Experience Digital Program Book Vol. 2 by Memphis Symphony

Contents CONCERT EXPERIENCE Robert Moody, Music Director............................................................................................ 4 Kalena Bovell, Assistant Conductor.................................................................................. 8 Memphis Symphony Orchestra........................................................................................ 12 Letter from Peter Abell, CEO............................................................................................ 15 Memphis Symphony Chorus............................................................................................ 16 Vivaldi and Piazzolla The Four Seasons....................................................................... 26 Stravinsky’s The Firebird.................................................................................................. 37 Strauss, Tchaikovsky, Shostakovich....................................................................................... 45 Carmina Burana.................................................................................................................. 53 Rhapsody in Blue................................................................................................................ 61 The Song of the Earth – Mahler and Ravel................................................................... 64 PATRON EXPERIENCE Tunes and Tales................................................................................................................... 76 MSO Governance................................................................................................................ 78 MSO Staff............................................................................................................................. 79 Memphis Symphony League............................................................................................. 80 Circle of Friends................................................................................................................... 82 Supporting Partners........................................................................................................... 84 Symphony Fund................................................................................................................... 86 Contributors......................................................................................................................... 88 Tributes.................................................................................................................................. 92 Patron Information.............................................................................................................. 95

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 ©2019|2020 Memphis Symphony Orchestra, 610 Goodman St, Memphis, TN 3

Memphis Symphony Orchestra Robert Moody MUSIC DIRECTOR

2019/2020 marks Maestro Robert Moodyâ&#x20AC;&#x2122;s third season as Music Director of the Memphis Symphony Orchestra. Expanded and adventurous programming, the MSOâ&#x20AC;&#x2122;s first commercial recording in over three decades, and a new $25-milliondollar endowment have highlighted the past two seasons. Moody is also Music Director of the lauded Arizona Musicfest, boasting one of the finest festival orchestras in North America. Players hail from the top orchestras in the world, including the Vienna and New York Philharmonics, Philadelphia and Cleveland Orchestras, Atlanta, Boston, Chicago, Dallas, Houston, Memphis, Seattle, and San Francisco Symphonies, and the San Francisco and Metropolitan Opera Orchestras. In 2018 Moody completed eleven-years as Music Director of the Portland Symphony Orchestra (Maine), and thirteen-years as Music Director of the Winston-Salem Symphony (NC). Prior to that he served as Resident Conductor for the Phoenix Symphony, Chorus Master for Santa Fe Opera, and Associate Conductor for the Evansville (IN) Philharmonic Orchestra. Moody recently guest conducted the three major orchestras of South Africa in Durban, Johannesburg, and Cape Town; he was immediately invited to return for more concerts with all three in the Summer of 2020. Other guest conducting this season includes the orchestras of Bogota, Colombia; Aachen, Germany; Sacramento, California; and a return to the Sewanee Music Festival in the mountains of Tennessee. Prior Guest Conducting has included Chicago Symphony, Los Angeles Philharmonic, Vienna Chamber Orchestra, and the orchestras of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Columbus, Louisville, Minnesota, and Slovenian Philharmonic. Festival conducting includes Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Sewanee Festival, Eastern Music Festival, Skaneateles Festival, Bowdoin International Festival, 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 for 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 (NY), 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 in the seasons following. 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 Strauss Die Fledermaus came in 2017 and 2018. Moody is a champion of the works of his close friend Mason Bates, now Composer-in-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 orchestra composition, and has been instrumental in the commission and premiere performances of several of Bates’ important major works for orchestra, including Ode, Rusty Air in Carolina, and Desert Transport. Moody’s work can be heard on several commercially released recordings. He collaborated with the Canadian Brass for their Bach and Legends albums. He is also the conductor for Native American artist R. Carlos Nakai’s Fourth World album. In 2015 he was honored to conduct the “Cancer Blows” gala 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 are also commercially available. Fall of 2019 will see the release of Memphis Symphony Orchestra’s first commercial recording in several decades. The works are Jim Stephenson’s Concerto for Hope featuring Ryan Anthony, and Song of Hope by Peter Meechan—featuring Ryan Anthony and Scott Moore. A South Carolina native, Moody holds degrees from Furman University and the Eastman School of Music, where he studied with Donald Neuen. He is a Rotarian, and serves/has served on the boards of AIDs Care Services, Winston-Salem YMCA, WDAV Radio, and the Charlotte Master Chorale. Maestro Moody is an avid runner, swimmer, and snow-skier.

Memphis Symphony Orchestra Kalena Bovell

ASSISTANT CONDUCTOR Kalena Bovell is the newly appointed Assistant Conductor of the Memphis Symphony Orchestra; a position she won after national search and auditions held in May 2019. She will be featured on numerous Pops, Education, Runout, and other concert cycles for MSO, as well as covering Maestro Moody and guest conductors on Masterworks and Classic Accents during the upcoming season. Hailed as “one of the brightest stars in the world of classical music,” (Channel 3 News) Ms. Bovell was Music Director of the Civic Orchestra of New Haven for the 2018-2019 season. Under her direction, the Civic Orchestra expanded their visibility within the New Haven community, continuing their tradition of providing high quality and accessible music performances through innovative programming and community engagement. This past season Ms. Bovell also guest conducted the New Britain Symphony in their March “Dance for Joy” concert and returned for Hartford Opera Theater’s New in November to conduct two short operas by Dawn Sonntag. Ms. Bovell worked with MSO once prior to this appointment: in 2016 former Music Director Mei Ann Chen brought Bovell to Memphis, to serve as her assistant conductor for Chen’s farewell performances. Bovell has also served in an assistant conductor role with both the St. Louis and Hartford Symphonies, and has covered well established conductors Gemma New and Carolyn Kuan. Ms. Bovell held conducting fellowships with the Allentown Symphony and the Chicago Sinfonietta. Due to her success with Sinfonietta, Ms. Bovell became assistant conductor for the 2016-2017 season, making her professional debut as part of the MLK Tribute concerts in Chicago’s Symphony Center. That same year, Ms. Bovell was a finalist for Marin Alsop’s Taki Concordia Fellowship. In 2015 she was awarded 3rd place in the American Prize for the college/ university division.

A dedicated educator, Ms. Bovell was the Orchestra Director at the Loomis Chaffee School in Windsor, CT for four years. In 2015, she conducted a fully staged, three act ballet production of the Swan Princess, based on Tchaikovsky’s Swan Lake. In Orange County, California, Ms. Bovell was the Assistant Conductor of the Orange County Youth Symphony Orchestra for two seasons. She was also the Assistant Conductor and Strings Coach for the Prelude Youth Orchestras, an organization dedicated to providing orchestral experience to elementary and middle school aged children. Born and raised in Los Angeles, California, Ms. Bovell is a graduate of Chapman University’s College of the Performing Arts, where she received a Bachelor of Music in Music Education. She received a Master of Music Degree and Graduate Professional Diploma in instrumental conducting from The Hartt School, where she was a student of Edward Cumming. In addition to conducting, Ms. Bovell is also a published author and released her first collection of poems titled “Dear Soul…” in 2009.

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 Erin Kaste, Assistant Principal Lenore McIntyre, Assistant Principal Yennifer Correia Heather Trussell* Ann Spurbeck

Viola Jennifer Puckett, Principal The Corinne Falls Murrah Chair Michelle Pellay-Walker, Assistant Principal Irene Wade, Assistant Principal Beth Luscombe Karen Casey Cello Ruth Valente Burgess, Principal The Vincent de Frank Chair Iren Zombor, Assistant Principal Jonathan Kirkscey, Assistant Principal Phyllis Long * 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 Adam Sadberry, Principal The Marion Dugdale McClure Chair Delara Hashemi Oboe Saundra Dâ&#x20AC;&#x2122;Amato, Principal Shelly Sublett, Assistant Principal English Horn Shelly Sublett, Principal Clarinet Andre Dyachenko, Principal The Gayle S. Rose Chair Rena Feller Nobuko Igarashi Bass Clarinet Nobuko Igarashi Bassoon Susanna Whitney, Principal Michael Scott Christopher Piecuch Contrabassoon Christopher Piecuch Horn Caroline Kinsey, Principal The Morrie A. Moss Chair Robert Patterson

