Memphis Symphony Orchestra Experience Program Vol. 1 2018-2019 Season by Memphis Symphony

2018 - 2019 SEASON

VOLUME ONE

MSO Cellist and film composer, Jonathan Kirkscey Read his story on p. 47

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 the UofM. DEGREES OFFERED B.M., M.M., D.M.A., Ph.D. AUDITION DATES Dec. 1, 2018 Feb. 2, 2019 Feb. 16, 2019 Feb. 23, 2019

memphis.edu/music

Contents CONCERT EXPERIENCE Robert Moody, Music Director............................................................................................ 4 Andrew Crust, Assistant Conductor/Memphis Youth Symphony Conductor �� 6 Orchestra Roster................................................................................................................. 10 Memphis Symphony Chorus............................................................................................ 12 Tchaikovsky Violin Concerto, Bernstein Candide....................................................... 15 Cirque de la Symphonie: Cirque Goes to the Cinema!............................................... 23 Copland Fanfare for the Common Man & Choral Concert for Peace..................... 27 The Messiah......................................................................................................................... 37 Magic of Memphis............................................................................................................... 43 MSO in Memphis................................................................................................................. 45 Cover Feature: Jonathan Kirkscey.................................................................................. 47 Tunes & Tales: A Musician's Take.................................................................................... 49 Elvis™ in Las Vegas........................................................................................................... 53 PATRON EXPERIENCE MSO Governance................................................................................................................ 55 MSO Staff............................................................................................................................. 56 Memphis Symphony League............................................................................................. 57 Supporting Partners........................................................................................................... 60 Symphony Fund................................................................................................................... 62 Contributors......................................................................................................................... 63 Tributes.................................................................................................................................. 68 Advertiser Listing................................................................................................................ 72 Patron Information.............................................................................................................. 73

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. 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 ©2018|2019 Memphis Symphony Orchestra, 610 Goodman St, Memphis, TN

Memphis Symphony Orchestra Robert Moody, Music Director

Robert Moody MUSIC DIRECTOR

Robert Moody begins his second full season as Music Director of the Memphis Symphony Orchestra in 2018/2019. The MSO is at the launching-place of an incredibly exciting new chapter in its history, and Maestro Moody is at the forefront of that growth, both artistically and structurally. He is also Music Director of the lauded Arizona Musicfest, boasting one of the finest festival orchestras in North America. Members of the orchestra hail from the top orchestras in the world, including the Vienna and New York Philharmonic, Philadelphia and Cleveland Orchestra, Boston, Chicago and San Francisco Symphony, and the Metropolitan Opera Orchestra. In 2018 Moody completed an eleven-year tenure as Music Director for the Portland (Maine) Symphony, and thirteen-year tenure as Music Director of the WinstonSalem Symphony (NC). He led both organizations to unprecedented artistic heights, and both orchestras are now model 21st century regional orchestra success stories. Recent and upcoming debuts for Maestro Moody include the Des Moines Metro Opera, Opera Carolina, Vienna (Austria) Chamber Orchestra, Columbus Symphony, Brevard Music Center Opera, and Sewanee Music Festival. He makes debuts with both the Cape Town Philharmonic Orchestra (South Africa) and the Orquesta Filarmรณnica Bogotรก (Colombia) in 2019. Guest conducting appearances include the Chicago Symphony at Ravinia, and the Los Angeles Philharmonic at the Hollywood Bowl, in addition to the symphonies of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Louisville, Slovenian Philharmonic, and the Vienna Chamber Orchestra. Summer festival appearances 4

include Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Sewanee Festival, Eastern Music Festival, PortOpera, and the Oregon Bach Festival. Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He conducted early on at the opera companies of Santa Fe, Brevard Music Center, and Hilton Head Opera. He also assisted on a production of Verdi Otello at the Metropolitan Opera, conducted by Valery Gergiev, and at The English National Opera, where he was Assistant Conductor for Kurt Weill Street Scene. He made his Washington National Opera and North Carolina Opera debuts in 2014, and conducted Bartok Bluebeard’s Castle, Leoncavallo I Pagliacci, and Poulenc Dialogues of the Carmelites during 2016-2017. Debuts to rave reviews with Brevard Music Center for Weill Street Scene, Opera Carolina for Mozart Le Nozze di Figaro and Des Moines Metro Opera for J. Strauss Die Fledermaus came in 2017 and 2018. 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. 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. He returns to guest conduct the Evansville Philharmonic in January 2019. Moody is a champion of the works of his close friend Mason Bates, now Composerin-Residence with the Kennedy Center for the Performing Arts, and prior in the same role with the Chicago Symphony. Moody commissioned/conducted Bates’ first full orchestral composition, and has been instrumental in the commissioning and premiere performances of several of Bates’ important major works for orchestra. 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 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 Myloma. CD and DVD recordings of that live concert, held in Dallas, TX in March 2015, are available for purchase.

Memphis Symphony Orchestra Andrew Crust, Assistant Conductor

Andrew Crust

ASSISTANT CONDUCTOR AND MEMPHIS YOUTH SYMPHONY CONDUCTOR

Andrew Crust is the Assistant Conductor of the Memphis Symphony Orchestra where he is slated to conduct over 35 performances this season including Pops, education, ballet, corporate concerts, Classic Accents concerts, 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 February of 2018 he stepped in to replace an ailing guest conductor for two successful MSO subscription performances featuring Bernstein’s Serenade After Plato’s Symposium with violinist Charles Yang. In his second season as Assistant Conductor of the Portland Symphony Orchestra in Maine, Andrew scripts, programs and conducts education and family concerts. 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 Assistant Conductor for the Carnegie Hall Weill Institute’s National Youth Orchestra of the USA in 2017, where assisted the orchestras and Giancarlo Guerrero in a side-by-side performance with the Philadelphia Orchestra, and a final concert at Carnegie Hall. He will return in the summer of 2018 to assist Michael Tilson Thomas for the tour of Asia. As a winner of the 2018 Ansbacher Fellowship, selected by members of the Vienna Philharmonic, Mr. Crust will attend the Salzburger Festspiele throughout August 2018 with full access to all Festival performances and 6

rehearsals. Furthermore, Mr. Crust was invited as a finalist for the 2018 Nestlé and Salzburg Festival‘s Young Conductors Award and conducted the Austrian Ensemble for New Music in May of 2018. Mr. Crust has performed as a conductor on three continents. Recent guest engagements include concerts with the Winnipeg Symphony Orchestra, 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. In 2017 he was awarded first prize at the Accademia Chigiana by Daniele Gatti, and received a scholarship and an invitation to guest conduct the Orchestra di Sanremo in Italy. Mr. Crust has been influenced by a number of teachers and conductors from around the world, most notably Daniele Gatti, Marin Alsop, Alexis Hauser, Scott Yoo, Gustav Meier, and Markand Thakar. 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-toEnglish translation of Igor Markevitch’s analysis of Beethoven’s symphonies.

201 8 | 201 9 P OP S S E ASO N

CIRQUE DE LA SYMPHONIE . MAGIC OF MEMPHIS ELVIS IN LAS VEGAS . DAVID PORTER TRIBUTE THE MUSIC OF STAR WARS

Memphis Youth Symphony Nov 6, 2018 STRING ENSEMBLE/STRING SINFONIA FALL CONCERT McNeill Concert Hall, Rhodes College | 7:00 pm Nov 13, 2018 STRING ORCHESTRA FALL CONCERT McNeill Concert Hall, Rhodes College | 7:00 pm Nov 18, 2018 YOUTH SYMPHONY FALL CONCERT McNeill Concert Hall, Rhodes College | 7:00 pm Dec 15, 2018 SOUNDS OF THE SEASON CONCERT McNeill Concert Hall, Rhodes College | 1:30 pm Feb 24, 2019 YOUTH SYMPHONY CONCERT WINNERS CONCERT McNeill Concert Hall, Rhodes College | 7:00 pm Feb 26, 2019 STRING ENSEMBLE/STRING SINFONIA WINTER CONCERT Hardie Auditorium, Rhodes College | 7:00 pm Mar 5, 2019 STRING ORCHESTRA WINTER CONCERT Harris Concert Hall, Rudi E. Scheidt School of Music | 7:00 pm Apr 30, 2019 STRING ENSEMBLE/STRING SINFONIA SPRING CONCERT McNeill Concert Hall, Rhodes College | 7:00 pm May 5, 2019 YOUTH SYMPHONY SIDE BY SIDE CONCERT WITH THE MEMPHIS SYMPHONY ORCHESTRA Cannon Center for the Performing Arts | 6:00 pm May 7, 2019 STRING ORCHESTRA SPRING CONCERT Harris Concert Hall, Rudi E. Scheidt School of Music | 7:00 pm

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Memphis Symphony Orchestra Robert Moody, Music Director

Violin I Barrie Cooper, Concertmaster The Joy Brown Weiner 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 Lenore McIntyre Ann Spurbeck 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 10

Jonathan Kirkscey, Assistant Principal Jeffrey Jurciukonis Hannah Schmidt Mark Wallace Bass Scott Best, Principal Chris Butler, Assistant Principal Sean Oâ&#x20AC;&#x2122;Hara Andrew Palmer Timothy Weddle Jeremy Upton Sara Chiego Flute Elise Blatchford, Principal The Marion Dugdale McClure Chair Delara Hashemi Chris James* Piccolo Chris James* Oboe Joseph Salvalaggio, Principal Shelly Sublett, Assistant Principal Saundra Dâ&#x20AC;&#x2122;Amato English Horn Shelly Sublett, Principal Clarinet Andre Dyachenko, Principal Rena Feller Nobuko Igarashi

Bass Clarinet Nobuko Igarashi

Tuba Charles Schulz, Principal

Bassoon Susanna Whitney, Principal Michael Scott Christopher Piecuch

Timpani Frank Shaffer, Principal

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

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

Trombone Greg Luscombe, PrincipalÂ Wes Lebo Mark Vail Bass Trombone Mark Vail

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

Memphis Symphony Chorus

Lawrence Edwards, Artistic Director | Liz Parson, Accompanist

The Memphis Symphony Chorus has performed many of the greatest works of choral music with the Memphis Symphony Orchestra for the past 50 years. The Symphony Chorus is led by Artistic Director, Dr. Lawrence Edwards, and performs between 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 volunteer vocalists from around the MidSouth. 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 celebrated its 50th anniversary during the 2015-16 season. Chorus membership grows through a twice-yearly audition process supervised by Dr. Edwards. Being a professional vocalist is not a prerequisite for acceptance; however, one must have in equal proportion vocal skill, ability to read music, a love for great choral music, as well as the time and energy to devote to a weekly Monday rehearsal schedule during the season. Each new season for the Chorus begins in the late summer and lasts through their final performance, usually in May. For more info on the chorus, auditions, or fundraisers, please visit our website at www.memphissymphonychorus.org. Email info@memphissymphonychorus.org for more information.

