig Reva Kriegal Dudley & Ann Langston Florence Leffler Lennyâ&#x20AC;&#x2122;s Sub Shop Lester and Roslyn Lit Carolnie MacQueen Dinah & Gary Makowsky Gerry and Elizabeth Marshall Mary Allie Baldwin-McLellan Tina McWhorter Jan & Scott Morrell Ed & Anne Motley Max B. Ostner, Sr. Endowment Fund Kerry Regen Emily Ruch Eric & Connie Scott Rowlett Scott Charles & Nino Shipp Trish & Richard R. Spore III Tracey Williams Stallings Mary Stagg Parker and Patricia Suttle Janet & Rick Trent Donald Tucker Mr. & Mrs. William M. Vaughan, Jr. Dick & Shirley Vosburg Chuck Fox & Mary Wilder Billie Anne Williams

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$250+ Anonymous David Alperin Frank Anthony Bill & Jeanne Arthur Bryan Artiles Mari Askew Richard & Nancy Barnhart John & Wanda Barzizza Dr. & Mrs. Allen O. Battle Joy & Leo Bearman James and Deborah Bell Linda Bennett Dr. & Mrs. Harry Berryman Jennifer Brady Paul Burkeen Ms. Honey Cannon Edward W. and Jeanne L. Carnes Adam & Sherry Carr Leigh Chiles Robert & Sheila Cohen Mary Ann Eagle Bill Eddings Nat and Pat Ellis Dr. & Mrs. Joseph Fisher Richard & Pamela Flynt Katherine Fox Mr. & Mrs. Al Gamble Emily & Jerry Gay Sharon J. Gilbert John Gilmer & Catherine Willner Capt. & Mrs. James P. Googe, Jr. Arthur and Nancy Graesser Daniel Michael Green Julie & Michael Harreld

Albert & Nancy Harvey Diane Hawks Allan & Marcia Hayden Betty Hays Judith & Howard Hicks Howard & Janice Horn Julia Howell Nancy Lou & Mott Jones Mrs. Linda Kaplan Edward and Lawryn Kasper J.D. Kelly Randy & Rhinda Kesselring Dr. & Mrs. Noah Kimball Jerry & Beverly Kirkscey Janie & Martin Kocman Kitty Kosman Lucy and Tom Lee Aron Livnah & Rose Merry Brown Alla & Nathan Lubin Lubin Enterprises, Inc. Randy & Carol Martin Eloise Mays Mr. & Mrs. James McDonnell, Jr. Phillip and Mary Ellen McDow Holley & Lucius McGehee Simone & Logan Meeks Linda Milbradt Dr. & Mrs. David M. Mirvis Marie Moore Robert Neimeyer & Kathryn Story Monika & Thomas Nenon Cecile & Frederick Nowak Johanna & Peter Pranica Lana & Gary Prosterman Joel & Eileen Prout

Dr. & Mrs. Brown Robertson William Routt Sara T. Savell Frank & Marian Shaffer Anne E. Shaw Lisa & Bayard Snowden Leslie Stratton Owen & Margaret Tabor Gerald & Julie Walton Bill Weppner Jacqueline & Joseph White Virginia Wilson Mr. Winston Wolfe Muriel Zarlingo

Tributes Gifts Received in honor of Peter Abell Pam & Steve Guinn Courtney Leon Gifts in honor of Tamara Adams Dr. & Mrs. Carl Flinn Gifts in honor of Belinda Anderson Blue Cross Blue Shield of Tennessee Gifts in honor of Caroline Bartusch Bill & Foy Coolidge Gifts in honor of Allen Battle Frank & Marian Shaffer Gifts in honor of Becky Bayless Pat Flynn & Jerry Heston

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symphony fund January 1, 2017 - December 31, 2017