Trumpet Scott Moore, Principal The Smith & Nephew Chair Susan Enger J. Michael McKenzie Trombone Greg Luscombe, Principal Wes Lebo Mark Vail Bass Trombone Mark Vail Tuba Charles Schulz, Principal Timpani Frank Shaffer, Principal Percussion David Carlisle, Principal Ed Murray, Assistant Principal Harp Marian Shaffer, Principal The Ruth Marie Moore Cobb Chair Piano/Celeste Adrienne Park, Principal The Buzzy Hussey and Hal Brunt Chair *Currently on leave

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

Letter from Peter Abell, President & CEO What a concert! I hope you say this at least once today. There is just nothing like live orchestral music and I bet you agree. As we near the end of the 68th MSO season and gear up for another, I would ask that you focus on the powerful moments from today’s performance. Music is with you today, there is no doubt, couldn’t we be so lucky to have it everyday? You may have heard or read about an innovative partnership that has developed over the last four seasons with Shelby County Schools called the Orff Side by Side concert series. The project partners the MSO with a network of elementary school music teachers and their students, resulting in a memorable, public concert experience at each school. This year, thirteen public elementary schools are participating and the rehearsals and performances have been really fun for everyone. Thanks to our partnership with the University of Memphis, a team from the Rudi E. Scheidt School of Music is formally studying the impact of the Orff Side by Side experience. I hope that soon I will be able to share that the experiences are more than just fun and that the data tell us what we already know - music education works. We are grateful to all of these wonderful educators for the opportunity to serve the young minds in our community in this way. In this program book you will see, publicly for the first time, a list of donors who have helped launch our endowment drive. This effort was designed to, once and for all, stabilize the financial model of the MSO. As you learn more about it, I hope you will see a place to be involved. Art will always have to be fought for and we are so glad we have so many moving our city forward in this special way. Just like a great piece of music, this campaign has evolved, but the central focus has not changed – investments in our artists are investments in our community. It is what makes Memphis such a beautiful place to live. We are so glad you are here with us today, please enjoy the show.

Peter Abell President and CEO, Memphis Symphony Orchestra

Memphis Symphony Chorus Dr. Lawrence Edwards, Artistic Director Liz Parsons, Accompanist

The Memphis Symphony Chorus has performed many of the greatest works of choral music with the Memphis Symphony Orchestra for the past 50 years. The Symphony Chorus is led by Artistic Director, Dr. Lawrence Edwards, and performs between 2 and 5 concerts per season with the Memphis Symphony Orchestra. Since its formation in 1965, the Memphis Symphony Chorus is composed of 100+ dedicated excellent, volunteer vocalists from around the Mid-South. In a perfect collaboration of orchestral and vocal musicians, the chorus has performed major works across the entire spectrum of classical choral music, opera choruses, and concert pops repertoire. This group of dedicated volunteer vocalists celebrated its 50th anniversary during the 2015-16 season. Chorus membership grows through a twice-yearly audition process supervised by Dr. Edwards. Being a professional vocalist is not a prerequisite for acceptance; however, one must have in equal proportion vocal skill, ability to read music, a love for great choral music, as well as the time and energy to devote to a weekly Monday rehearsal schedule during the season. Each new season for the Chorus begins in the late summer and lasts through their final performance, usually in May. For more info on the chorus, auditions, or fundraisers, please visit our website at www.memphissymphonychorus.org. Email info@memphissymphonychorus.org for more information.

Lawrence Edwards ARTISTIC DIRECTOR

Dr. Lawrence Edwards has been the Artistic Director of the Memphis Symphony Chorus since 1988, making the 2018â&#x20AC;&#x201C;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.

Dr. Lawrence Edwards, Artistic Director Liz Parsons, Accompanist Soprano 1 Amanda Bice Marcia Buster Alicia Butler* Tiffany Cadenhead Janet Carnall Kimberly Cox Brooklyn Croom Claire E. Fox Heather Gilles Amber Harrington Christa Inmon Helene Kramer Annabel Lee Irene McNamara Jennifer Nelson-Brown Catherine Phelps Angela Price Rhea Reuter Aoife Shanley Stephanie M. Tasch Meghan Troxel Carly Warner Mary Anna Williamson Rosemary Winters Anne Wynn

Soprano 2 Ruth K. Allen McKendreah Brodie Katie Burleson Dianne Curtiss Mathilda D. Doorley Hannah Dyer Julie Harreld Theresa A. Hayes Liz Hoffmaster Beth Hoople Jennifer Kelly Jones Melanie King Rosalyn M. Lake Amy Lillard Amy Love Carole Matthis Sharon McDonough* Laura Metz Jonlyn Miller Tara Nabors Jennifer Peters Kathryn Rogers Alisa M. Smallwood Tracy Thomas Lachelle Walker Deb Dallas Walker Virginia Luke Wallace

Alto 1 Lily S. Axelrod Linda Brittingham Laura J. Crane Lynn M. Dunlap Pamela Gold * Laura Hamel Leeann Hayes Anita Hester * Jiana Hunter Rosalyn Hurt Anita I. Lotz Cindy McCool* Lindsey McLennan Lisa Lucks Mendel * Michelle Miller Kelley Muller-Smith Rebecca Naro Patti Nelson Kenya Nichols Theresa Osbahr Terron K. Perk Samantha Powell Fedoria Rugless Chrisann Schiro-Geist Betty M. Smith Oma R. Strickland Stephanie R. Glenn Tate Kim Eggert Trudell Alison Wetherald

Alto 2 Rachel Brannon Gretchen Carstens Lauren Crabtree Kathie Fox Barbara Frederick Mary Gaudet Andrea Goughnour Gerre Harrell * Vicki C. Hornsby M. Ann Indingaro Suzanne Lease Jean Matthews Cathryn Reynolds Marsha Rider Patricia D. Rogoski Jean Schmidt Mary Seratt Mandi Warren Cindy White* Jackie B. White Tenor 1 Julius Dabbs Clint M. Early, Jr. Adam Gordon Samson Mobashar Dustin Phelps H. Joseph Powell, Jr.* John Sanborn Pat Walker

Tenor 2 Nicholas Clemm Kris Grauel Regi Hinson M. Dylan Hooper John T. Killmar Jordan Nikkel Keith Parsons Keith Phelps David Spear Tim Webster Jaime Yanes

Bass 2 Bob Brittingham Alex Happ Edward M. Holt, Jr. Larry Sedgwick Jack Seubert* Al Whitney* Lewis R. Wright *Denotes chorus board member

Bass 1 Irvine Cherry Christopher Croteau Bill Gaudet Johnny Glover III Mark Hodge Julian T. Jones William P. Kratzke Reggie M. Lesueur James McClanahan* Joseph Miller Eugene M. Reyneke* Isaiah Sackey William G. Weppner Barry White *

PAUL & LINNEA BERT CLASSIC ACCENTS 2

Vivaldi and Piazzolla The Four Seasons Sat, Feb 22, 2020 | 7:30 pm University of Memphis-Harris Auditorium Sun, Feb 23, 2020 | 2:30 pm University of Memphis-Harris Auditorium VIVALDI The Four Seasons (1678 - 1748) Concerto in E major, RV 269 (Spring) Allegro Largo Allegro IAZZOLLA / Arr. Desyatnikov P (1921 - 1992)

The Four Seasons of Buenos Aires (Autumn)

Clayton Hancock, violin

VIVALDI The Four Seasons Concerto in G minor, RV 315 (Summer) Allegro non molto Adagio Presto

PIAZZOLLA

The Four Seasons of Buenos Aires (Winter) Kailee McGillis, violin INTERMISSION

PAUL & LINNEA BERT CLASSIC ACCENTS 2

Vivaldi and Piazzolla The Four Seasons HARVEY FELDER, CONDUCTOR MARCIN ARENDT, BARRIE COOPER, CLAYTON HANCOCK, AND KAILEE McGILLIS, VIOLIN

VIVALDI The Four Seasons Concerto in F major, RV 293 (Autumn) Allegro Adagio molto Allegro

PIAZZOLLA

The Four Seasons of Buenos Aires (Spring) Marcin Arendt, violin

VIVALDI The Four Seasons Concerto in F minor RV 297 (Winter) Allegro non molto Largo Allegro

PIAZZOLLA

The Four Seasons of Buenos Aires (Summer) Barrie Cooper, violin

Immediately after the program, the MSO will host a Question and Answer session from the stage. Session will last app. 15 minutes.