Lawrence Edwards ARTISTIC DIRECTOR

Dr. Lawrence Edwards has been the Artistic Director of the Memphis Symphony Chorus since 1988, making the 2018 - 2019 season his 30th Anniversary. He often conducts both the orchestra and the chorus. Dr. Edwards is also Coordinator of Choirs for the University 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. 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. 13

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PAUL AND LINNEA BERT MASTERWORKS Sponsored by

ROBERT MOODY, CONDUCTOR TAI MURRAY, VIOLIN BARRIE COOPER, VIOLIN MARCIN ARENDT, VIOLIN

LEONARD BERNSTEIN (1918 - 1990) Overture to Candide FLORENCE PRICE (1887 - 1953) (arr. William Grant Still) Dances in the Canebrakes Nimble Feet Tropical Noon Silk Hat and Walking Cane CHRIS BRUBECK (b. 1952) Interplay for Three Violins and Orchestra LEONARD BERNSTEIN (arr. Charlie Harmon) Candide - Orchestral Suite You Were Dead, You Know Paris Waltz Bon Voyage Drowning Music The King's Barcarolle Ballad of El Dorado I Am Easily Assimilated Entre'Acte The Best of All Possible Worlds Make Our Garden Grow

Tchaikovsky Violin Concerto, Bernstein Candide Sat, Sep 29, 2018 | 7:30 pm Cannon Center for the Performing Arts Sun, Sep 30, 2018 | 2:30 pm Germantown Performing Arts Center

INTERMISSION PIOTR ILYICH TCHAIKOVSKY (1840 - 1893) Concerto in D major for Violin and Orchestra, Opus 35 I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo A fifteen minute post concert Question and Answer session, with Maestro Moody and guest artists, immediately follows the performance.

KNOW THE SCORE a pre-concert lecture, begins 1 hour prior to showtime Sat, Sep 29 | 6:30 pm Morgan Keegan Lobby Sun, Sep 30 | 1:30 pm Ballet Room Sponsored by

Tchaikovsky Violin Concerto, Bernstein Candide Sep 29-30, 2018

LEONARD BERNSTEIN (1918-1990): Overture to Candide Duration: approximately 5 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). 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 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 16

substantial to list here; suffice it to say that we have been gifted a wonderful legacy by one of the 20th century’s great humanitarians!! The Overture to Candide has remained an enduringly popular work since its first concert performance, given by the New York Philharmonic with Bernstein conducting, in 1957. Numerous orchestrations exist; the one being presented for this concert set incorporates changes made by Bernstein near the end of 1989. Tunes referenced include The Best of All Possible Worlds, Battle Music; Oh, Happy We; and Glitter and be Gay. Bernstein also included melodies written specifically for the Overture. At a memorial concert for Bernstein in 1990, the New York Philharmonic performed the Overture without a conductor as a tribute to the recently deceased Bernstein; it is a performance tradition that is still maintained by the orchestra unto the present day.

FLORENCE PRICE (1887-1953): Dances in the Canebrakes Duration: approximately 9 minutes A native of Little Rock, Arkansas, Florence Beatrice Smith was the daughter of a dentist and a schoolteacher. She received her first lessons in music from her mother (who was also a singer), and gave her first public performance on piano at age four. She also took up violin and organ as a child, and by age eleven, had begun to compose. She was admitted to the New England Conservatory of Music at the tender ago of fourteen, and studied composition with George Chadwick and Frederick Converse. She graduated with honours in 1907, returning to Little a Rock to become a schoolteacher and to marry Thomas J. Price. She eventually left the classroom in order to care for her two daughters, but remained active in music, primarily giving private lessons and composing. The family moved to Chicago in 1927 in order to escape growing racial unrest, and she succeeded in establishing herself there as a performer and composer. In 1932, she received the Wanamaker Foundation Award for her Symphony No. 1 in E Minor; the following year, it was programmed by the Chicago Symphony Orchestra, making her the first African-American woman to have a work performed by a major symphony orchestra in the United States. She was inducted into the American Society of Composers, Authors, and Publishers (ASCAP) in 1940. While her works fell into some measure of obscurity following her death, a large collection of scores were rediscovered in 2009, at a summer home near St. Anne, Illinois. Dances in the Canebrakes was originally a three-movement work for solo piano, and was composed in 1953; this orchestral version was arranged later by 17

William Grant Still. Several definitions are to be found for the term “canebrake”; its usage in this instance probably refers to a dense thicket of sugar-cane that was a southern plantation crop. The outer movements (Nimble Feet, and Silk Hat and Walking Cane) recall the cakewalk and ragtime respectively, while the middle movement (Tropical Noon) is evocative of a peaceful and quiet midsummer day. Price used rhythms and melodic patterns associated with the African-American experience, but not any borrowed thematic materials.

CHRISTOPHER BRUBECK (1952- ): Interplay for Three Violins and Orchestra Duration: approximately 11 minutes Award-winning composer. Chris Brubeck, the third son of jazz great Dave Brubeck, was born in Los Angeles, California (his father wrote the composition, “Crazy Chris,” in celebration of the happy event). He took piano lessons as a child, learning to play the trombone whilst in junior high school, and eventually would teach himself to play electric bass; he is also a self-taught orchestrator. He toured extensively with the Dave Brubeck Quartet for over twenty years (primarily on bass trombone), and later became part of the Brubeck Brothers Quartet, which he co-leads with his brother Dan. He collaborated with his father on the work, Theme and Explorations for Orchestra (commissioned by the Pittsburgh Symphony), during his time with the earlier ensemble. Since then, he has branched out on his own, becoming a prolific composer with a wide range of writing styles. He is equally at home performing jazz, rock, folk, and funk, in addition to classical music, and maintains a busy and comprehensive performance schedule. He was also at one time an adjunct professor of music at Skidmore College in Saratoga Springs, New York. Interplay was written for three world-class violinists who are renowned for their different styles: Nadja Solerno-Sonnenberg (classical), Regina Carter ( jazz), and Eileen Ivers (Celtic fiddle). They gave the premiere performance of the piece in August of 2002, with the Boston Pops Orchestra conducted by Keith Lockhart. A live broadcast of the work received an ASCAP Deems Taylor Award (best composition for television broadcast). Chris Brubeck made the following observations about the three violinists in an interview with Erik Philbrook (for Playback) December of 2002: “...We had a big meeting and right away I saw that all three of them were really funny. They were a fun-loving little group, sort of like Charlie’s Angels with violins. So what I wrote for them was based a lot on my feelings about their personalities. And the idea of tossing musical ideas around just totally fit their personalities. Then I got all of their latest recordings and studied up on their strengths. I found that all three of their records went into 18

this Latin trip in one place or another, and I thought well here’s some common ground. Between the idea of being playful and knowing they had this Latin thing in common, I sort of had this big arc in mind, like throwing ideas around and ending up in this Latin place.” [Quote is extracted from the ASCAP website.]

BERNSTEIN (Harmon): Orchestral Suite from Candide Duration: approximately 18 minutes The Orchestral Suite consists of a series of selections put together from the operetta by Bernstein’s former personal assistant (for four years during the 1980s), Charles Harmon. The delightful cross-section of tunes include the following: You Were Dead, You Know; Paris Waltz, Bon Voyage, Drowning Music, The Kings’ Barcarolle, Ballad of El Dorado, I Am Easily Assimilated, Entr’Acte, The Best of All Possible Worlds, and Make Our Garden Grow. Harmon made some minor adjustments to the original orchestration, but by and large, the work stands as originally conceived by Bernstein.

PIOTR ILYICH TCHAIKOVSKY (1840-1893): Violin Concerto in D Major, Opus 35 Duration: approximately 34 minutes Piotr Ilyich Tchaikovsky, arguably 19th 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 nationalistic sound base. This gorgeous concerto, whilst receiving mixed reviews early on, has become a favourite of audience members and performers alike, and these days, is always awaited with eager anticipation. The work was begun in Switzerland in 1878, and received its premiere performance in Vienna in 1881, with Adolph 19

Brodsky as featured soloist. It is scored for a standard 19th century orchestra, featuring double winds, four horns, two trumpets, timpani, and strings. The first movement cadenza is placed between the development and the recapitulation, rather than between the recap and the coda, as was typical of most concerti from the Classical era. Movements two and three are played in sequence with no break in the music. The piece has been subjected to what many, myself included, consider to be unnecessary cuts off and on over its performance history, apparently to remove redundant material (!!) and/or to shorten its length. Happily, in the 21st century, it is normally presented as originally penned by the composer.

Featured Artist Bios Tai Murray VIOLIN

An inspiring talent with a silky and sweet tone from even the highest registers of her instrument, impeccable intonation, dexterity, subtlety yet always vigorous and dramatic, the well-schooled and hugely musical Tai Murray has become an essential personality in today’s classical musical world. A former BBC young generation artist, member of the Marlboro Festival and of Lincoln Center’s Chamber Music Society, she gives her London Proms Debut during the summer of 2016 with the BBC National Orchestra of Wales and Thomas Sondergard. Living between New York and Berlin, Tai has been heard on stages such as the Barbican, Queen Elisabeth and London Royal Albert Hall, aside orchestras such as Chicago Symphony, Atlanta Symphony, BBC Symphony Orchestra, Manchester BBC Philharmonic Orchestra, BBC Scottish Symphony Orchestra, BBC National Orchestra of Wales and Royal Liverpool Philharmonic.

Barrie Cooper

VIOLIN

Barrie Cooper, acting concertmaster of the Memphis Symphony, started violin at the age of 4 with John Kendall at the Suzuki program at Southern Illinois University at Edwardsville. She also served as Kendall’s assistant traveling across the United States and Japan to workshops and conferences. Because none of her friends would, Barrie studied viola to play in the Piu Mosso quartet which gave numerous concerts in the Midwest and east coast. She was principal viola for 2 years in the St Louis Symphony Youth Orchestra. She attended Ithaca College in Ithaca, New York and graduated from Peabody Conservatory in Baltimore Maryland. At Peabody, Barrie won the Marbury Violin Competition and the Josef Kasper Prize for excellence in violin performance. Barrie has spent the last 16 summers as principal Second violin in the American Institute of Musical Studies orchestra in Graz, Austria as well as being part of the violin section of the Arizona Musicfest in 2016. Barrie is a die hard St Louis Cardinal fan and shares her home with 2 beautiful dogs and 5 wonderful cats.

Marcin Arendt

VIOLIN

A native of Poland, Marcin Arendt is an active chamber musician, soloist, & teacher. He recently joined the faculty of the Rudi E. Scheidt School of Music at the University of Memphis where he is a member of the Ceruti String Quartet. Marcin is part of the violin faculty at the Interlochen Arts Camp, and he plays with IRIS Orchestra under the baton of Michael Stern where he regularly holds the Isaac Stern Concertmaster Chair. He also works as the Community Involvement Coordinator for IRIS Orchestra. 21

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Cirque de la Symphonie: Cirque Goes to the Cinema! Sat, Oct 20, 2018 | 7:30 pm Cannon Center for the Performing Arts

ANDREW CRUST, CONDUCTOR

JOHN WILLIAMS (b. 1932)

INTERMISSION

ANTON KARAS (1906 - 1985)

JOHN KANDER (b. 1927) FRED EBB (1928 - 2004)

The Third Man Theme

All That Jazz from Chicago

JOHN WILLIAMS (b. 1932)

LEONARD BERNSTEIN (Jack Mason)

Harry's Wondrous World from Harry Potter and the Sorcerer's Stone

Selections from West Side Story

The Cowboys Overture

KLAUS BADELT (b. 1967) (arr. Ted Ricketts) Pirates of the Caribbean: The Curse of the Black Pearl LALO SCHIFRIN (b. 1932) (arr. Custer) Mission: Impossible JOHN WILLIAMS (b. 1932) Devil's Dance from Witches of Eastwick HANS FLORIAN ZIMMER (b. 1957) (arr. Lavender) Dead Man's Chest from Pirates of the Caribbean 23

CIRQUE DE LA SYMPHONIE

MAX STEINER (1888 - 1971) King Kong Overture JOHN WILLIAMS (b. 1932) Hooray for Hollywood DMITRI KABALEVSKY (b. 1904) "Galop" from The Comedians, Opus 26

Cirque de la Symphonie: Cirque Goes to the Cinema! Oct 20, 2018

Cirque de la Symphonie Cirque de la Symphonie is a new production formed to bring the magic of cirque to the music hall. It is an exciting adaptation of artistic performances widely seen in theaters and arenas everywhere. Artists include the most amazing veterans of exceptional cirque programs throughout the worldâ&#x20AC;&#x201D;aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. Each artist's performance is professionally choreographed to classical masterpieces and popular contemporary music in collaboration with the maestro.