Gifts in honor of Mr. & Mrs. S. Toof Brown Bill and Foy Coolidge Gifts in honor of Rhonda Causie ArtsMemphis Dr. Suzanne Gronemeyer Bob & Jane Mims Gifts in memory of Ann Cicala Joy Brown Wiener Gifts in memory of Ruth Cobb Mr. & Mrs. Charles P. Cobb, Jr. Gifts in honor of Mrs. Scottie Cobb Bill & Jeanne Arthur Gloria Nobles Gifts in honor of Mrs. Nancy Coe

Gifts in memory of Ellis Delin James & Carolyn Boren Tonna Bruce Kitty Cannon & Jim Waller David & Susan Ellison Mr. & Mrs. John Evans M.W. & Jessica Friedlander Mary H. Gill Dr. Suzanne Gronemeyer Sara Holmes Howard & Janice Horn Mrs. Linda Kaplan Bob & Jane Mims Maryanna Popper Ann L. Powell Dr. Bill & Barbara Runyan Mildred Schiff

Randy & Carol Martin

Virginia Trenholm

Bob & Jane Mims

Gerald & Julie Walton

Gifts in memory of Helga Cornell Dr. Suzanne Gronemeyer Edward & Gloria Felsenthal Bunny & Charles Burson Gifts in honor of Anne Covington Dr. & Mrs. Carl Flinn Gifts in honor of Pat Davidson Adrienne Davis

Dr. Nancy Wheat Dan & Sindee Wiener Herbert Wolf Gifts in memory of Irna Delin Dr. Suzanne Gronemeyer Gifts in honor of Marsha Evans Mr. & Mrs. Charles P. Cobb, Jr. Joy Brown Wiener Gifts in honor of Morgan Fite Kathy King

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Gifts in honor of Dot Fisher Dr & Mrs. Carl Flinn Gifts in honor of Mrs. Carl Flinn Memphis Symphony League Bob & Jane Mims Lura & Steve Turner Gifts in honor of G.R.O.W. TNSC The Junior League of Memphis Gifts in memory of Mary Gentry Dr. Suzanne Gronemeyer Gifts in memory of Lydia Abell Gibson Belinda Anderson Bryan Artiles Louise Barden Dan & Rhonda Causie

Charles and Karen Schulz John & Cristina Speer Lura & Steve Turner Irene Wade Karen Wright Gifts in memory of Elaine Gompertz Joan Gips Gifts in honor of Mrs. Billie Jean Graham Alice & John Dudas Dr. & Mrs. Carl Flinn Randy & Carol Martin Gifts in honor of Dr. Suzanne Gronemeyer Mrs. Linda Kaplan Gifts in memory of Willis Hackman

Sandy Dâ&#x20AC;&#x2122;Amato

Joanne Hackman

Dr. Suzanne Gronemeyer

Dale Hornberger

Eula Horrell Erin Kaste Kimberly Lind Memphis Symphony Chorus Memphis Symphony League MSO Board of Directors MSO Musicians MSO Staff Maurice & Lisa Mendel Bob & Jane Mims Robert Moody Rachael Patton Gayle Rose

Gifts in honor of Dr. & Mrs. William H. Haltom, Jr. Dr. & Mrs. Carl Flinn Gifts in honor of Gloria Hendricks Ed & Laura Crawford Gifts in honor of Scott & Carolyn Heppel Genie & Ralph Gray Gifts in memory of Sue Holt The Cannon Center for Performing Arts Gifts in honor of Robert & Eula Horrell Genie & Ralph Gray

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symphony fund January 1, 2017 - December 31, 2017