Sponsored by

KNOW THE SCORE, a pre-concert lecture, begins 1 hour prior to show-time Sat, Feb 29 | 6:30 pm Mezzanine Lobby Sun, Mar 1 | 1:30 pm Watkins Room 37

MASTERWORKS IV PRESENTED BY PAUL AND LINNEA BERT

Program Notes

29 February and 1 March 2020 ROBERT PATTERSON (b. 1957- ): Ventures on the Bluff (2013) Duration: approximately 13 minutes Robert G. Patterson resides in Memphis, Tennessee. His music is infused with the popular rhythms and melodic fragments around him, and these provide source material for his personal voice. He is a resident composer with the Luna Nova Ensemble and recent accomplishments include commissions from Opera Memphis, the One Coin Concert series in Osaka, Japan, and First Prize in the NATS Art Song Composition Award. His Requiem for massed choir, soloists, and orchestra received its premiere in November, 2018 by the Rhodes Mastersingers and Memphis Symphony Orchestra. Patterson holds degrees from the University of Pennsylvania, the University of Memphis, and Oberlin College, having studied composition with George Crumb and Don Freund. His compositions have received numerous awards, including the University of Michigan Bands Commission, the International Composition Prize from the City of Tarragona in Spain, and the Distinguished Composer of the Year award from the Music Teachers National Association. He was a resident at the Visby Centre for Composers in Visby, Sweden. In addition to his musical activities, Patterson also has been a professional software developer, and his interest in computers led him to become an expert in musical engraving using a computer. His Patterson Plug-Ins Collection for Finale software is a staple of composers and copyists worldwide. NOTE: The MSO has performed several of Patterson’s compositions, including The Double Edge (in 2001), Postcards from River City (in 2006), and Souvenirs of Christmas (in 2008). In 2010, the Memphis Symphony Orchestra partnered with the Memphis Chamber of Commerce to commission music for a series of videos about small businesses in the greater Memphis area. The project was called “The Soundtrack Project,” and can be found on the web. Originally commissioned for small ensembles, the pieces in this suite have been re-orchestrated and re-composed for orchestra. Each is dedicated to the business featured in its respective video. “The Golden Hour” is for the teams at the helicopter ambulance service, Hospital Wing, who risk their lives every day to save the lives of others. “Star-Spangled Dreams” is for Rosalva King and her service company, Visa Inc., which helps immigrants fulfill their dreams by becoming citizens of the United States. “Bountiful Conveyor” refers to the conveyor belt at Hardy Bottling Company (now Blues City Brewery) that brought Carolyn Hardy from her roots in Orange Mound to being one of the influential captains of industry in the region. The goal of “The Soundtrack Project” was to reveal aspects of Memphis that one normally does not envision when one thinks, “Memphis.” The composer hopes this piece continues that tradition.

EDVARD GRIEG (1843-1907): Piano Concerto in A Minor, Opus 16 Duration: approximately 29 minutes Edvard Hagerup Grieg was one of the 19th century’s leading Romantic composers; his writing style brought the music of Norway into international prominence thanks to its use and development of the country’s native folk music. Grieg was born in Bergen, and first taught to play the piano by his mother, beginning lessons at age six. There was a certain lack of discipline in young Edvard’s approach; he preferred improvising, playing and finding new tunes, rather than working on standard etudes; obviously this trait would stand him in good stead in developing his emerging compositional skills. At age 15, Grieg’s talents came to the attention of the great Norwegian violinist, Ole Bull, a family friend; Bull encouraged Grieg’s parents to send Edvard to the Leipzig Conservatory, where his musical gifts could be further nurtured. His instructors at the Conservatory included Ignaz Moscheles (piano), and Carl Reinecke and Moritz Hauptmann (theory and composition). Following his graduation in 1862, he settled in Copenhagen, Denmark, where he would remain for the next three years. It was here that he met his first cousin, Nina Hagerup, to whom he would become secretly engaged in 1864. They married in June of 1867. The couple would soon relocate to Bergen, though they would not establish a permanent residence there until the building and opening of their villa at Troldhaugen in 1885. In addition to keeping up a demanding performance schedule, Grieg was closely affiliated with the Bergen Philharmonic Orchestra, serving as its Music Director from 1880 until 1882. Following his death, his ashes were entombed in a mountain crypt near Troldhaugen; Nina’s ashes were placed alongside his following her death in 1935. The Piano Concerto in A Minor is one of Grieg’s best known and best loved works. It was composed whilst the composer was on holiday in Søllerød, Denmark, and received its premiere performance the following spring in Copenhagen. Edmund Neupert was the featured soloist, with Holger Simon Paulli leading the Orchestra of the Royal Theater. The work is striking in its similarity to Robert Schumann’s piano concerto—also in A Minor; Grieg heard Robert’s wife, Clara, perform it in 1858, during his early student days in Leipzig. The concerto is scored for woodwinds in pairs, four horns (originally two), two trumpets, three trombones (originally two trombones plus tuba), timpani, and strings. Grieg’s music recalls Norwegian folk music by using typical intervallic relationships, dance references, and imitations of the Hardanger fiddle. The first movement beginning is, in some ways, reminiscent of the start of the Beethoven Violin Concerto with its initial timpani roll (as opposed to the opening four strikes in the Beethoven), though here, the soloist enters immediately rather than following a lengthy orchestral exposition. The movement then follows a typical sonata form pattern, culminating in a substantial cadenza in advance of the closing coda. The second movement, a ternary form Adagio, is mostly serene in nature, though not without a few substantial flurries of activity in the middle section. The third movement is suggestive of another ternary form movement, but following the return of the main theme, shifts both keys (A Minor to A Major) and meters (duple to triple), before concluding with a dramatic and grand rendering of the formerly lyrical middle section theme. NOTE: The Concerto underwent at least seven revisions, the last of which was completed only a few weeks before Grieg’s passing; it is this final revision that has attained enduring 39

MASTERWORKS IV PRESENTED BY PAUL AND LINNEA BERT

Program Notes world popularity. This is also the first piano concerto ever to be recorded: in 1909, by Wilhelm Backhaus. Due to technology limitations, the recording was heavily abridged, lasting only six minutes. Backhaus would go on to record the work in its entirety during the 1930s. MICHAEL GANDOLFI (b. 1956- ): The Garden of Cosmic Speculation Duration: approximately 23 minutes From the Hills to the Stars is dedicated to Paul and Linnea Bert and the Memphis Symphony Orchestra, with all of whom I have had a wonderful relationship spanning many years. From the Hills to the Stars is the newest installment of my ongoing large-scale orchestral suite, The Garden of Cosmic Speculation. The Garden of Cosmic Speculation is an actual garden in the Borders area of Scotland that features large land-sculptures as well as myriad architectural and sculptural details, all of which immerse the visitor in deep thought about the universe and our place in it. One area of this thirty-acre garden is devoted to honoring Scottish Worthies—people of honor in Scotland’s rich history. The garden’s architect, Charles Jencks, commemorates these Worthies with various land-art designs, on which are displayed short writings about each Worthy. Jencks identifies seventeen of these luminaries, several of whom I was inspired to feature in an earlier work, A Garden Feeds Also the Soul. From the Hills to the Stars completes the cycle. For each Worthy I composed a musical passage that relates to the essential qualities identified by Jencks in his writings and inscriptions. For example, Jencks writes of David Hume’s passion for liberty. My first thought was to compose an anthem. I recently wrote such a passage for a wind ensemble work that I felt was the ideal music for this anthem. I repurposed it for this passage. It makes a veiled reference to the Star-Spangled Banner, that while not Scottish, is based on an 18th century English melody. Another example is the music I composed for Walter Scott. Jencks writes of Scott’s historical sentiment. Scott was born eight months, almost to the day, after Beethoven, so I composed a passage that is reminiscent of romantic era music. The text of my score includes a brief phrase for each Worthy derived from Jencks’s writings. They are, in the order in which their music appears: David Livingstone–the good doctor, David Hume–passion for liberty, Robert Burns– young poet, new music, Walter Scott–historical sentiment, Margaret MacDonald and C. R. Mackintosh–new light, Thomas Babington Macaulay–intellect, Andrew Carnegie–gargantuan optimist, Mary Somerville–scientist, astronomer, mathematician…unity of universe, Rebecca West–critical wit, Elsie Maude Inglis– sacrifice, and Adam Smith–social construction. Another feature of the work is the sound of the bagpipes—of course, a hallmark of traditional Scottish music. There are two traditional Scottish melodies in the piece that serve in this capacity. One is heard immediately after the opening fanfare-like passage and is the music for David Livingstone, the second is heard in the penultimate section representing Adam Smith. In the middle of the piece is a folk-like tune that I composed in response to the Scottish bagpipe melodies that I heard in preparation for composing this piece. This is the music for Andrew Carnegie. From the Hills to