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. 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 the Symphony at info@memphissymphony.org or call (901) 537-2500.

Give the gift of music this holiday season! Call the MSO box office or go online to purchase gift certificates for your loved ones and friends! (901) 537-2525 MemphisSymphony.org

PAUL AND LINNEA BERT MASTERWORKS

Copland Fanfare for the Common Man & Choral Concert for Peace Sat, Nov 10, 2018 | 7:30 pm | Cannon Center for the Performing Arts Sun, Nov 11, 2018 | 2:30 pm | Germantown Performing Arts Center ROBERT MOODY, MUSIC DIRECTOR STEPHANIE DOCHE, MEZZO-SOPRANO ADAM MUNSHI, MUEZZIN MEMPHIS SYMPHONY CHORUS AND UNIVERSITY OF MEMPHIS SINGERS, DR. LAWRENCE EDWARDS, ARTISTIC DIRECTOR INTERMISSION

AARON COPLAND (1900 - 1990)

KARL JENKINS (b. 1944)

Fanfare for the Common Man EDWARD ELGAR (1857 - 1934) Variations on an Original Theme, Opus 36 "Enigma Variations" Enigma: Andante Variations: I. "C.A.E." L'istesso tempo II. "H.D.S.- P." Allegro III. "R.B.T." Allegretto IV. "W.M.B." Allegro di molto V. "R.P.A." Moderato VI. "Ysobel" Andantino VII. "Troyte" Presto VIII. "W.N." Allegretto IX. "Nimrod" Moderato X. "Dorabella - Intermezzo" Allegretto XI. "G.R.S." Allegro di molto XII. "B.G.N." Andante XIII. "*** - Romanza" Moderato XIV. "E.D.U." â&#x20AC;&#x201C; Finale Sponsored by

Armed Man A Mass For Peace The Armed Man The Call to Prayer (Adhaan) Kyrie Jerusalem of Gold* Save Me from Bloody Men Sanctus Hymn Before Action Charge! Angry Flames Torches Agnus Dei Now the Guns Have Stopped Benedictus Better is Peace A fifteen minute post concert Question and Answer session, with Maestro Moody and guest artists, immediately follows the performance.

KNOW THE SCORE, a pre-concert lecture, begins 1 hour prior to showtime

Sat, Nov 10 | 6:30 pm | Morgan Keegan Lobby Sun, Nov 11 | 1:30 pm | Ballet Room 27

Copland Fanfare for the Common Man & Choral Concert for Peace Nov 10-11, 2018 AARON COPLAND (1900-1990): Fanfare for the Common Man Duration: approximately 2 1/2 minutes Aaron Copland, the “Dean of America Music,” has long been one of America’s best-loved composers, and is rightly considered to be one of the giants of 20th century composition. The son of Russian-Jewish immigrants, he was born and raised in Brooklyn, New York. His sister, Laurine, gave him his first piano lessons, and he began writing songs at the age of eight. Eventually he would continue his piano studies with Leopold Wolfsohn, and also began composition lessons with Rubin Goldmark, deciding to become a composer upon turning fifteen. His interest in European music led him to Paris, France, in 1921, where he spent the next three years under the tutelage of Nadia Boulanger, an extraordinary pedagogue whose influence on Copland and succeeding generations of young composers was profound. Upon his return to the United States, he at first focused on writing works that would be easily identified as “American” in character—and at this period in history, that meant including elements of jazz. This period only lasted a short while, as in the early 1930s, his writing began to take on more characteristics of dissonance and sophistication. By the end of the 30s, another style modification had taken place, and many of his most popular works date from this period: the ballet scores to Rodeo and Appalachian Spring; A Lincoln Portrait, and the Clarinet Concerto (written for jazz great Benny Goodman) being a few of the most notable. In many cases, these works drew on American folklore for their inspiration: cowboy songs, barn dance music, and fiddle tunes. Copland would go on the become an award-winning composer, receiving the Pulitzer Prize in composition for Appalachian Spring, an Academy Award for the film score to The Heiress, and the Presidential Medal of Freedom in 1964. In early 1942, Eugene Goossens, conductor of the Cincinnati Symphony Orchestra, wrote to Copland, along with several other composers, requesting fanfares of a patriotic nature to be performed over the course of the orchestra’s 1942-1943 season. A total of eighteen fanfares were written by the composers, including The Fanfare for the Common Man, which was completed in 1942 and premiered on 12 March 1943. It has remained a very popular work, and today is almost always performed on occasions of national significance, in addition 28

to celebratory events. It is scored for a full symphonic brass section, timpani, tam-tam, and bass drum. Copland would later use the Fanfare thematic material in the last movement of his Third Symphony (in both the Introduction and in the Coda), adding woodwinds and strings whilst retaining the original colour produced by the brass/percussion mix. An alternate version, produced by the British rock band Emerson, Lake, & Palmer, was and remains, one of that group’s biggest hits. The work also inspired composer Joan Tower to write a “Fanfare for the Uncommon Woman” (begun in 1987 and revised ten years later). Copland, at one point is quoted as saying, “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.” SIR EDWARD ELGAR (1857-1934): Variations on an Original Theme, Opus 36, “Enigma” Variations Duration: approximately 35 minutes Edward William Elgar was born in Lower Broadheath, not far from Worcester, where his father, William, worked as a piano tuner and sheet music salesman. Edward was William and Ann’s fourth child out of a total of seven, and he was raised as a Roman Catholic following his mother’s conversion. All of his siblings received musical training, with Edward taking piano and violin lessons by the time he was eight years old. As a teenager, he was quite active in musical activities in and about Worcester, and indeed, the term “jack of all trades” does come to mind given his numerous talents. A few years earlier, he had also begun to compose and arrange, and eventually added conducting to his growing number of skills. By the time he reached his mid-twenties, he had succeeded his father as organist at St. George’s Roman Catholic Church in Worcester. During this same period, Caroline Alice Roberts became his student, and she would become his wife three years later. The couple relocated to London, and Elgar began to devote more of his time to composition. The 1890s saw his reputation growing, albeit slower than he would have liked. The needed breakthrough came in 1899; the London premiere of his Enigma Variations was an instant hit, and solidly established his international reputation. Other successes swiftly followed; they include The Dream of Gerontius, Pomp and Circumstance March No. 1 (which you all know quite well—almost every person reading these notes has marched to or will march to the Trio as part of their Commencement exercises!!), Introduction and Allegro for Strings, the Violin Concerto, the two symphonies, the list goes on and on,… Lady Elgar’s death in 1920 was a devastating blow from which he never recovered, and his creativity suffered accordingly. While he never completely stopped composing, he never completed another major work. The 1930s saw him begin work on a third symphony, but he passed away in 1934, before being able to progress further 29

than the sketches he left (the sketches were turned into a full-blown symphony by Anthony Payne in 1998). Elgar remains the first truly great composer to come out of England since Henry Purcell. The Enigma Variations were composed between 1898 and 1899, and premiered later that summer in London, conducted by Hans Richter. Shortly thereafter, Elgar revised and expanded the work; the premiere of this version took place in the middle of September at the Worcester Three Choirs Festival with Elgar at the podium, and this is the version usually played today. The theme is followed by fourteen variations. Each is in a different character, and depicts one of Elgar’s friends (the work is dedicated to “my friends pictured within”), beginning with his beloved wife, Lady Alice, who is portrayed in Variation One. Probably the best known section of the work is Variation Nine, “Nimrod”; this beautiful variation is frequently used for funerals, memorial services, and other solemn occasions, especially in England. It was featured during the Opening Ceremonies of the Games of the XXX Olympiad (held in London during the summer of 2012), and most recently, an adaptation was used in the 2017 film, Dunkirk. SIR KARL JENKINS (1944- ): The Armed Man: A Mass For Peace Duration: approximately 70 minutes Karl William Pamp Jenkins is a native of Penclawdd, on the Gower Peninsula, in Swansea County, Wales. His initial music instruction came from his father, who was a chapel organist and choirmaster. Jenkins played oboe in the National Youth Orchestra of Wales, and eventually enrolled at Cardiff University, where he studied composition with Alun Hoddinott. His postgraduate studies were undertaken in London at the Royal Academy of Music, and he holds a Doctor of Music degree from the University of Wales. For much of his early career, Jenkins was known as a jazz and jazz-rock musician, playing saxophone, keyboards, and oboe in several bands, including award-winners Nucleus, and the CanterburybasedSoft Machine. He has provided advertising music for a number of companies, including British Airways, Levi’s, De Beers and Renault. In the case of De Beers, the theme from the diamond commercials was eventually worked into a three-movement concerto grosso called Palladio, which features said theme in its first movement. Named both a Fellow and an Associate of the Royal Academy of Music, Jenkins was appointed an Officer of the Order of the British Empire in 2005, and a Commander of the Order of the British Empire in 2010; he was made a Knight Bachelor in 2015. The Armed Man, a massive work, characterised by numerous influences, was commissioned by the Royal Armouries Museum, marking its move from London 30

to Leeds. It was composed in 1999, and received its premiere performance at the Royal Albert Hall the following April, with Grant Llewellyn conducting the National Musicians Symphony Orchestra and the National Youth Choir of Great Britain; Julian Lloyd Webber was the cello soloist in the closing Benedictus. It is, by and large, an anti-war piece, and was dedicated to the victims of the Kosovo War (February 1998-June 1999). The work builds its structure around sections of the Roman Catholic Mass (Kyrie, Sanctus, Agnus Dei, Benedictus) whilst incorporating words from other historical and religious sources; these include the Mahabharata (an ancient Sanskrit epic), the Islamic call to prayer, and passages from the Bible. Literary figures whose words appear include Rudyard Kipling, John Dryden, Jonathan Swift, Toge Sankichi, Guy Wilson, Thomas Malory, and Alfred Lord Tennyson. The Armed Man (sung in French) L’homme armé doit on douter. (The armed man should be feared.) On a fair partout crier, (Everywhere it has been decreed) Que chacun se viegne armer (That every man should arm himself) D’un haubregon de fer. (With a coat of iron mail.) - anonymous, 15th century

Save Me from Bloody Men Be merciful unto me O God: For man would swallow me up. He fighting daily oppresseth me. Mine enemies would daily swallow me up: For they be many that fight against me, O thou most high. - Psalm 56:1

Call to Prayers [Adhaan] (sung in Arabic) Allahu Akbar. (God is greater.) Ashadu An La Illa-l-lah (I testify that there is no deity except God.) Ashadu Anna Muhammadan Rasulul-lah (I testify that Muhammad is the Messenger of God.) Hayya Ala-s-salah (Come to prayer [salat].) La Illaha il la-lah (There is no deity except God.) - traditional Islamic

Defend me from them that rise up against me. Deliver me from the workers of iniquity, Christ, have mercy. Lord, have mercy. And save me from bloody men. - Psalm 59:2

Kyrie (sung in Greek) Kyrie eleison. Christe eleison. (Lord, have mercy. Christ, have mercy.) - Mass Ordinary 31