Gifts in memory of Edward Kaplan George & Jackie Falls

Gifts in honor of the Memphis Symphony Musicians

Dr. Suzanne Gronemeyer

Marie Moore

Memphis Symphony Orchestra Administrative Staff

Gifts in honor of Erin Kaste Elizabeth & Charles Carter Gifts in memory of Susan Kingston Teresa & Rick Jordan Eva Lang & Scott LeMay Bob & Jane Mims Anita & William Sessoms Gifts in memory of Judy Korones Daniel Zane Gifts in honor of Florence Leffler Dr. & Mrs. William Long Gifts in honor of Dr. Bill Long Mrs. O. Brewster Harrington Anne Roane Joy Brown Wiener Gifts in memory of Martha Ellen Maxwell Belinda and Calvin Anderson Dr. Peggy Bodine Bob & Jane Mims Deborah Northcross Tish Towns A.C. & Ruby Wharton Gifts in honor of James McClanahan Jeff & K.C. Warren

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Gifts in memory of John Millard Sara Holmes Gifts in honor of Robert Moody Albert and Kathie Alexander Gifts in honor of Gloria Nobles Mr & Mrs. Charles P. Cobb, Jr. Bill & Foy Coolidge Gifts in memory of Esther Pearson Pam & Steve Guinn Gifts in honor of Marisa Polesky Alice & David Howard Gifts in honor of Maryanna Popper Ed & Laura Crawford Gifts in honor of Ann Pretzer Noel K. & Martha Frizzell Gifts in honor of Gayle Rose Louise & Will Barden Dr. Suzanne Gronemeyer Frank & Jeanne Jemison Bob & Jane Mims Robert Neimeyer & Kathryn Story Gifts in honor of Jane Rousseau William & Annette Bickers

Gifts in honor of Diane Rudner J. Richard Briscoe Gifts in honor of Mr. & Mrs. Joe Sains Bill & Foy Coolidge Gifts in memory of Rita Satterfield John Pickens Gifts in honor of Rowlett Scott J. Richard Briscoe Gifts in honor of John Seubert Jon Katze & Kathryn Deshpande Gifts in honor of Frank & Marian Shaffer Albert and Kathie Alexander Gifts in honor of Marvin Skaggs Lyda Parker Gifts in memory of John Smith Mr. & Mrs. Charles P. Cobb, Jr.

Gifts in honor of Deborah Tipton Dr. & Mrs. Carl Flinn Gifts in honor of Mr. & Mrs. Steve Turner Dr. & Mrs. Carl Flinn Gifts in honor of Mark Vail Jeanne Ellett Gifts in honor of the marriage of Barry and Cynthia White Bob & Jane Mims Gifts in memory of Sarah Booth White Nancy and Sonny Golden Gifts in honor of Mrs. Joy Brown Wiener John & Marsha Evans Gifts in honor of Mr. & Mrs. John Younger Jackie Stewart

Gifts in memory of Kathryn Smythe Jimmy Gould & Katie Smythe Gifts in honor of Ann Spurbeck Robin Davis Gifts in honor of The Honorable Jim Strickland, Mayor of Memphis, Tennessee Mr. & Mrs. Charles P. Cobb, Jr. Gifts in memory of Christy Tate Nobuko Igarashi

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Featuring

WITH CONDUCTOR

Wynona

Robert

Judd

Moody

SATURDAY,

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PATRON INFORMATION Your attendance constitutes consent for use of your likeness and/or voice on all video and/or audio recordings and photographs made during Symphony events. BEFORE THE CONCERT Box Office Location/Hours: The Box Office is located at 610 Goodman Road on the University of Memphis campus in Newport Hall and is open weekdays 9 a.m. to 5 p.m. On-site Concert Venue Box Office services are available 90 minutes prior to the scheduled performance through 20 minutes after that time. On-site Concert Venue Box Office ticket availability is limited to tickets for the specific event of that day; tickets for future events cannot be printed on-site. All other ticket printing requests will be addressed and fulfilled during regular Box Office business hours. Mobile Box Office is located in the East Concourse at the Cannon Center and in the lobbies of GPAC and Harris Concert Hall. Venues: Saturday Masterworks and Memphis Symphony Pops! concerts are performed at the Cannon Center for the Performing Arts, 255 North Main Street in Downtown Memphis. Paid parking is available in the Cook Convention Center garage or surface lots. Masterworks Sundays and Paul & Linnea Bert Classic Accent Series on Sundays are performed at the Germantown Performing Arts Center (GPAC), 1801 Exeter Road in Germantown.