the Stars allows the option of including bagpipes to play these tunes with the orchestra. In these passages, I composed for the orchestra in ways that produce sounds not unlike those of the bagpipes, so whether the bagpipes are used or not, their sound will be represented. I owe a great debt to Charles Jencks for his overwhelmingly inspiring land-art. While composing this work, I learned of his passing. I composed a quiet coda in dedication to him. Charles’s work, generosity, and kindness will forever remain with me. IGOR STRAVINSKY (1882-1971): Suite from The Firebird (1919) Duration: approximately 23 minutes In many ways, Igor Stravinsky is to the 20th century what Ludwig van Beethoven was to the 19th: a creative genius whose musical innovations propelled music forward into the new century. Many of his best known compositions are associated with dance, and amongst the most famous, several were written for the Parisbased Ballet Russe, and the company’s impresario, Sergei Diaghilev. Stravinsky was born in the town of Oranienbaum, located approximately 25 miles west of St. Petersburg. He was raised in the latter, where his father, Fyodor, served as a bass singer at the Mariinsky Theatre. He was expected to study law, but spent far more time devoting himself to his musical studies, attending less than fifty classes at the University of St. Petersburg over a four year period. He spent several years during the first decade of the 20th century studying composition privately with Nikolai Rimsky-Korsakov, whom he eventually came to regard as a second father. For a number of years, his family divided its time between Russia and Switzerland, remaining in Switzerland following the outbreak of World War I in 1915. Five years later, the family would relocate to France, with the Stravinskys becoming French citizens in 1934. Shortly following the death of his first wife in 1939, he emigrated to the United States, becoming a naturalised citizen in 1945. His works tend to fall into three different stylistic periods: Russian (1907-1919), Neoclassical (19201954), and Serial (1954 onwards). Stravinsky’s studies with Rimsky-Korsakov obviously bore fruit, for upon hearing a concert featuring some of his works in 1909, the aforementioned Diaghilev commissioned Stravinsky to provide the music for his company’s upcoming ballet, The Firebird; it was the first original score that the company would perform. The work was premiered in Paris in 1910 and proved to be an instant hit with Parisian audiences. It actually appears to be a blending of not one Russian fairy tale but two: the story of the mythical Firebird, with the evil sorcerer, Kashchey, serving as the principal antagonist here. The bare bones of this version are as follows: Prince Ivan captures a magic Firebird, and upon releasing her, is given one of her feathers in gratitude, along with the promise that she will come to his assistance should the need arise. Prince Ivan travels to Kashchey’s castle, where thirteen Princesses are imprisoned. He does battle with Kashchey and his minions, calling upon the Firebird’s assistance. Eventually he wins the day, and marries one of the Princesses. While this music is very much written in the manner of a late 19th century-early 20th century work (obvious tonalities and meters, a large orchestra, lush melodic lines), there are also hints of things to come (strong rhythms, dissonant chords, and an emphasis on brass and percussion). Stravinsky extracted three Suites from the original ballet score in 1911, 1919, and 1945. The 1919 version is the best known and most popular, and that is the version we’ll be hearing in this set of concerts. by Michelle Pellay-Walker

Featured Artist Bryan Wallick

PIANO

Bryan Wallick is gaining recognition as one of the great American virtuoso pianists of his generation. Gold medalist of the 1997 Vladimir Horowitz International Piano Competition in Kiev, he has performed throughout the United States, Europe, and Africa. Mr. Wallick made his New York recital debut in 1998 at Carnegie’s Weill Recital Hall and made his Wigmore Hall recital debut in London in 2003. He has also performed at London’s Queen Elizabeth Hall with the London Sinfonietta and at the St. Martin-in-the-Fields Church with the London Soloist’s Chamber Orchestra. In recent seasons, Mr. Wallick has performed with the Arizona Musicfest All-star Orchestra, Boise Philharmonic, Brevard Symphony, Cape Town Philharmonic, Cincinnati Pops, Evansville Philharmonic, Eastern Cape Philharmonic, Free State Symphony, Gauteng Philharmonic, Illinois Philharmonic, Johannesburg Philharmonic, Kentucky Symphony, Kwa-Zulu Natal Philharmonic, Phoenix Symphony, Portland Symphony, Winston-Salem Symphony; and collaborated with Erich Kunzel, Marvin Hamlisch, Robert Moody, Daniel Raiskin, Daniel Boico, Arjen Tien, Yasuo Shinozaki, Andrew Sewell, Vladimir Verbitsky, Victor Yampolsky, Josep Vicent, Leslie Dunner, Alfred Savia, Christopher Confessore, and Carmon Deleon among others. Mr. Wallick has performed recitals at the Chateau Differdange in Luxembourg, on the Tivoli Artists Series in Copenhagen, Ravinia’s Rising Star Series, Xavier Piano Series (Cincinnati), Scottsdale Center’s Steinway Series, Sanibel Island Music Festival, and the Classics in the Atrium Series in the British Virgin Islands. In March 2002, Mr. Wallick played two solo performances at Ledreborg Palace for HRH Princess Marie Gabrielle Luxembourg, and HRH Prince Philip Bourbon de Parme. Bryan Wallick is an avid chamber musician and has performed with violinists Yi-Jia Susanne Hou, Nikita Boriso-Glebsky, Rachel Lee Priday, Miriam Contzen, Sergei Malov, Zanta Hofmeyer, and cellists Zuill Bailey, Alexander Buzlov, Alexander Ramm, Wolfgang Emmanuel Schmidt and Peter Martens. In 2015 he took over as Artistic Director of Schalk Visser/Bryan Wallick Concert Promotions which hosts many international musicians who perform concert tours throughout South Africa. Mr. Wallick has been invited to be a guest soloist at the July 2019 International Keyboard Odyssiad and Festival in Colorado and has also been invited to judge the 2nd Olga Kern International Piano Competition in Albuquerque, New Mexico in November 2019. 42

Bryan Wallick’s 2018-19 engagements included return appearances with the Butler Philharmonic, Cape Philharmonic, Pretoria Symphony Orchestra, Free State Symphony Orchestra, Johannesburg Philharmonic, and solo recitals at the Ravinia Festival in Chicago, Rising Star Series in South Hampton, New York, Grand Piano Series in Naples, Florida, Fitton Center in Hamilton, Ohio, and other recitals throughout South Africa. He performed with Russian trio partners violinist Nikita Boriso-Glebsky and cellist Alexander Buzlov for a tour of South Africa in June 2018. He also performed with soprano Hanli Stapela at the September 2018 “Doctor’s in Performance” conference held in Vilnius, Lithuania, and with cellist Alexander Ramm on a South Africa tour in June 2019. His 2019-20 engagements include return engagements with the Johannesburg Philharmonic, Kwa-Zulu Natal Philharmonic, debut performances with the Memphis Symphony Orchestra, Colorado State University Symphony, Gauteng Philharmonic Orchestra and recitals at Colorado State University, University of Texas (Austin), University of Texas (El Paso), Scottsdale Center in Arizona, Ravinia Festival, and throughout South Africa and Zimbabwe. Mr. Wallick has performed on Chicago’s WFMT Fazioli Series and “Live on WFMT,” on BBC’s radio show “In Tune,” National Ukrainian Television and Radio, on Danish National Radio, and on NPR’s “Performance Today.” He was given a grant in 2006 by the Scottsdale Center for the Performing Arts to explore his synesthetic realities in a multimedia project that allows the audience to see the colors he experiences while performing. Synesthesia is the ability to experience two or more sensory experiences with one stimulus. Bryan Wallick sees colors with each musical pitch and has created a computer program that projects images of his colored visions to the audience. Mr. Wallick studied with Jerome Lowenthal in New York City where he was the first Juilliard School graduate to receive both an undergraduate Honors Diploma (2000) and an accelerated master’s Degree (2001). He continued his studies with Christopher Elton in London at the Royal Academy of Music where he was the recipient of the Associated Board International Scholarship, receiving a Postgraduate Diploma with Distinction, and previously studied with Eugene and Elisabeth Pridonoff at the Cincinnati College Conservatory of Music. Mr. Wallick has recently been appointed as assistant-professor of piano at Colorado State University. George Plimpton’s feature article on Bryan Wallick appeared in the March 2002 edition of Contents magazine.