Sanctus (sung in Latin) Sanctus, sanctus, sanctus Dominus Deus Sabaoth, (Holy, holy, holy Lord God of Hosts,) Pleni sunt coeli et terra gloria Tua. (Heaven and earth are full of Your glory.) Hosanna in excelsis. (Hosanna in the highest.) - Mass Ordinary

Hymn Before Action The earth is full of anger, The seas are dark with wrath, The Nations in their harness Go up against our path: Ere yet we loose the legions Ere yet we draw the blade, Jehovah of the Thunders, Lord god of Battles, aid! High lust and froward bearing, Proud heart, rebellious brow, Deaf ear and soul uncaring, We see thy mercy now. The sinner that forswore Thee, The fool that passed Thee by, Our times are known before Thee, Lord grant us strength to die! - Rudyard Kipling Charge! The trumpet’s loud clangour Excites us to arms, With shrill notes of anger And mortal alarms. - John Dryden How blest is he who for his country dies. - Jonathan Swift The double double beat Of the thundering drum Cries, Hark! The Foes come. Charge, ‘tis too late to retreat. - John Dryden Angry Flames (in memory of the victims of Hiroshima) Pushing up through smoke From a world half darkened By overhanging cloud, The shroud that mushroomed out And struck the dome of the sky, Black, 32

Red, Blue, Dance in the air, Merge, Scatter glittering sparks, Already tower Over the whole city. Quivering like seaweed, the mass of flames spurts forward. Popping up in the dense smoke, Crawling out Wreathed in fire, Countless human beings On all fours In a heap of embers that erupt and subside, Hair rent, Rigid in death, There smoulders a curse. - Toga Sankichi Torches The animals scattered in all directions, screaming terrible screams. Many were burning, others were burnt. All were shattered and scattered mindlessly, their eyes bulging. Some hugged their sons, others their fathers and mothers, unable to let them go, and so they died. Others leapt up in their thousands, faces disfigured and were consumed by the Fire. Everywhere were bodies squirming on the ground, wings, eyes and paws all burning. They breathed their last as living torches. - The Mahàbharàta, ancient Sanskrit

Agnus Dei (sung in Latin) Agnus Dei, qui tollis peccata mundi, (Lamb of God, that takes away the sins of the world,) miserere nobis, dona nobis pacem. (have mercy on us, grant us Your peace.) - Mass Ordinary Now the Guns have Stopped Silent, So silent, now, Now the guns have stopped. I have survived all, I, who knew I would not. But now you are not here. I shall go home, alone; And must try to live life as before And hide my grief. For you, my dearest friend, Who should be with me now, Not cold, too soon, And in your grave, Alone - Guy Wilson Benedictus (sung in Latin) Benedictus qui venit in nomine Domini. (Blessed is he that comes in the name of the Lord) Hosanna in excelsis (Hosanna in the highest.) - Mass Ordinary

Better Is Peace Better is peace than always war. And better is peace than evermore war. - Sir Thomas Malory, Le Morte d’Arthur L’homme armé doit on douter. (The armed man should be feared.) - anonymous 15th century Ring out the thousand wars of old, Ring in the thousand years of peace. Ring out the old, ring in the new, Ring, happy bells, across the snow. The year is going, let him go; Ring out the false, ring in the true. Ring out old shapes of foul disease. The larger heart, the kindlier hand; Ring out the darkness of the land; Ring out the narrowing lust of gold; Ring out the thousand years of old, Ring in the thousand years of peace. Ring in the valiant man and free, Ring in the Christ that is to be. - Alfred Lord Tennyson God shall wipe away all tears. And there shall be no more death, Neither sorrow nor crying, Neither shall there be any more pain. - Revelations, 21.4 Praise the Lord.

Featured Artist Bios Stephanie Doche

MEZZO-SOPRANO

French-American mezzo-soprano Stephanie Doche is quickly gaining recognition as an engaging and expressive singing actress. Stephanie makes her Opera Memphis debut as a resident artist with the company for their 2018-2019 season. While in Memphis she will sing the roles of Suzuki in Madama Butterfly, Cousin Hebe in H.M.S. Pinafore, and Toledo in the new American opera, The Falling & the Rising. Raised in Rochester, New York, Stephanie holds Bachelor of Music from State University of New York at Fredonia, where she was a recipient of the Evans Voice Performance Scholarship. She also holds a Master of Music in Opera Performance from the University of Texas at Austin, where she was a recipient of the Willa Stewart Setseck scholarship.

Adam Munshi

MUEZZIN

Adam Munshi is a Muslim Indian American. He studies Mechanics Engineering at The University of Memphis. Adam is nationally well known for his melodic and soothing recitation of the Quran.

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SPECIAL CONCERT

The Messiah Tue, Dec 18, 2018 | 7:30 pm Wed, Dec 19, 2018 | 7:30 pm Lindenwood Christian Church

ROBERT MOODY, CONDUCTOR JACQUELINE ECHOLS, SOPRANO STEPHANIE FOLEY-DAVIS, ALTO TAYLOR STAYTON, TENOR SIDNEY OUTLAW, BARITONE MEMPHIS SYMPHONY CHAMBER CHORUS ~ DR. LAWRENCE EDWARDS, DIRECTOR

GEORGE FRIDERIC HANDEL (1685 - 1759) PART I No. 1 Sinfony (Orchestra) No. 2 Comfort ye (Tenor) No. 3 Every Valley (Tenor) No. 4 And the Glory of the Lord (Chorus) No. 5 Thus saith the Lord (Baritone) No. 6 But who may Abide (Baritone) No. 7 And He shall purify (Chorus) No. 8 Behold, a virgin shall conceive (Alto) No. 9 O thou that tallest (Alto/ Chorus) No. 12 For unto us (Chorus) No. 13 Pifa (Orchestra) No. 14 There were shepherds (Soprano) No. 15 And the angel said (Soprano) No. 16 And suddenly (Soprano) No. 17 Glory to God (Chorus) No. 18 Rejoice greatly (Soprano) No. 19 Then shall the eyes (Soprano) No. 20 He shall feed His flock (Soprano) No. 21 His yoke is easy (Chorus) INTERMISSION PART II No. 22 Behold the Lamb of God (Chorus) 37

No. 23 He was despised (Alto) No. 24 Surely (Chorus) No. 25 And with His stripes (Chorus) No. 26 All we, like sheep (Chorus) No. 27 All they that see Him (Tenor) No. 28 He trusted in God (Chorus) No. 29 They rebuke hath broken His heart (Tenor) No. 30 Behold and see (Tenor) No. 31 He was cut off (Tenor) No. 32 But Thou didst not leave His soul in Hell (Soprano) No. 33 Lift up your Heads (Chorus) No. 38 How beautiful are the feet of them (Soprano) No. 37 The Lord gave the Word (Chorus) No. 40 Why do the nations rage? (Baritone) No. 42 He that dwelleth in Heaven (Tenor) No. 43 Thou shalt break them (Tenor) No. 44 Hallelujah! (Chorus + soloists PART III No. 45 I know that my Redeemer liveth (Soprano) No. 46 Since by Man came Death (Chorus) No. 47 Behold, I tell you a mystery (Baritone) No. 48 The Trumpet shall sound (Baritone) No. 53 Worthy is the Lamb/Amen (Chorus + Soloists)

The Messiah Dec 18-19, 2018

GEORGE FRIDERIC HANDEL (1685-1759): Messiah Duration: approximately 2 1/2 hours George Frideric Handel, along with Johann Sebastian Bach, is considered one of the giants of composition from the Baroque era. A native German, he was born in Halle, a court city approximately 20 or so miles northwest of Leipzig. His family was relatively well off, his father being employed as a barbersurgeon by the court. The original intent was for Handel to study law; in fact, his farther tried to forbid any contact with music and instruments at all, but young George, having managed to sneak a keyboard into the upper room of the house (where he practiced while the rest of the family was asleep), had become an accomplished keyboard artist by the time he was nine years old. Upon discovery of his heretofore hidden mastery, his father grudgingly allowed him to pursue his musical studies. Handel did actually accede to his father’s wishes for a short time, enrolling in the Halle University at age seventeen for the purpose of studying law. That effort didn’t last long; a year later he left the university and relocated to Hamburg, where he became a violinist and the harpsichordist for the local opera house. A three-year sojourn in Italy led to a highly productive output that included two oratorios, several cantatas, and his first all-Italian operas. After his return to Germany, he accepted the position position of Music Director for the Elector of Hanover—but left after only a month in order to attend a production in London of one of his operas. His return to Hanover proved to be short-lived, and after a year, he relocated to England on a permanent basis, becoming a naturalised British subject in 1727. He eventually became that country’s most important composer and a favourite of the royal court. His composition output over the course of his 74-year lifespan is impressive and includes large numbers in all genres: instrumental, keyboard, and vocal. Composed in only 3 1/2 weeks in 1741, Messiah remains one of the staples of mature Baroque period repertoire, and is probably western art music’s best known oratorio. The work was given its first performance by Handel in Dublin, Ireland, on 13 April 1742, at the Great Music Hall in Fishamble Street (as a charity event, it garnered so much attention that men were asked to remove their swords, and ladies were asked not to wear hoops in their dresses, in order that the Hall might accommodate as many people as possible!). The London premiere took place almost a year later at Covent Garden Theatre. The libretto is in English, and was provided by Charles Jennens, who used the King James 38

Bible and the 1662 Book of Common Prayer as his source materials. The work is divided into three sections, each of which contains a series of recitatives, arias, and choruses. Part I predicts the coming of the Messiah and the Virgin Birth (21 movements); Part II tells of Christ’s Passion and death, followed by the Resurrection and Ascension (23 movements); and Part III covers redemption, along with the Day of Judgment and the final victory of the Messiah over sin and death (9 movements). When performed in its entirety, an interval usually occurs following Part I, and another may or may not occur between Parts II and III. Only 2 of the 53 movements are entirely instrumental: the opening Sinfony, and the Pifa, which takes place approximately midway through Part I. The only true duet occurs in Part III (“O death, where is thy sting” for alto and tenor). Handel subsequently rewrote some movements for different performers and performances, and it should also be noted that some of the choruses, along with the duet, are “borrowed” from earlier works. Wolfgang Amadeus Mozart re-orchestrated the work in 1789, adding flutes, clarinets, horns, and trombones, and translating the libretto into German; it was published in 1803 (Der Messias, K. 572) and still receives the occasional performance.

Featured Artist Bios Jacqueline Echols

SOPRANO

Lyric soprano Jacqueline Echols has been praised for her "dynamic range and vocal acrobatics" (Classical Voice) in theaters across the United States. To kick off the 2017/2018 season, Echols will perform a concert of classic opera arias along with American showtune standards from the repertoire of Gershwin and Porter with the Ann Arbor Symphony Orchestra in their season opening gala. Jacqueline will then return to the Pittsburgh Opera in her much desired portrayal of Pip in Moby Dick. Echols previously debuted the role in her company debut with Los Angeles Opera, for which Opera Today noted that "the voice of Jacqueline Echols' Pip soared gracefully over Heggie's orchestra, soloists and chorus." Having debuted the role to the world, Echols will then be seen in her hometown of Detroit with the Michigan Opera Theater as Helen in The Summer King. 39

Stephanie Foley-Davis ALTO

Stephanie Foley Davis was praised by The New York Times in her Glimmerglass Festival debut in The Tender Land as “a poised, touching Ma Moss” and Opera News said she was “a loving, careworn Ma, warm of voice and presence.” Ms. Davis subsequently returned to Glimmerglass to create the role of Mary McCarthy in the world premiere of Jeanine Tesori’s A Blizzard in Marblehead Neck. Of her role debut as Charlotte in Nightingale Opera Theatre’s production of Werther, Cleveland Classical said, “…Foley Davis and Culver were terrific in their singing and in delineating their sadness.” Ms. Davis has appeared in leading roles throughout the US with companies such as Arizona Opera, Nashville Opera, Nightingale Opera Theatre, Orlando Philharmonic and almost every professional opera company in North Carolina, including Opera Carolina, Piedmont Opera, North Carolina Opera, and Greensboro Opera, to which she will return as Berta in Il Barbiere di Siviglia in January of 2018. Stephanie also will return to the Winston-Salem Symphony to perform the mezzo-soprano solos in Bernstein’s Symphony No. 1 “Jeremiah” and Jenkins’ The Armed Man under the baton of Robert Moody, after which they will reprise the concert with the Portland Symphony Orchestra (Maine).