Free parking is available at GPAC. The Paul & Linnea Bert Classic Accent Series on Saturday is performed at Harris Concert Hall, 3775 Central Ave, The University of Memphis, 101 Music Building. Parking is available directly across Central Ave. in the UOM parking lot. DURING THE CONCERT Cameras and Recording Devices: No photos or video recordings are allowed during the performance due to potential injury to performers on stage, and copyright infringement. Concert Preview: “Know the Score” discussions begin one hour prior to each Masterworks and Classic Accents series performance, thanks to generous support of Avery & Meadows, D.D.S. Get the inside scoop and back stories on the evening’s performance and repertoire. Cannon Center for Performing Arts: Mezzanine level Morgan Keegan Lobby; GPAC: Ballet room; Harris Hall: Directors Room; First Baptist Church: Fellowship Hall Wheelchair Seating: Wheelchair seating is available upon request at each of our concert venues. Please call the Box Office for more information: (901) 537-2525

PATRON INFORMATION TICKET INFORMATION Single Tickets: Tickets for all events are available through the MSO Box Office by phone, (901) 537-2525, in person, or online at www.MemphisSymphony.org. Please note that vouchers and coupons may only be redeemed at the MSO Office and must be done in person. Gift Certificates: Give the gift of music! Gift certificates to the Memphis Symphony Orchestra may be purchased in any denomination. Please call the Box Office at (901) 537-2525 for details. Refunds/Exchanges: All ticket holders may return tickets in exchange for a tax-deductible donation of the original purchase price. There are no refunds or exchanges on single ticket purchases or returned tickets. Subscribers may exchange subscription tickets for alternate performances subject to availability upon request. Subscriber ticket exchanges must be made at least 24 hours before the date of the original ticketed performance. Lost Tickets: Subscribers can have tickets reprinted by calling the Box Office at (901) 537-2525 or visiting the Box Office prior to a performance. Student/Child Tickets: Student Tickets are available for $10.00 to regular series concerts based on availability. Students must be present and show a current and valid student ID.

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High school students and younger will receive a $5 youth ticket coupled with a youth-parent ticket at $10 off a regular priced ticket. A maximum of one ticket per ID is available. All discount tickets are subject to availability. OTHER INFORMATION Please turn off all mobile devices upon entering the concert hall. Lost and Found is located at the Box Office at each venue. Management is not responsible for lost, stolen, or damaged property. Restrooms are located off the main floor, lobby, and balcony areas of the concert hall. Facilities for wheelchair bound patrons are also available in each main floor restroom. FIRST AID Contact an usher for assistance. Emergency Evacuation: In case of a fire or other emergency, please use the exit nearest to your seat, indicated by a lighted Exit sign. This is the shortest route out of the performing arts center. Please be sure to walk to the exit - do not run. All concerts, guest artists, and times are subject to change.

Baker Donelson is proud to support the Memphis Symphony Orchestra. With more than 750 attorneys and advisors in 23 offices, Baker Donelson provides clients with a wide range of legal solutions to meet virtually any legal and policy need. www.bakerdonelson.com ALABAMA • FLORIDA • GEORGIA • LOUISIANA • MARYLAND • MISSISSIPPI • SOUTH CAROLINA • TENNESSEE • TEXAS • VIRGINIA • WASHINGTON, D.C. THIS IS AN ADVERTISEMENT. Ben Adams is Chairman and CEO of Baker Donelson and is located in our Memphis office, 165 Madison Avenue, Suite 2000, Memphis, TN 38103. Phone 901.526.2000. FREE BACKGROUND INFORMATION AVAILABLE UPON REQUEST. © 2018 Baker, Donelson, Bearman, Caldwell & Berkowitz, PC