MASTERWORKS V PRESENTED BY PAUL AND LINNEA BERT

Strauss, Tchaikovsky, and Shostakovich Sat, Mar 21, 2020 | 7:30 pm Cannon Center for the Performing Arts

ROBERT MOODY, CONDUCTOR ZUILL BAILEY, CELLO

Sun, Mar 22, 2020 | 2:30 pm | GPAC

R. STRAUSS (1864 - 1949)

Don Juan, opus 20

TCHAIKOVSKY Variations on a Rococo Theme (1840 - 1893) for Cello and Orchestra, opus 33 INTERMISSION SHOSTAKOVICH Symphony No. 5 in D minor, opus 47 (1906 - 1975) Moderato Allegretto Largo Allegro non troppo

Concert given in memory of Dr. James G. McClure.

Immediately following the performance, Maestro Robert Moody and Zuill Bailey will host a Question and Answer session from the stage with interested audience members. Session will last app. 15 minutes. Sponsored by

KNOW THE SCORE, a pre-concert lecture, begins 1 hour prior to show-time Sat, Mar 21 | 6:30 pm Mezzanine Lobby Sun, Mar 22 | 1:30 pm Watkins Room 45

MASTERWORKS V PRESENTED BY PAUL AND LINNEA BERT

Program Notes 21 and 22 March 2020

RICHARD STRAUSS (1864-1949): Don Juan, opus 20 Duration: 19 minutes Richard Georg Strauss, the son of the great horn virtuoso Franz Strauss, was born and raised in Munich, Germany. His musical education began early, at the age of four, with piano instruction from August Tombo, harpist with the Munich Court Orchestra. Theory and orchestration lessons with the orchestra’s assistant conductor commenced shortly after he began attending the ensemble’s rehearsals, and he was composing his own works by age six (with nearly 150 composed works to his credit by the time he turned eighteen!!). He started taking violin lessons in 1872 with Benno Walter, and at age eleven, he would begin a five-year course of compositional studies with Friedrich Wilhelm Meyer. Further early influence was provided by his father, and by Ludwig Thuille, a family friend. He entered the University of Munich in 1882, and later enrolled in the Ludwig Maximilian University of Munich. Relocating to Berlin a year later, Strauss became assistant conductor of the Meiningen Court Orchestra, becoming its Interim Principal Conductor following Hans von Bulow’s unexpected resignation. This was the first of several important conducting posts that he would hold over the course of his lifetime. His early composition style was most strongly influenced by the music of Richard Wagner and Franz Liszt, with earlier influences being provided by the music of Felix Mendelssohn, Robert Schumann, and Johannes Brahms. In addition to his tone poems for orchestra, he composed several concertos, operas, lieder, and chamber works. The Spanish legend of Don Juan, the licentious ladies’ man, has been well known for nearly four centuries, with the first written account appearing in 1630. Various retellings of his fictitious doings spread throughout Europe, including Mozart’s very popular opera, Don Giovanni. Strauss’s version, an instrumental tone poem, is one of the great virtuoso showpieces for orchestra, and was written when the composer was only twenty-four years of age. It was premiered in Weimar in November of 1889, with Strauss conducting the orchestra of the Weimar Opera. It was very well received, becoming an international success, and it firmly established his reputation and career both as composer and conductor. The orchestra is quite large, calling for triple woodwinds (with the exception of the clarinets), full brass, percussion, harp, and strings. The source that Strauss used is Nikolaus Lenau’s “Don Juans Ende,” and references to this play may be found in Strauss’ original score. In this version, Don Juan attempts to find the ideal woman—over and over again, as it turns out—but never succeeds. Despairing of ever doing so, he succumbs to the inevitable at the end of the tone poem. From a musical standpoint, two of the most notable moments occur near the middle of the piece: first, the beautifully lyrical oboe solo; then, the rousing horn call (played by all four horns) that precedes the return of the opening material. 46

PIOTR TCHAIKOVSKY (1840-1893): Variations on a Rococo Theme, opus 33 Duration: approximately 20 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. His 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. Tchaikovsky’s great admiration of Mozart and of music from the Classical period would eventually lead to the composition of the Rococo Variations (the work’s title is somewhat misleading in that the referred-to theme is Tchaikovsky’s, and not from the earlier stylistic period). The Variations were written for German cellist Wilhelm Fitzenhagen, who, along with Tchaikovsky, was a fellow Moscow Conservatory professor. Composed over an approximately four-month period, between December 1876 and March 1877, the premiere performance of the work was given by the Russian Musical Society in Moscow in November of 1877, with Nikolai Rubinstein conducting, and Fitzenhagen as featured soloist. The scoring is relatively light, featuring pairs of woodwinds, two horns, and strings. As originally written, the work consists of a theme followed by eight variations and a coda, but for many years, it was almost never heard that way. The version heard in most performances reflects drastic modifications introduced by Fitzenhagen: These modifications included dropping one variation entirely, and scrambling the order of the interior variations, though the Theme, Variation I, and the Coda remain as Tchaikovsky intended. The solo part is very demanding, with extensive work in the upper register involving thumb position (thumb of the left hand on the fingerboard rather than behind the neck). The mood of the work shifts constantly, and the two slow variations are particularly beautiful. [NOTE: Rococo style can be characterised as light, intimate music with extremely elaborate and refined forms of ornamentation; this style provides a bridge between the Baroque and Classical eras from an historical standpoint.]

MASTERWORKS V PRESENTED BY PAUL AND LINNEA BERT

Program Notes DMITRI SHOSTAKOVICH (1906-1975): Symphony No. 5 in D minor, opus 47 Duration: approximately 45 minutes Dmitri Dmitriyevich Shostakovich, an engineer’s son, was born in Saint Petersburg (renamed Petrograd in 1914), and began taking piano lessons with his mother at the age of nine. When he was thirteen, he entered the Petrograd Conservatory, studying piano first with Elena Rozanova, then with Leonid Nikolayev; composition lessons were later taken with Maximilian Steinberg, along with studies in counterpoint administered by Nikolay Sokolov. His First Symphony, premiered in 1926, was written as a graduation exercise—for the once again renamed (in 1924) Leningrad Conservatory. He initially pursued a dual career as a concert pianist and composer, but soon turned his focus to writing, seldom playing any but his own compositions after 1927. His fascination with the music of Igor Stravinsky and Sergei Prokofiev, coupled with a perceived lack of political zeal, kept him in and out of trouble with the Soviet government for nearly two decades, and resulted in two denunciations that had very nearly catastrophic consequences. Nonetheless he endured, outlasting the overtly hostile political environment, and has rightfully taken his place as one of the twentieth century’s greatest composers. His output was substantial, including 15 symphonies, 15 string quartets, 6 concerti, a set of 24 Preludes & Fugues for solo piano, and a whole host of other works in the genres of orchestral music, chamber music, piano music, vocal music, and film scores. The Fifth Symphony was written following Shostakovich’s first major run-in with the political authorities; his opera, Lady Macbeth of the Mtsensk District, had provoked an official denunciation of his music, which appeared as an anonymous opinion piece in Pravda (then the official newspaper of the Soviet Union’s Communist Party) in early 1936. One direct result of this was the Fifth Symphony, and it succeeded in “rehabilitating” the composer in the Party’s eyes (“…a Soviet artist’s creative response to justified criticism” is a quote attributed to Shostakovich that appeared in print shortly before the work’s first performance). It was composed over a three-month period between April and July in 1937, and premiered in Leningrad in November, featuring the Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky. It was enthusiastically received by the audience, which gave it an extended ovation at its conclusion that lasted at least a half-hour. The orchestration calls for woodwinds in pairs (plus piccolo, E-flat clarinet, and contrabassoon), full brass, a large number of percussion instruments, two harps, piano, celesta, and strings. The four movements encompass a wide variety of moods: dramatic and somber (first); almost playful (second); yearningly lyrical (third). The last movement is still subject to debate, especially its conclusion: Has good truly triumphed over evil?? Is the joyful nature depicted genuine or enforced?? A last note of interest: Shostakovich references one of his earlier songs in the haunting middle section of Movement Four. Vozrozhdenije (Rebirth), Opus 46, No. 1, is a setting of a poem by Alexander Pushkin, and it is the accompanying figure that is alluded to in the symphony. This is a lovely work, and can be found via the following link: https://youtu.be/1j-bvuhCKH8. by Michelle Pellay-Walker