Taylor Stayton TENOR

Taylor Stayton’s “laser-bright timbre” and “exceptional fluidity above the staff” (Opera News) continue to distinguish him as one of the most sought-after tenors in his repertoire. Stayton begins the 2018-2019 season with his debut at the Edinburgh Festival in August singing the role of Don Ramiro in Rossini's La Cenerentola, a role he reprises later in the season for his return to the Norwegian 40

National Opera in Olso. He makes his role debut as Nemorino in Donizetti’s L’elisir d’amore in February with Opera Omaha. Taylor recently returned to the Metropolitan Opera debuting the role of Camille de Rosillon in The Merry Widow, followed by his debut at both Semperoper Dresden and Washington National Opera reprising his acclaimed interpretation of Almaviva in Rossini’s Il barbiere di Siviglia. Additional recent debuts include his house debuts with the Liceu Opera Barcelona in the role of Belfiore in Rossini’s Viaggio a Reims and Opera Omaha as Fenton in Verdi's Falstaff, as well as his role debut as Alfred in Strauss’ Die Fledermaus. A native of Sidney, Ohio, Stayton is a 2011 graduate of The Academy of Vocal Arts as a student of the renowned voice teacher Bill Schuman. He earned his Bachelor of Music degree at Ohio State University, and is an alumnus of the Martina Arroyo Foundation’s “Prelude to Performance” program. He has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, First prize in the Gerda Lissner Foundation International Voice Competition, and third place in the Loren B. Zachary Voice Competition.

Sidney Outlaw BARITONE

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

COME BACK AND SEE US FOR MORE GREAT SHOWS! MASTERWORKS Presented by Paul and Linnea Bert MOZART, BEETHOVEN, RACHMANINOFF Saturday, January 12, 2019 at 7:30 pm . Cannon Center Sunday, January 13, 2019 at 2:30 pm . GPAC Robert Moody, conductor . Awadagin Pratt, piano

MOZART Overture to The Marriage of Figaro BEETHOVEN Piano Concerto No. 4 RACHMANINOFF Symphony No. 2 Awadagin Pratt

Keith Lockhart conducts

BARBER, ROUMAIN, AND DVORAK

Saturday, February 23, 2019 at 7:30 pm . Cannon Center Sunday, February 24, 2019 at 2:30 pm . GPAC Keith Lockhart, guest conductor . Charles Dimmick, violin

ROUMAIN Dancers, Dreamers, and Presidents DVOŘÁK Symphony No. 8 BARBER Violin Concerto Keith Lockhart

TCHAIKOVSKY 4

WILLIAMS Summon the Heroes STEPHENSON Concerto No. 3 for Trumpet and Orchestra MEECHAN Song for Hope TCHAIKOVSKY Symphony No. 4

MIGHTY MAHLER 5 AND MOONLANDING 50TH ANNIVERSARY

BATES Passage Commemorates the 50th anniversary of the first Moonlanding MAHLER Symphony No. 5

Saturday, March 30, 2019 at 7:30 pm . Cannon Center Sunday, March 31, 2019 at 2:30 pm . GPAC Robert Moody, conductor Ryan Anthony, trumpet . Scott Moore, trumpet

Saturday, May 18, 2019 at 7:30 pm . Cannon Center Sunday, May 19, 2019 at 2:30 pm . GPAC Robert Moody, conductor

Ryan Anthony

Robert Moody

POPS Presenting Special Live Performances

ELVIS IN LAS VEGAS

“Ladies and Gentlemen, Elvis is BACK in the building!” From his home base of Memphis, Elvis changed the musical landscape of the entire world. Terry Mike Jeffrey, with the blessing of Graceland/EPE, is lauded around the world for his presentation of Elvis’ music. MSO and Terry Mike perform the original orchestral charts from the Elvis archive in this world class salute to the King.™

DAVID PORTER TRIBUTE

Memphian and Grammy winner David Porter is one of the most important figures in all the world of music. MSO proudly welcomes and celebrates Porter, the man behind “Soul Man,” “Hold On I’m Coming,” even “Dream Lover” and “Getting Jiggy Wit It!” Stars and rising stars of Pop, Soul, and R&B join MSO in hot new full orchestra charts written especially to celebrate the “real Soul Man!” Don’t miss this world-class concert tribute!

The Music Of STAR WARS

Join MSO on May the 4th, the date now embraced by LucasFilm as the annual “holiday” for all things Star Wars! Featuring John Williams’ iconic music from the classic motion picture series (now 9 films!) the Memphis Symphony Orchestra will take you to a place “A long time ago, in a galaxy far, far away!”

Saturday, January 5, 2019 7:30 pm . Cannon Center Andrew Crust, conductor Terry Mike Jeffrey Band

Saturday, March 23, 2019 7:30 pm . Cannon Center Robert Moody, conductor

Saturday, May 4, 2019 2:30 pm & 7:30 pm . Cannon Center Andrew Crust, conductor

PAUL & LINNEA BERT CLASSIC ACCENTS DEVIL AT THE CROSSROADS

STRAVINSKY The Soldier’s Tale Delta Blues of Robert Johnson

DOUBLE CELLO CONCERTO

MOZART Overture to Don Giovanni OTT Double Cello Concerto BRAHMS Symphony No. 1

BEETHOVEN AND THE BEATLES

SCHICKELE Beatleset BEETHOVEN Symphony No. 3 “Eroica”

Saturday, January 19, 2019 at 7:30 pm Harris Concert Hall, University of Memphis Sunday, January 20, 2019 at 2:30 pm . GPAC Robert Moody, conductor Vasti Jackson, blues guitar . Charles Holt, actor Saturday, March 9, 2019 at 7:30 pm Harris Concert Hall, University of Memphis Sunday, March 10, 2019 at 2:30 pm . GPAC Robert Moody, conductor Ruth Valente Burgess, cello . Kimberly Patterson, cello Saturday, April 13, 2019 at 7:30 pm Harris Concert Hall, University of Memphis Sunday, April 14, 2019 at 2:30 pm Playhouse on the Square Robert Moody, conductor . Telly Leung, tenor

Robert Johnson

Box Office: 901-537-2525 • MemphisSymphony.org

Telly Leung

POPS

Magic of Memphis Sat, Dec 22, 2018 | 7:30 pm Sun, Dec 23, 2018 | 2:30 pm Cannon Center for the Performing Arts

ROBERT MOODY AND ANDREW CRUST, CONDUCTORS LYN DILLIES, MAGICIAN MEMPHIS SYMPHONY CHORUS DR. LAWRENCE EDWARDS, DIRECTOR MEMPHIS SCHOOLS "ORFF" CHORUS BETSY CARTER, COORDINATOR

A MOST WONDERFUL CHRISTMAS Arr. Robert Sheldon

MESSIAH Handel

CHRISTMAS IS COMING Wilberg

"GALOP" FROM THE COMEDIANS Kabalevsky

MARCH OF THE TOYS FROM BABES IN TOYLAND Herbert

SLEIGH RIDE Anderson

"SOMEWHERE IN MY MEMORY" FROM HOME ALONE Williams "IN THE HALL OF THE MOUNTAIN KING" FROM PEER GYNT Grieg CHRISTMAS EVE/SARAJEVO O'Neill/Phillips INTERMISSION FESTIVAL FIRST NOWELL Forrest 0, CE VESTE MINUNATA Arr. Wolfgang Dreschler "THIS LITTLE BABE" FROM CEREMONY OF CAROLS Britten HALLELUJAH CHORUS FROM 43

ROCKET SLEIGH Case HOLIDAY CAROL SING-A-LONG Arr. Finnegan "FARANDOLE" FROM L'ARLESIENNE SUITE Bizet I HEARD THE BELLS ON CHRISTMAS DAY arr. Wilberg

Magic of Memphis Dec 22-23, 2018

Lyn Dillies MAGICIAN

The first illusionist ever to make two live Asian elephants appear in succession (during the grand opening of the Buttonwood Park Zoo in New Bedford, Mass.); producing her Learn Magic with Lyn DVD, which empowers children to perform their own magic; creating Your Vote is Magic!, a public service campaign to promote voter awareness; and her Magic at the Symphony program, which sets some of the most breathtaking illusions in magic against the beauty and drama of symphonic classics – a truly unique entertainment experience. As Lyn says, “Magic has been my vehicle to not only entertain, but inspire lives and make a difference. It’s what I was born to do.”

MSO in Memphis Special concerts, engagements and partnerships

Special Concerts Every year the MSO is fortunate to present a number of special concerts, largely as partnerships with community partners. Most concerts are presented at low to no cost to patrons. SEP 21, 2018 | MEMPHIS RENAISSANCE presented in partnership with New Ballet Ensemble and Levitt Shell OCT 14, 2018 | SYMPHONY SOUL PROJECT presented in partnership with Metropolitan Baptist Church DEC 18-19, 2018 | HANDEL’S MESSIAH a holiday tradition! MAR 19, 2019 | CHORAL ANNIVERSARY CONCERT presented in partnership with the MSO Chorus in honor of Dr. Edwards’ 30 years with the MSO Chorus* MAY 5, 2019 | SIDE-BY-SIDE CONCERT presented in partnership with the Memphis Youth Symphony Program

MSO in Your City The Memphis Symphony participates in contracted engagements every season with Arts Partners new and old. From full orchestra performances to big band celebrations, the Memphis Symphony infuses excitement all across the area. Some of our contracted engagements this season include: OCT 6-7, 2018 | HARRY POTTER LIVE! at The Orpheum* DEC 7-9, 2018 | THE NUTCRACKER with Ballet Memphis DEC 14-16 | NUT REMIX with New Ballet Ensemble SUMMER SYMPHONY AT THE LIVE GARDEN a Memorial Day tradition at Memphis Botanic Garden 45

MSO in Memphis Special concerts, engagements and partnerships

FALL AND SPRING CONCERTS with Rhodes College A FALL AND SPRING OPERA with Opera Memphis FEATURED MUSICIANS DURING MIDTOWN OPERA FEST presented by Opera Memphis “ARTS IN THE AIRPORT” Select ensembles at Memphis International Airport BIG BAND FEATURES AT THE PEABODY annual birthday celebration and holiday tree lighting CROSSTOWN CONCOURSE lunchtime ensembles* In addition to these performance engagements, the MSO also works within the community for a number of educational events. Some of these events include: LIBRARY TUNES & TALES SCHOOL TUNES & TALES ORFF ORCHESTRA ENGAGEMENTS DRUM CIRCLES LEADING FROM EVERY CHAIR (LFEC) *new engagement for the 2018 – 2019 season