Featured Artist Zuill Bailey CELLO

Zuill Bailey, widely considered one of the premiere cellists in the world, is a Grammy Award-winning, internationally renowned soloist, recitalist, Artistic Director and teacher. His rare combination of celebrated artistry, technical wizardry and engaging personality has secured his place as one of the most sought after and active cellists today. A consummate concerto soloist, Mr. Bailey has been featured with symphony orchestras worldwide, including Los Angeles, Chicago, San Francisco, Detroit, Indianapolis, Dallas, Louisville, Honolulu, Milwaukee, Nashville, Toronto, Colorado, Minnesota, Utah, Israel, Cape Town, and the Bruchner Orchestra in Linz, Austria. He has collaborated with such conductors as Itzhak Perlman, Alan Gilbert, Andrew Litton, Neeme Jarvi, Giancarlo Guerrero, James DePriest, Jun Markl, Carlos Kalmar, Andrey Boreyko, Krzysztof Urbanski, J acques Lacombe, Grant Llewellyn and Stanislav Skrowaczewski. He also has been featured with musical luminaries Leon Fleisher, Jaime Laredo, the Juilliard String Quartet, Lynn Harrell and Janos Starker. Mr. Bailey has appeared at Disney Hall, the Kennedy Center, the United Nations, Alice Tully Hall, the 92nd St. Y and Carnegie Hall, where he made his concerto debut performing the U.S. premiere of Miklos Theodorakis’ “Rhapsody for Cello and Orchestra.” In addition, he made his New York recital debut in a sold out performance of the complete Beethoven Cello Sonatas at the Metropolitan Museum of Art. Bailey also presented the U.S. premiere of the Nico Muhly Cello Concerto with the Indianapolis Symphony Orchestra. World premieres include works by composers such as Lowell Lieberman, Phillip Lasser, Roberto Sierra, Benjamin Wallfisch and Michael Daugherty. His international appearances include notable performances with the Moscow Chamber Orchestra in its 50th anniversary tour of Russia as well as concerts in Australia, the Dominican Republic, France, Israel, Spain, South Africa, Hong Kong, Jordan, Mexico, South America and the United Kingdom. Festival appearances include Ravinia, the Interlochen Center for the Arts, Manchester Cello Festival (UK), Wimbledon (UK), Consonances–St. Nazaire ( France), Australian Festival of Chamber Music, Deia Music Festival–Mallorca (Spain), Montreal (Canada), Santa Fe, Caramoor, Chautauqua, Bravo!, Vail Valley, Maverick Concert Series, Brevard, Interlochen, Cape Cod and the Music Academy of the West. In addition, he was the featured soloist performing the Elgar Cello Concerto at the Bard Festival in the World Premiere of the Doug Varrone Dance Company performance of “Victorious.” 49

Zuill Bailey is a renowned recording artist with over twenty titles. Mr. Bailey won a best solo performance Grammy Award in 2017 for his Live Recording of “Tales of Hemingway,” by composer Michael Daugherty. The celebrated CD, recorded with the Nashville Symphony, Giancarlo Guerrero, conductor, also won a Grammy for best composition, “Tales of Hemingway,” and Best Compendium. His celebrated “Bach Cello Suites” and recently released Britten Cello Symphony/ Sonata CD with pianist Natasha Paremski, immediately soared to the Number One spot on the Classical Billboard Charts. Other critically acclaimed recordings include his live performances with the Indianapolis Symphony of the Bloch Schelomo, Muhly Cello Concerto (World Premiere), Brahms Sextets with the Cypress Strings Quartet, Elgar and Dvořák Cello Concertos, described by Gramophone magazine as the new “reference” recording and one that “sweeps the board.” In addition, the Dvořák Cello Concerto CD is listed in the “Penguin’s Guide,” as one the Top 1000 Classical Recordings of all time. Zuill Bailey’s other releases include “Brahms” complete works for cello and piano with pianist Awadagin Pratt, and “Russian Masterpieces” showcasing the works of Tchaikovsky and Shostakovich performed with the San Francisco Ballet Orchestra. Mr. Bailey is featured on the chart topping Quincy Jones–produced “Diversity,” with pianist/composer Emily Bear. Other releases include his innovative “Spanish Masters” CD for Zenph Studios, where he forms a unique duo blending with recordings of composer Manuel de Falla and an all American recital program with Pianist Lara Downes on the Steinway and Sons label. His discography also includes a debut recital disc for Delos, Cello Quintets of Boccherini and Schubert with Janos Starker, Saint-Saens Cello Concertos No. 1 and 2 “Live,” and the Korngold Cello Concerto with Kaspar Richter and the Bruckner Orchestra Linz for ASV. Zuill Bailey was named the 2014 Johns Hopkins University Distinguished Alumni and was awarded the Classical Recording Foundation Award for 2006 and 2007 for Beethoven’s complete works for Cello and Piano. The highly touted two disc set with pianist Simone Dinnerstein was released on Telarc worldwide. In celebration of his recordings and appearances, Kalmus Music Masters has released “Zuill Bailey Performance Editions,” which encompasses the core repertoire of cello literature.

Network television appearances include a recurring role on the HBO series “Oz,” NBC’s “Homicide,” A&E, NHK TV in Japan, a live broadcast and DVD release of the Beethoven Triple Concerto performed in Tel Aviv with Itzhak Perlman conducting the Israel Philharmonic, and a performance with the National Symphony Orchestra of Mexico City. Mr. Bailey is also featured in the televised production of the Cuban premiere of Victor Herbert’s Cello Concerto No. 2 with the National Orchestra of Cuba. He has been heard on NPR’s “Morning Edition,” “Tiny Desk Concert,” “Performance Today,” “Saint Paul Sunday,” BBC’s “In Tune,” XM Radio’s “Live from Studio II,” Sirius Satellite Radio’s “Virtuoso Voices,” the KDFC Concert Series, KUSC, Minnesota Public Radio, WQXR’s “Cafe Concert,” WFMT and RTHK Radio Hong Kong. Mr. Bailey received his Bachelor’s and Master’s Degrees from the Peabody Conservatory and the Juilliard School. His primary teachers include Loran Stephenson, Stephen Kates and Joel Krosnick. Mr. Bailey performs on the “rosette” 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, he is the Artistic Director of El Paso Pro-Musica (Texas), the Sitka Summer Music Festival/Series and Cello Seminar, (Alaska), the Northwest Bach Festival (Washington), Classical Inside and Out Series–Mesa Arts Center(Arizona) and Director of the Center for Arts Entrepreneurship at the University of Texas at El Paso.

MASTERWORKS VI PRESENTED BY PAUL AND LINNEA BERT

Carmina Burana

Sat, Apr 25, 2020 | 7:30 pm Cannon Center for the Performing Arts Sun, Apr 26, 2020 | 2:30 pm Cannon Center for the Performing Arts

ROBERT MOODY, CONDUCTOR SUSANNA BILLER, SOPRANO ROBERT MACK, TENOR ERIK EARL LARSON, BARITONE MEMPHIS SYMPHONY CHORUS AND UNIVERSITY OF MEMPHIS CHORUS DR. LAWRENCE EDWARDS, ARTISTIC DIRECTOR ORFF ELEMENTARY COMBINED CHILDREN’S CHORUS

MASON BATES Children of Adam (b. 1977) Walt Whitman, “From Pent-Up Aching Rivers” Psalms 144 & 128 Walt Whitman, “I Sing the Body Electric” Tolepe Menenak (“Turtle Island”) from the Mataponi Indians of Virginia Carl Sandburg, “Prayers of Steel” & “Smoke and Steel” from The Book of Genesis Walt Whitman, “To the Garden, the World” INTERMISSION ORFF Carmina burana:Cantiones profanae (1895 - 1982) Fortuna imperatrix mundi (Fortune, Empress of the World) Primo vere (In Springtime) Uf dem Anger (On the Green) In taberna (In the Tavern) Cour d’amours (The Court of Love) Blanziflor et Helena (Blanziflor and Helena) Fortuna imperatrix mundi

Immediately following the performance, Maestro Robert Moody and friends will host a Question and Answer session from the stage with interested audience members. Session will last app. 15 minutes. Sponsored by

KNOW THE SCORE, a pre-concert lecture, begins 1 hour prior to show-time Sat, Apr 25 | 6:30 pm Mezzanine Lobby Sun, Apr 26 | 1:30 pm Mezzanine Lobby 53