COVER FEATURE: Jonathan Kirkscey MSO cellist and film composer

Jonathan Kirkscey is a composer, producer, cellist, and guitarist who regularly performs with the Memphis Symphony Orchestra and Blueshift Ensemble, of which he is a founding member. A strong background in both classical and popular music has given him a reputation as a very versatile musician. As a film composer, Jonathan recently scored the documentary “Won’t You Be My Neighbor”, a film about Fred Rogers which opened in theaters in June of 2018. “It was a beautiful and inspiring experience to work on this film,” Jonathan said. He also scored “Best of Enemies”, directed by Morgan Neville (20 Feet From Stardom) and Robert Gordon, which premiered at the 2015 Sundance Film Festival. His score for “Best of Enemies” earned him the International Documentary Association’s award for best original music in a documentary feature. Jonathan also composed music for several Netflix original documentary series including “Chelsea Does” and “Abstract: The Art of Design”. His other feature scores include Mike McCarthy›s "Cigarette Girl", the documentary "2 Million Minutes: The 21st Century Solution", Craig Brewer’s debut feature "The Poor and Hungry", and "Only Child" from director Brian Pera. Jonathan has composed music for both narrative and documentary shorts including "A Fighting Chance" from director Morgan Neville, a documentary 47

short profiling several hopeful Olympic athletes. Other short films include "A Tangible Birthplace" and "The Fatted Calf" from The Soundtrack Project which aired on PBS, and "Bookin," an award winning short documenting a collaboration combining Jookin, a street dance, and classical ballet. He has also scored advertisements for clients such as Sunbrella, Boys & Girls Club, Columbia University, and Weill Cornell Medical College. Jonathan first attended Memphis Symphony concerts as a child and fell in love with live orchestral music. After college he auditioned as a cellist for the Symphony and became a full member. Cellists, Phyllis Long and Peter Spurbeck, principal cellist, were early influences on his music. He credits MSO as giving him his first shot at composing music and then getting to hear his own music played live. One of these first experiences was with Opus One. He has provided original compositions and arrangements for the Memphis Symphony Orchestra and has had several original pieces for orchestra performed by the MSO. As an arranger and performer he has worked with Cat Power, Al Green, Ra Ra Riot, Smokey Robinson, Johnny Mathis, Steve Jordan, Daniel Johnston, Jay Reatard, North Mississippi Allstars, Lucero, Amy Lavere, Kallen Esperian, and many others. He can be heard playing cello on film soundtracks for The Poor and Hungry, Black Snake Moan, and My Blueberry Nights. He just completed music for one documentary and is about to begin work on another. He also completed music for a soon-to-be-released Airbnb short film. 48

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 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. 50

ARTSMEMPHIS

sustains Memphis’

world-renowned cultural vitality and s trengthens

New Ballet Ensemble | Photograpaher: Breana Moore

Opera Memphis | Photograph: Tierney Bamrick

local communities through the ar ts.

Thanks to more than 1,300 generous donors ArtsMemphis: • Provides over 160 grants per year. • Grants nearly $3 million in annual funding. • Supports more than 75 local arts groups and artists.

L E A R N M O R E AT A RT S M E MP H I S . O R G

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 and 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.

The Guest House at Graceland TM

Graceland’s new AAA Four-Diamond resort hotel offers extraordinary meeting, banquet, and entertainment space. Inspired by the same warm Southern hospitality that Elvis Presley always showed his guests, The Guest House features more than 25,000 square feet of event space — ample room to accommodate groups of up to 1,000.

POPS Sponsored by

Elvis™ in Las Vegas Sat, Jan 5, 2018 | 7:30 pm Cannon Center for the Performing Arts

ANDREW CRUST, CONDUCTOR TERRY MIKE JEFFREY BAND

Terry Mike Jeffrey LEAD GUITAR, VOCALS, PIANO

Veteran singer, multi-instrumentalist and songwriter Terry Mike Jeffrey began singing on stages at the age of 3. Fronting his own band since the early ‘70’s, he has performed all over the planet. A unique entertainer singing musical styles from most genres all of his life, Terry Mike is especially known world-wide for his presentation of Elvis Presley’s music. In recent years he has performed the King’s songs with symphony orchestras across the country, including those in Denver, Jacksonville, Birmingham, Detroit, and over a dozen performances with the Memphis Symphony. With the unique blessings of Graceland/EPE and the original orchestra charts from the official Elvis archives, TMJ and his band blend with full orchestras in presenting their salute to the King, minus the impersonator element. Terry Mike is also a frequent guest deejay and performer on Sirius/XM’s Elvis Radio, and routinely sings with Elvis’ own former band members and background singers. 53

His other career highlights include: A 1997 Emmy Award nomination (songwriting for TV’s “Sesame Street”) Live performances in Italy, France, Germany, Sweden, Norway, Switzerland, England, Belgium, Holland, Denmark, Russia, Canada, and Hawaii Musical director and starring role in “Elvis – An American Musical”, a New Yorkproduced multi-media show from the producers of “Grease” and “Beatlemania”. Toured the US and Canada with a Broadway run in the late ‘80’s. His other musical theater adventures include regional productions of “Beehive”, “Hairspray”, “Always, Patsy Cline”, and a 2-year run in “Stand By Your Man – The Tammy Wynette Story”, which was featured at Nashville’s Ryman Auditorium, 2001-2002 56 performances on TNN’s “Music City Tonight with Crook & Chase” (mid ‘90’s). A regular solo vocalist and musician on the show, Terry Mike shared the stage with country music legends such as Eddy Arnold, Shania Twain, Toby Keith, Kenny Chesney, Eddie Rabbitt, Ray Price and Chet Atkins Critical praise from the New York Times, Variety, Billboard Magazine, Los Angeles Times, Ottawa Citizen, Houston Post, Nashville Banner, Memphis Commercial Appeal, Music City News Feature articles in USA Today, People Magazine, Country Weekly Network TV appearances on NBC’s “Today Show” (twice!), “CBS This Morning”, CNN’s “Showbiz Today”, and “Live with Regis and Kathie Lee” Worldwide radio interviews on London, England’s BBC, Sirius/XM satellite radio Live shows with Jewel, Dixie Chicks, Fats Domino, Travis Tritt, the Jordanaires, Leon Russell, Carl Perkins, Jerry Lee Lewis, Steve Wariner, Boots Randolph, Ricky Skaggs, Fabian, 2002 American Idol Top 3 Terry Mike Jeffrey has recorded 13 full CD albums which can be found along with info about upcoming shows on his web site – www.terrymike.com – TMJ’s music is also available on iTunes Terry Mike and his wife (since 1973) and long-time band member, Debbie, still reside in their hometown of Paducah, KY. They have two children and 6 grandchildren.

MSO Governance BOARD OF DIRECTORS

PAST CHAIRS

Louise Barden Chairperson

Gayle S. Rose

Jason Farmer Secretary

Newton P. Allen, Esq.*

Peter Abell President & CEO

Leo Bearman, Jr., Esq.

Ben Buffington

Paul A. Bert

Nancy Coe

Jack R. Blair

Mark Crosby

Robert L. Booth, Jr.

Harvey Felder

Judge Bailey Brown*

Dr. Candace Steele Flippin

Robert E. Cannon*

Dr. Suzanne Gronemeyer

George E. Cates

Pam Guinn

Eric A. Catmur*

Daniel B. (Dan) Hatzenbuehler

Charles P. Cobb, Esq.*

Scott Heppel Carol Johnson-Dean Robert Patterson Musicians Representative Montgomery Martin Dr. Lisa Lucks Mendel Chorus Representative

Dunbar Abston, Jr. Walter P. Armstrong, Jr.* Troy Beatty*

Nancy R. Crosby* Mike Edwards David B. Ferraro Lewis E. Holland William F. Kirsch* Martha Ellen Maxwell* Dr. Joseph Parker*

Ramon A. Marus, Jr. Treasurer

G. Dan Poag

Ashley Remmers

Jeff Sanford

Gayle S. Rose

P.K. Seidman*

Betty Desmond Weiss Symphony League President

Michael Uiberall

Thomas M. Roberts*

Joseph C. Weller Dr. Russel L. Wiener* *deceased

MSO Staff Peter Abell President & Chief Executive Officer

Rachael Patton Director of Artistic Operations

Bryan Artiles Marketing Manager

Tracy Prewitt Finance Director

Andrew Crust Assistant Conductor

Jackson Roberson Patron Services Intern

Erin Kaste Orchestra Personnel Manager

Scott Roberson Technical Director/Stage Manager

Rebecca Longcrier Box Office

Melissa Todd Vice President of Patron Engagement

Douglas Mayes Production Manager

Irene Wade Music Librarian

Robert Moody Music Director

Karen Wright Office Manager & Executive Assistant

EM PRINTING

Is a Proud Supporter of the Memphis Symphony Orchestra

3081 Bartlett Corporate Dr â&#x20AC;˘ Bartlett TN 901.795.1220 â&#x20AC;˘ www.emprinting.com 56

Memphis Symphony League Letter from the President

Music fills a place in us that nothing else can fill. It can lift us up and transform an everyday occurrence into a special event. Our Memphis Symphony Orchestra provides us with such music. They also do so much more than the performance you are now enjoying. The MSO provides extensive community outreach, including in our schools and libraries, our Youth Symphony and more. Memphis is certainly a city with music in its heart and soul, and our Memphis Symphony Orchestra is a vital component of this. Our orchestra, however, is dependent on donations. A fun way to donate is by joining the Memphis Symphony League. Since 1959, this eclectic group of men and women has supported the MSO with fundraising events and volunteer activities. Come join this dynamic group and support our MSO. While your taxdeductible contribution is the only requirement, opportunities exist for a deeper involvement. As our Music Director, Robert Moody, notes, “music changes lives.” Help change lives for the better. We welcome all of you, your family and friends.

Betty Desmond Weiss President, Memphis Symphony League “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” Plato

OFFICERS Betty Desmond Weiss President Dinah Makowsky First Vice President Elisa Marus Second Vice President for Education Mary Beth Bryce Recording Secretary Alice Dudas Corresponding Secretary Katherine Godoy Treasurer Eula Horrell Nominations Florence Leffler Parliamentarian Mary Booker Virginia Cupples Donna Flinn Mary Lawrence Flinn Kathy Gardner Jere Gerard Billie Jean Graham Nancy Lou Jones Carole Klein Jean (Sissy) Long Carol Martin Amy Meadows Gloria Nobles Molly Pennington Julie Cramer Smith

Shelley Sublett Orchestra Representative Mary Anne Sullivan Lura Turner Joy Brown Wiener ADVISORS Jean de Frank 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

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; Legacy $1,000) Check # Credit Card: AMEX/Visa/Mastercard CC#

Signature 59

Exp.

Date

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. $50,000 - $99,999

$5,000 - $9,999 cont.

Paul & Linnea Bert $15,000 - $49,999

$2,500 - $4,999 $10,000 - $14,999

$5,000 - $9,999

LEMAY + LANG, LLC 60

UP TO $2,499

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 2017-2018 season.

IN KIND

BELZ FAMILY FOUNDATIONS HOHENBERG FOUNDATION JENIAM CLARKSON FOUNDATION BRIGGS FOUNDATION ASSISI FOUNDATION GETTY FOUNDATION 61

Symphony Fund July 1, 2017 - June 31, 2018

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: Gifts above $100,000 carry special benefits, including naming rights. To learn more, contact VP of Patron Engagement, Melissa Todd, at 901-779-7824 or melissa.todd@memphissymphony.org. 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: • A visiting artist through the Guest Artists Circle A concert performance • • An education or community program MAESTROS CIRCLE ($10,000+) • Invitation to a backstage tour and toast • Special VIP seating for Summer Symphony at the Live Garden upon 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 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 Plus all of the privileges below • PATRON’S CIRCLE ($2,500+) 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 • 62

GOLDEN CIRCLE ($1,000+) • 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 • VIP parking passes for all subscription concerts at the Cannon Center for the Performing Arts • Plus all of the privileges below 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 Consider a gift to the Symphony Fund today! To donate, please visit the MSO office, go online to memphissymphony.org, call 901-537-2500, or or email: melissa.todd@memphissymphony.org.

Contributors Thank you! Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission, and others make annual contributions to support the Memphis Symphony Orchestra. Because the MSO, like other orchestras throughout the country, obtains less than 30% of our income from ticket sales, these gifts and grants are crucial to our ability to provide music of the highest quality. The following community members have expressed their support for the Memphis Symphony Orchestra in FY16, between July 1, 2017 and June 31, 2018. We are most appreciative. 63

$100,000+ Anonymous (2) $50,000+ ArtsMemphis Paul & Linnea Bert Scott & Carolyn Heppel Brooke Morrow $25,000+ Kitty Cannon & Jim Waller Harriet & Thomas Stern Estate of Sigmund Hiller Buzzy Hussey & Hal Brunt Jeniam Foundation Ellen Klyce Gayle S. Rose

Symphony Fund July 1, 2017 - June 31, 2018 Rudi & Honey Scheidt Urban Child Institute $10,000+ Graceland Dr. Suzanne Gronemeyer Laura & Lowry Howell Dr. & Mrs. Masanori Igarashi Dorothy O. Kirsch Montgomery & Laura Martin Ashley & John Remmers John Riley Roadshow BMW, Inc. Estie Sheahan John & Cristina Speer Thomas W. Briggs Foundation Ann & Jim Vining Mrs. Charles E. Walker Patricia Walker Mr. & Mrs. Joseph C. Weller Joy Brown Wiener $5,000+ Allied Pest Control Jack & Kathleen Blair Bluff City Land Rover and Jaguar George & Bena Cates Charles & Nancy Coe Michael & Maria Douglass Mr. & Mrs. John Evans Farrell Calhoun, Inc. Jere Gerard 64

Pam & Steve Guinn Larry Hardy Frank & Jeanne Jemison Leslie and Nathaniel Landau Michael & Joan Lightman Sylvia Goldsmith Marks NewSouth Capital Management Pinnacle Bank Ann L. Powell Rose & Walter Montgomery Foundation Mary Scheuner Ron & Linda Sklar SouthernSun Asset Management Bruce & Gillian Steinhauer Trustmark Bank Jack & Cristina Ward Becky & Spence Wilson $2,500+ Peter and Jessica Abell Louise & Will Barden Scott E. Bohon Karen Bowyer Boots & Maggie Boyd Boyle Investment, Inc. Walter Brown Bill & Foy Coolidge Mr. & Mrs. Mark Crosby Mrs. Katherine Buckman Gibson Sara Holmes Rose Johnston

Ed Koshland LeMay+Lang, LLC Dinah & Gary Makowsky Mr. & Mrs. Ramon A. Marus, Jr. Dr. & Mrs. Dan Meadows Memphis Library Foundation Nancy & Rodgers Menzies Zoe & Alan Nadel Gloria Nobles Mr. & Mrs. Robert J. Quinn Regional One Health Barbara Runyan Debby & Steve Schadt Irene & Fred Smith Suntrust Bank The Bank of Fayette County Dr. & Mrs. Otis South Warr III Barry & Cynthia White $1,000+ Peter & Fran Addicott Albert and Kathie Alexander Elizabeth & Lorin Allen Belinda and Calvin Anderson Kay & Keith Anderson Anonymous Carol & Bert Barnett Reed Baskin & Alice Nishiwaki Neal & Joey Beckford Ron & Anise Belz Stanley & Dorothy Bilsky

Fiona & Lance Binder David & Betty Blaylock Peggy Bodine Martha & Jim Boyd Janis Boyd J. Richard Briscoe Mary Beth Bryce Dr. & Mrs. Paul Burgar Bunny & Charles Burson David Burton Canale Foundation Henry and Christy Cannon Carol Lee & Joe Royer Elizabeth and Charles Carter William & Rhonda Causie Dr. Fenwick W. Chappell Gloria & Irvine Cherry Kenneth Clark Karen Clawson David & Barbara Crippen Dr. Loren & Elaine Crown Carol Cummings Dr. Ray Curle Adrienne Davis Alice & John Dudas Jane & John Dulin David & Susan Ellison Edward & Gloria Felsenthal Brooke & Nita Faye Ferris Donna Fisher Heather Fleming Jim & Susan Fletcher Fred & Mary Lawrence Flinn Bill & Susan Frazee Barbara & Hiram Fry Dr. James Gholson, Sr. Jack Gibson Donna and Robert Goodman

Jimmy Gould & Katie Smythe Georgia Pacific Cellulose Jerrold & Martha Graber Paula Crocker Mimi Grossman Heather & Henry Grosvenor Joanne Hackman Bill & Claudia Haltom Page Price Henrion Emil Henry Highwoods Properties, Inc. Marian Himmelreich Lunida & Lewis Holland Rob & Eula Horrell Eva & Bobby Hussey International Paper Foundation Mr. & Mrs. J. R. Hyde, III Anonymous Betty Johnson Carol Johnson Eric & Cynthia Johnson Mr. & Mrs. Robert K. Jones Yoriko Kitai Preston & Sally Klinke Bruce & Susanne Landau Dudley & Ann Langston Barbara Lapides Florence Leffler Dr. & Mrs. William Long Al & Janet Lyons Evelyn & Jerome Makowsky Malco Theatres, Inc. Debra McAdoo Marion McClure Mary Allie Baldwin McLellan Dr. & Mrs. Michael McSwain Maurice & Lisa Mendel

Monogram Foods Inc. Carey & Rick Moore Network for Good Deborah Northcross Sarah and Dr. Frank Ognibene Marianne Parrs Patricia Gray & Robert Patterson John Pickens Chloee and G. Dan Poag Mrs. Robert R. Proctor Dr. Sandra Reed Retirement Communities of America, LLC Mrs. Linda W. Rhea Judy & Nick Ringel Anne Roane Emily Ruch Diane Rudner Bev & Ken Sakauye Andrea & Dr. Craig Sander Mary M. Seratt Patricia & John Seubert John Shields Bruce R. & Jane Scharding Smedley Charles Askew & Cynthia Spangler Drs. Deanna Langfitt and Paul Thomas Deborah Tipton Lura & Steve Turner Andie & Michael Uiberall Roland & Milisa Valliere James Newcomb & Susan Van Dyck Robert Vidulich & Diane Sachs Lee & Mary Linda Wardlaw Graham & Megan Warr Jules & Elizabeth Weiss

Symphony Fund July 1, 2017 - June 31, 2018 Lee & Isabelle Welch A C & Ruby Wharton Drs. Benton M. Wheeler and Aimee M. Christian Evelyn B. Wofford Jan Young Lyn and Gordon Yukon $500+ Ben & Kathy Adams Philip & Carol Aronoff Ellen & Robert Bartolotta Carol Beachey & Donald Voth George & Linda Bond John & Nancy Bramlett Arthur & Michelle Buring Edward W. and Jeanne L. Carnes Jeanne Gray Carr Daniel Case Gay Daughdrill Boyd Emily Davis Dr. Michael R. Drompp Carolyn & Michael Edwards Bobbie & Dave Ferraro Dr. & Mrs. Carl Flinn Juan Fuentes Luther & Dot Gause John Gilmer & Catherine Willner Albert & Nancy Harvey Paul & Marisa Hess Deborah Hester Harrison Joanna Hwang Mr. & Mrs. James B. Jalenak 66

David & Lisa Jennings Paul and Sonia Jones Kathryn A. King Father Albert Kirk Chris Knott-Craig Janie & Martin Kocman Reva Kriegal Lucy and Tom Lee Lester and Roslyn Lit Caroline MacQueen Gerry and Elizabeth Marshall Tina McWhorter Bob & Jane Mims Jan & Scott Morrell Max B. Ostner, Sr. Endowment Fund Bryson & Laretha Randolph Ann Ray Eric & Connie Scott Rowlett Scott Charles & Nino Shipp Julie and Donovan Smith Trish & Richard R. Spore III Mary Stagg Tracey Williams Stallings Parker and Patricia Suttle Owen & Margaret Tabor Donald Tucker Mr. & Mrs. William M. Vaughan, Jr. Don and Mary Vollman Dick & Shirley Vosburg Gina Webb Chuck Fox & Mary Wilder Jocelyn Wurzburg

$250+ Frank Anthony Richard & Nancy Barnhart John & Wanda Barzizza Dr. & Mrs. Allen O. Battle Becky Bayless James and Deborah Bell Linda Bennett Dr. & Mrs. Harry Berryman Jennifer Brady Susan Callison Ms. Honey Cannon Adam & Sherry Carr Tim & Mary Chandler Mr. & Mrs. Charles P. Cobb, Jr. Robert & Sheila Cohen Laura Crane Elizabeth Cranwell Rosie Bingham Jane Doe Nat and Pat Ellis Richard & Pamela Flynt Katherine Fox Don Gallant Kathryn Gardner Emily & Jerry Gay Jim and Lucia Gilliland Capt. & Mrs. James P. Googe, Jr. Arthur and Nancy Graesser Billie Jean Graham Daniel Michael Green Phyllis & Thomas Guenter Bela & Nan Hackman Pamela & David Hallin

Walter Hoehn Howard & Janice Horn Alice & David Howard Julia Howell Janas L. Jackson Nancy Lou & Mott Jones Edward and Lawryn Kasper Dr. & Mrs. Noah Kimball Susan Kingston KIPP DELTA Mr. & Mrs. Lloyd C. Kirkland, Jr. Jerry & Beverly Kirkscey Mrs. Esther K. Lubin Charles & Janie McCrary

Phillip and Mary Ellen McDow Holley & Lucius McGehee Simone & Logan Meeks Memphis Symphony League Linda Milbradt Dr. & Mrs. David M. Mirvis Ed & Anne Motley Cecile & Frederick Nowak Joel & Eileen Prout Kerry Regen Christina & Richard Roberts Ellen Rolfes Sara T. Savell

Dale Schaefer Ed Sharp St. Georgeâ&#x20AC;&#x2122;s Independent School Anne E. Shaw Ruth Tatevossian and James Marmion Anonymous Alvin & Myra Whitney Billie Anne Williams Virginia Wilson Mr. Winston Wolfe Muriel Zarlingo

Gifts in Memory of Miriam Belenky Charles Belenky

Gifts in Honor of Rhonda Causie Dr. Suzanne Gronemeyer

Gifts in Honor of Paul Bert Larry Hilbun

Gifts in Honor of Ann Cicala Joy Brown Wiener

Gifts in Honor of Mr. & Mrs. Toof Brown Bill & Foy Coolidge

Gifts in Memory of Ruth Moore Cobb Mr. & Mrs. Charles P. Cobb, Jr.