MASTERWORKS VI PRESENTED BY PAUL AND LINNEA BERT

Program Notes 25 and 26 April 2020

FORTUNA IMPERATRIX MUNDI (FORTUNE, EMPRESS OF THE WORLD) O Fortuna (O Fortune) Fortune plango vulnera (I bemoan the wounds of Fortune) I. PRIMO VERE (IN SPRINGTIME) Veris leta facies (The merry face of spring) Omnia sol temperat (The sun warms everything) Ecce gratum (Behond, the pleasant spring) UF DEM ANGER (ON THE LAWN) Tanz (Dance) Floret silva nobilis (The woods are burgeoning) Chramer, gip die varwe mir (Shopkeeper, give me colour) Reie (Round dance) Were diu werlt alle min (Were all the world mine) II. IN TABERNA (IN THE TAVERN) Estuans interius (Burning Inside) Olim lacus colueram (The Roast Swan) Ego sum abbas (I am the abbot) In taberna quando sumus (When we are in the tavern) III. COUR Dâ&#x20AC;&#x2122;AMOURS (THE COURT OF LOVE) Amor volat undique (Cupid flies everywhere) Dies, nox et omnia (Day, night, and everything) Stetit puella (A girl stood) Circa mea pectora (In my heart) Si puer cum puellula (If a boy with a girl) Veni, veni, venias (Come, come, O come) In truitina (In the balance) Tempus est iocundum (This is the joyful time) Dulcissime (Sweetest one) BLANZIFLOR ET HELENA (BLANCHEFLOUR AND HELEN) Ave formosissima (Hail, most beautiful one) FORTUNA IMPERATRIX MUNDI (FORTUNE, EMPRESS OF THE WORLD) O Fortuna (O Fortune) Complete texts with translations may be found at http://www.classical.net/ music/comp.lst/works/orff-cb/carmlyr.php, and are the property of Schott Musik International, Mainz, Germany. by Michelle Pellay-Walker

MASON BATES (b. 1977- ): Children of Adam Duration: approximately 27 minutes Mason Bates is a Grammy award-winning American composer originally from Richmond, Virginia. He is a graduate of the Columbia University-Juilliard School Exchange Program, and of the University of California, Berkeley. His composition instructors have included John Corigliano, David Del Tredici, Samuel Adler, and Edmund Campion. His awards have included First Prize at the Van Cliburn American Composer Invitational in 2008, a Guggenheim Fellowship (also in 2008), the Heinz Award in 2012, and in 2018 he was named Composer of the Year by Musical America. He has served as Composer-in-Residence for the California Symphony and the Chicago Symphony, and in 2015 was named as Composer-in-Residence of the Kennedy Center for the Performing Arts in Washington, D.C. He also serves on the faculty of the San Francisco Conservatory of Music. Commissions include works written for the National Symphony, the San Francisco Symphony, the Santa Fe Opera, and the YouTube Symphony. His first opera, The (R)evolution of Steve Jobs, recently received the Grammy Award for Best Opera Recording of 2018. From the composer’s website (https://www.masonbates.com/children-of-adam/): “Children of Adam is a collection of exuberant celebrations of creation, from American poets to sacred and Native American texts. The title comes from a Whitman poem that appears throughout the work in the form of brief “fanfare intermezzos.” His celebrations of sensuality, considered provocative at the time, explore the connection of the body and the soul. Between these choral fanfares, each movement of the work offers a different perspective on creation. Presented as a pair, the two Psalms offer colorful imagery of fertility, from crops to children—who are compared to olive shoots sprouting around the kitchen table. The harp is given a prominent role in the role of the “ten-stringed lyre” mentioned in the text. Later in the work, another biblical text comes in a darker vein, with the Book of Genesis’ description of the creation of the world conjured in music both frightening and, ultimately, impassioned. An interesting secular complement to these sacred texts are two poems by Carl Sanburg, who describes the creations of the Industrial Age in a highly reverent manner in “Prayers of Steel.” The central movement of the cycle is a setting of “Tolepe Menenak” (Turtle Island) from the Mattaponi Indians, whose reservation is close to my family’s farm in King & Queen County, Virginia. It was incredibly inspiring to explore a creation text whose roots are so close to that of my own family. The text, in native East Coast Algonquian, was sung to me by Sharon Sun Eagle at the reservation, where I visited with my first piano teacher Hope Armstrong Erb. She has continued to be a mentor to me, and to whom the work is dedicated.”

MASTERWORKS VI PRESENTED BY PAUL AND LINNEA BERT

Program Notes CARL ORFF (1895-1982): Carmina Burana: Cantiones Profanae Duration: approximately 60 minutes German composer Carl Orff, born in Munich, began his musical studies at age five, learning piano and organ along with the cello, and even beginning to compose songs and music for puppet theatre. He entered the Munich Academy of Music in 1912, independently studying the works of Schönberg and Debussy; his time there being interrupted by service in the German Army during World War I. He later held opera house positions in Mannheim and in Darmstadt, before returning to Munich to work as a freelance composer. In 1924, Orff, along with Dorothee Gunther, founded the Gunther School, where he began to formulate his concepts of music education; this led to the publication, in 1930, of Schulwerk, a children’s music education method that incorporates elements of music, movement, drama, and speech into a child’s world of play. [Today, the Schulwerk is used all over the world, and has a very strong presence in the Shelby County Schools here in Memphis. The MSO partners with the SCS in our Orff Side-By-Side program, which has been very rewarding for all involved.] Orff’s association with the Nazi Party has been a matter of long-standing debate; be that as it may, his assertion that he had been anti-Nazi during World War II was later accepted by the American denazification authorities, which allowed him to continue to compose for public presentation. Many of his later works were inspired by topics and texts from antiquity, and mirrored his earlier interest in adapting period works for contemporary presentation. Carmina Burana (Songs of Beuern), Orff’s best-known composition, was written in 1935 and 1936, receiving its premiere performance at Oper Frankfurt in June of 1937. It is based on 24 poems from the medieval collection of the same name. Originally intended to be performed as a staged work, complete with dance, choreography, and visual design, today it is normally performed in a concert hall setting. The work is scored for a huge orchestra that includes a dozen woodwinds with doubled auxiliary instruments, a full brass section, nearly twenty different percussion instruments, two pianos, celesta, strings, two SATB choirs, a children’s choir (originally boys), and soprano, tenor, and baritone soloists. The primary language of the texts is Latin; Songs 7 and 18, Songs 8-10, and Song 16 are in Latin/Middle High German, Middle High German, and Latin/ Old French, respectively. The songs cover a wide range of topics, including (but not limited to) fortune’s whims, wealth, the coming of spring, and the joys (and dangers) of living life to its fullest: drinking, gluttony, greed, gambling, love, lust. While the Nazi regime was at first uneasy about the eroticism of some of the chosen poetry, they eventually came to accept the work, which proved to be highly successful from the very first. It continues to be one of the most popular works for today’s concert-going audience, and has been featured in many films and television commercials.

Featured Artists Susannah Biller

SOPRANO

Soprano Susannah Biller has been praised for her “incandescent, exquisitely supple soprano” (Dallas Morning News) and her “light, sweet lyric voice and coloratura agility” (Chicago Tribune). An alumnus of the prestigious Adler Fellowship Program with San Francisco Opera, she was seen as Frasquita in Carmen, Lolita in the world premiere of John Harbison’s Heart of a Soldier, Kristina in The Makropoulos Case and Madame Herz in Der Schauspieldirektor. Additional productions with San Francisco Opera include Der Ring des Nibelungen, Serse and Werther. Recent seasons have seen her as Norina in Don Pasquale with Minnesota Opera, Lieschen in Der Ring des Polykrates with The Dallas Opera, Nanetta in Falstaff with Opera Colorado, and her role debut as Rosalinde in Die Fledermaus with Des Moines Metro Opera. Engagements for the 2018-2019 season included the revival of her Kitty Packard in Dinner at Eight in her Wexford Festival debut as well as the title role in Madame White Snake on tour with Beth Morrison Projects for the Hong Kong Arts Festival, Musetta in La bohème with Austin Opera, and a return to Opera Theatre of St. Louis as the Countess in Le nozze di Figaro. The 2019-2020 season sees her as a soloist for Dona nobis pacem with the Chattanooga Symphony and Carmina Burana with the Memphis Symphony.