Tributes Gifts in Honor of Peter Abell Belinda & Calvin Anderson Pam & Steve Guinn Dr. & Mrs. Emmel B. Golden, Jr. Courtney Leon Gifts in Honor of Dr. Allen Battle Frank & Marian Shaffer Gifts in Memory of Mary Battle Frank & Marian Shaffer Gifts in honor of Becky Bayless Pat Flynn and Jerry Heston

Gifts in Honor of Karen Busler Lorenzo & Mary Lou Adams Brother Joel McGraw Gifts in Honor of Erin Kaste & Betsy Carter Elizabeth & Charles Carter

Gifts in Honor of Mrs. Scottie Cobb Bill & Jeanne Arthur Gifts in Memory of Mrs. Elizabeth Merrick Coe Gayle S. Rose

Symphony Fund July 1, 2017 - June 31, 2018 Gifts in Honor of

Gifts in Memory of

Billie Jean Graham

Nancy Coe

Barbara Ferraro

Lucy & Tom Lee

Bob & Jane Mims

Frank & Marian Shaffer

Kimberly Lind

Jim Stockdale Anne Roane Gifts in Memory of Helga Cornell Bunny & Charles Burson Edward & Gloria Felsenthal Dr. Suzanne Gronemeyer Gifts in Memory of Ellis Delin Joel Diament M.W. & Jessica Friedlander Richard & Amy Greenberg Howard & Janice Horn

Gifts in Honor of Morgan Fite Kathryn A. King Gifts in Memory of Barry Davis Fletcher, M.D.

Bill Domico Elizabeth H. Domico

Seldon & Carolyn Murray

Rachael Patton Dorothy Gunther Pugh

Dr. Suzanne Gronemeyer

Charles & Sharon Schulz

Gifts in Honor of Joel Gibbons Robert Lanier

Belinda & Calvin Anderson Bryan Artiles Louise & Will Barden Saundra Dâ&#x20AC;&#x2122;Amato William & Rhonda Causie Dr. Suzanne Gronemeyer Erin Kaste & Betsy Carter

Tommie Pardue

John & Cristing Speer Gayle S. Rose Lura & Steve Turner Irene Wade Jules & Betty Weiss Lee & Isabelle Welch David Work Dorothy Work Karen Wright & Travis Brown Gifts in Memory of Mary Ann Goodwin Ethel Scrivener

Gifts in Honor of

Alice & John Dudas

Gifts in Honor of

Marsha Evans

Dr. & Mrs. Carl Flinn

Billie Jean Graham

Joy Brown Wiener

Fred & Mary Lawrence

Alice & John Dudas

Flinn Rob & Eula Horrell Pam & Steve Guinn 68

Bob & Jane Mims

Mary Jane Gentry

Lydia Gibson

Gifts in Memory of

Maurice & Lisa Mendel

Gifts in memory of

Dan & Sidnee Wiener

Dr. Suzanne Gronemeyer

Marus, Jr. Dr. & Mrs. Dan Meadows

Robert Moody

Gifts in Memory of

Irna Delin

Mr. & Mrs. Ramon A.

Dr. Suzanne Gronemeyer

Linda Kaplan

Gifts in Memory of

Dr. & Mrs. William Long

Gifts in Honor of

Gifts in Memory of

Dr. Suzanne

Dr. Edward

Martha Ellen Maxwell

Gronemeyer

Steven Kaplan

Belinda & Calvin

Mrs. Linda Kaplan

George & Jackie

Anderson

Carroll Pera Joe Williams Gifts in Memory of

Falls

Bob & Jane Mims

Marie Moore

Deborah Northcross

Willis H. Hackman

Gifts in memory of

Joanne Hackman

John Smith

Gifts in Honor of Scott & Carolyn Heppel Genie & Ralph Gray Gifts in Honor of Mr. & Mrs. Hampton Holcomb Preston & Sally Klinke Gifts in Memory of Gerry Duff The Cannon Center for the Performing Arts Gifts in Honor of Eula Horrell Bob & Jane Mims Lura & Steve Turner Gifts in Honor of Rob & Eula Horrell Genie & Ralph Gray Gifts in Memory of Dr. Suzanne White Howell Dr. & Mrs. Emmel B. Golden, Jr.

Mr. & Mrs. Charles P. Cobb, Jr. Gifts in Memory of

Tish Towns A.C. & Ruby Wharton Gifts in Memory of Emily McAlister Jim & Alta Simpson

Susan Kingston

Gifts in Honor of the

Teresa & Rick Jordan

Memphis Symphony

Bob & Jane Mims

Orchestra Board of

Anita & William

Directors

Sessoms

Charles & Carole

Scott LeMay & Eva Lang

Plesofsky

Gifts in Memory of

Gifts in Honor of the

Larry Emanuel

Memphis Symphony

Kun, M.D.

Orchestra Musicians

Dr. Suzanne Gronemeyer

Gifts in Honor of

Gifts in Memory of

Florence Leffler

Richard Briscoe

Dr. & Mrs. William Long

Buzzy Hussey & Hal

Gifts in Honor of

Brunt

Dr. Bill Long

Gifts in Memory of

Mrs. O. Brewster

John Millard

Harrington

Sara Holmes

Anne Roane Joy Brown Wiener Gifts in Memory of David Brownson Martin, Sr. Gayle S. Rose

Peggy Bodine

Dr. Suzanne Gronemeyer

Symphony Fund July 1, 2017 - June 31, 2018 Gifts in Memory of

Gifts in Memory of

Gifts in Honor of

Ralph J. Moody

Esther Klyce Pearson

Ellen Rolfes

Peter & Jessica Abell

Pap & Steve Guinn

Peter & Jessica Abell

Albert & Kathie Alexander John & Alice Dudas Dr. & Mrs. Carl Flinn Kathryn Gardner Billie Jean Graham Rob & Eula Horrell Nancy Lou & Mott Jones Dr. & Mrs. William Long Mr. & Mrs. Ramon A. Marus, Jr.

Zachary Perry Christopher & Wendy Perry Gifts in Memory of William S. Phillips Judy Dorsey Neil Smith

Belinda & Calvin Anderson Louise & Will Barden Neal & Joey Beckford Jack & Kathleen Blair Peggy Bodine Martha & Jim Boyd Jeanne Carr Charles & Nancy Coe

Rolland Reisberg

Mr. & Mrs. John Evans

Maurice & Lisa Mendel

Gifts in Honor of

Claudia Haltom

Bob & Jane Mims

Mary Pitts

Deborah Hester Harrison

Gayle S. Rose

Fred & Pat Collins

Mr. & Mrs. J.R. Hyde, III

Dr. & Mrs. Dan Meadows

Julie & Donovan Smith Lura & Steve Turner Lee & Isabelle Welch Jules & Betty Weiss Gifts in Honor of Robert Moody Albert & Kathie Alexander Gifts in Honor of Gloria Nobles Mr. & Mrs. Charles P. Cobb, Jr. Bill & Foy Coolidge Gifts in Honor of Dr. Nancy Otto William Smith Household 70

Gifts in Honor of

Gifts in Honor of Marissa Polesky Alice & David Howard Gifts in honor of Maryanna Popper

Sarah Haizlip

Fred & Mary Lawrence Flinn Edith Kelly-Green Dr. Suzanne Gronemeyer Pam & Steve Guinn Ann & Mason Hawkins

Ed & Laura Crawford

Janas L. Jackson

Gifts in Honor of

Carol Johnson

Ann Pretzer Noel & Martha Frizzel Gifts in Memory of Capt. Robert Proctor Dorins & Irvin Califf

Frank & Jeanne Jemison Nina Kawakami Dorothy O. Kirsch Ellen Klyce Bruce & Suzanne Landau Dudley & Ann Langston Dinah & Gary Makowsky

Gifts in Memory of

Nancy & Rodgers Menzies

George Riley

Bob & Jane Mims

Mark Skinner

Ashley & John Remmers

Diane Rudner

Gifts in Honor of

Gayle S. Rose

Marian Shaffer

Isabelle Welch

A.C. & Ruby Wharton

Albert & Kathie

Deborah Tipton

Alvin & Myra Whitney

Alexander

Joy Brown Wiener Becky & Spence Wilson Jan Young Gifts in Honor of Gayle S. Rose Frank & Jeanne Jemison Zoe & Alan Nadel 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 Suzanne Satterfield John Pickens Gifts in Honor of Rowlett Scott J. Richard Briscoe Gifts in Honor of Tricia & Jack Seubert Jon Katze & Kathryn Deshpande

marriage of

Marvin Skaggs

Barry & Cynthia White

Luda Parker

Bob & Jane Mims

Gifts in Memory of

Wynn Smith

Sarah Booth White

Mr. & Mrs. James

Dr. & Mrs. Emmel B.

McDonnell, Jr.

Golden, Jr.

Gifts in Memory of

Katherine Hinds Smyth

Dr. & Mrs. Charles

Jimmy Gould & Katie

Wurtzburger

Smythe

Dr. Suzanne Gronemeyer

Gifts in Memory of

Gifts in Honor of

Dr. Charles Stagg

Mr. & Mrs. John Younger

Pam & Steve Guinn

Jackie Stewart

Gifts in Memory of Alvin Swiney Frank & Marian Shaffer Gifts in Memory of Christy Tate Nobuko Igarashi Gifts in Memory of Mrs. C. Q. Tipton Dr. David A. Tipton Gifts in Honor of Mark Vail Jeanne Ellett Gifts in Honor of Betty Weiss Lura & Steve Turner

Gifts in Honor of the

Gifts in Honor of

Advertisers University of Memphis Rudi E. Scheidt School of Music............................................... 2 Memphis Symphony Orchestra Pops Series.................................................................... 7 New Ballet Ensemble & School........................................................................................... 9 League of American Orchestras...................................................................................... 11 Service Experts................................................................................................................... 14 Grey White Paws................................................................................................................ 22 Memphis Symphony Orchestra Gift Certificates.......................................................... 26 Kroger.................................................................................................................................... 26 Tennessee Arts Commission............................................................................................ 35 Buster's................................................................................................................................. 35 Sheraton................................................................................................................................ 36 Boyle Investment Company.............................................................................................. 36 MSO 2018-2019 Season: The Concerts of Experience Vol. 2.................................. 42 ArtsMemphis........................................................................................................................ 51 Graceland.............................................................................................................................. 52 MSO: Want to Be a Host Family?.................................................................................... 52 EM Printing........................................................................................................................... 56 Property Tax Help............................................................................................................... 75 Roadshow BMW................................................................................................................. 76 72

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 Street 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. Free 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” lectures 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 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 73

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. 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.

Ellenâ&#x20AC;&#x2122;s Circle of Friends

The Memphis Symphony Orchestra thanks the following women for their ever enduring commitment and support.

Kaitlyn Barnhill

Deborah Northcross

Anise Belz

Sarah Ognibene

Phyllis Berz

Lana Prosterman

Lillian Brown

Beverly Robertson

Shannon Brown

Ellen Rolfes

Alice Burnett

Gayle Rose

Jeanne Carr

Diane Rudner

Mei-Ann Chen

Karen Shea

Dorothy Cleaves

Rita Sparks

Nancy Coe

Tracey Stallings

Rosie (Bingham) Phillips Davis

Erica Stiff-Coopwood

Blanche Deaderick

Madeleine Taylor

Dr. Jayna Kelly

Ashley Tobias

Elizabeth Rouse

Laurie Tucker

Mimi Grossman

Jeanne Varnell

Pam Guinn

Judy Ann Vining

Summer Hardy

Ruby Wharton

Ann Hawkins

Myra Whitney

Deborah Hester Harrison

Joy Wiener

Janas Jackson

Rebecca Wilson

Dr. Carol Johnson

Jocelyn Wurzburg

Rose Johnston Lauren Keras Dorothy Kirsch Ellen Klyce Dinah Makowsky Deidre Malone Daphene McFerren Shanea McKinney Nancy Menzies

Notes

Notes 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. Call 901-537-2500 for for information.

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