Robert Mack TENOR

A member of the critically-acclaimed Three Mo’ Tenors, Robert Mack receives glorious reviews for his powerful and sweet lyric tenor voice, throughout the U.S. and Europe.   This season, Mr. Mack can be heard singing the tenor solo in Handel’s Messiah, a soloist with the Moab Music Festival and Alvin Ailey American Dance Theater, and in Porgy and Bess with Toledo Opera and Springfield Symphony. He has performed principal roles with noted opera companies, such as Houston Grand Opera, New York City Opera, Opéra Française de New York, Nashville Opera, Opera Carolina, Opera Company of Philadelphia, Indianapolis Opera, The Paris Bastille, The Teatro Real in Spain, The Royal Danish Theater, Palacio de Bellas Artes in Mexico City and is on the roster of The Metropolitan Opera.   He performs tenor solos with The Collegiate Chorale and The Alvin Ailey Dance Company in Revelations and performed in Spoleto Festival’s premier of Amistad where the critics made mention of his very solid performance. He also performed on Broadway in Smokey Joe’s Café. He can be heard on DECCA records, Paragon records KSW Music. Mr. Mack co-founded and is the General Director of Opera Noire of New of New York.

Erik Earl Larson BARITONE

Erik Earl Larson is a young, American baritone originally from the small farming town of Evansville, Wisconsin. During the 2018-19 season, Erik joins Fort Worth Opera as a FWO-TCU Lesley Artist where he will perform the Father in Hansel and Gretel for family performances. Other engagements this season include Fort Worth Opera’s Frontiers showcase during the 2019 spring festival. During the 2017-18 season, Erik sang both Le Dancaïre and Escamillo in Carmen in two separate productions—the former under the baton of John DeMain with Madison Opera, and the latter in concert with the Parkway Concert Orchestra. Other recent highlights include Golaud in Pelléas et Mélisande, Figaro in Le nozze di Figaro, Maguire in Emmeline, and Sid in Albert Herring all with the Boston University Opera Institute. Erik has been a young artist with Des Moines Metro Opera, Sarasota Opera, and the Music Academy of the West. He studied at the University of WisconsinMadison and the Boston University Opera Institute. He has received recognition in competition from the Metropolitan Opera National Council Auditions, the Gerda Lissner Foundation, and the Giulio Gari Foundation.

MEMPHIS SYMPHONY ORCHESTRA POPS

Rhapsody in Blue

Sat, May 9, 2020 | 7:30 pm Cannon Center for the Performing Arts

JOHN WILLIAMS (b. 1932)

ROBERT MOODY, CONDUCTOR VANESSA THOMAS, VOCALIST TAMIR HENDELMAN, PIANO

Olympic Fanfare and Theme (1984 L.A. Olympics)

BERNSTEIN/MASON Selections from West Side Story (1918 - 1990) GERSHWIN “Summertime” from Porgy and Bess (1898 - 1937)

AFRICAN AMERICAN SPIRITUAL

“Sometimes I Feel Like a Motherless Child”

GERSHWIN/GROFE Rhapsody in Blue (1898 - 1937) INTERMISSION PORTER/BENNETT “Begin the Beguine” (1891 - 1964)(b. 1926) PUCCINI “Un bel di, vedremo,” from Madame Butterfly (1858 - 1924) SPARKS “Every Day I Have the Blues” (1910 - 1935) DUKAS The Sorcerer’s Apprentice (1865 - 1935)

Featured Artists Tamir Hendelman PIANIST

Pianist Tamir Hendelman is an acclaimed jazz pianist, composer and arranger celebrated for his nuanced touch, imaginative arrangements and natural feel for the Great American Songbook. A graduate of the Eastman School of Music, his classical composition background informs his work as arranger and leader of his own trio. Tamir Hendelman is equally comfortable within the modern jazz vernacular and in his recorded work with vocalists such as Natalie Cole, Paul McCartney and Barbra Streisand. His jazz recordings display a dynamic sense of swing combined with a lyrical approach, informed as well by his love of French and Brazilian music, as well as his Israeli musical heritage. A member of the Clayton-Hamilton Jazz Orchestra and the Jeff Hamilton Trio since 2000, Tamir Hendelman has released two recordings as a leader of the Tamir Hendelman Trio : Playground (Swing Bros, 2008) and Destinations (Resonance 2010). Reaching #1 on the jazz charts, Destinations takes listeners along on a voyage of musical discovery. The music ranges from originals to Jobim, Keith Jarrett and Maurice Ravel. “Destinations to me is not only about the places I have traveled to, but also about the journey of being a jazz musician.” Tamir Hendelman in 2001 premiered John Clayton’s version of Oscar Peterson’s Canadiana Suite with the Clayton-Hamilton Jazz Orchestra at the Hollywood Bowl. Oscar Peterson wrote in his online journal: “It was a satisfying but strange feeling…to hear a new young voice make some exhilarating and thoughtful solos in the spaces that I used to occupy in those pieces…I look forward to hearing more from him.” He has recorded with Barbra Streisand on “Love Is The Answer” (2009) and “One Night Only: An evening at the Village Vanguard” and performed on her 2012 North American orchestral tour of North America. Other career highlights include performances with saxophone legend Benny Golson, arranging for virtuoso Eurpean accordionist Richard Galliano and Brazilian trumpeter Claudio Roditi and his recorded work with Italian jazz vocalist Roberta Gambarini.

Tamir Hendelman has performed Rhapsody in Blue with the Winston Salem Symphony in 2013 and and the Arizona Musicfest Orchestra in 2018. In 2018 he performed a tribute to Jobim with members of the Pittsburgh Symphony Orchestra. Since 2005 he has been on the faculty of the University of California, Los Angeles teaching jazz improvisation, piano, harmony and composition. He has conducted workshops in universities and schools in Asia, Europe and the U.S. “There are many fine pianists with impressive technique and swing who are convincing in a number of styles and play with real feeling. What increasingly distinguishes Hendelman is his gift for imaginative arranging…He will compose an introduction that makes it difficult to predict what follows, but seems perfectly suited—even organic—once the tune begins.” (www.allaboutjazz.com)

Vanessa Thomas

SOPRANO/MEZZO SOPRANO Ms. Thomas is a popular vocalist in the Kansas City area and performs regularly throughout the country delighting audiences everywhere she is heard. Thomas is known for her seamless span of five octaves, and unique versatility and command of a variety of musical genres including opera, traditional choral masterworks, jazz, blues, gospel and music theater. Thomas performs regularly with Grammy-awardwinning trumpet virtuoso, Doc Severinsen and has shared the stage with other notable players including Ernie Watts, Ed Shaughnessy, Mike Metheny, Wayne Bergeron and Byron Stripling. She has sung under the baton of James Conlon, John Morris Russell, Julius Rudel, and Robert Spano, and worked with arrangers Dick Lieb, Adi Yeshaya, Alan Baylock, and Jay Chattawy. Performance credits include Thomas’ lead role in the world premiere of “John Brown” by Kirke Mechem and appearances with Lyric Opera Express of Kansas City. In addition Thomas was seen recently performing with Doc Severinsen and his Big Band at the Hollywood Bowl. She has also performed with the Cincinnati Pops, Ft. Worth Symphony, Utah Symphony, Milwaukee Symphony, Detroit Symphony, Alabama Symphony, Rochester Philharmonic and Winston Salem Symphony. When not performing, Vanessa lives in Lawrence, KS where she maintains an actively in-demand voice studio.

PAUL & LINNEA BERT CLASSIC ACCENTS 3

The Song of the Earth Sat, May 16, 2020 | 7:30 pm University of MemphisHarris Auditorium

ROBERT MOODY, CONDUCTOR PHILIP HIMEBOOK, TENOR HYUNG YUN, BARITONE

Sun, May 17, 2020 | 2:30 pm | GPAC RAVEL Suite of Five Pieces from (1875 - 1937) Ma Mère l’Oye (Mother Goose) Pavane of the Sleeping Beauty Tom Thumb Laideronette, Empress of the Pagodas Conversations of Beauty and the Beast The Enchanted Garden BIZET “Au fond du temple saint” (1838 - 1875) from The Pearl Fishers INTERMISSION MAHLER/Arr. Schönberg Das Lied von der Erde (The Song of the Earth) (1860 - 1911) The Drinking Song of Earth’s Sorrow The Solitary One in Autumn Of Youth Of Beauty The Drunkard in Spring The Farewell

Immediately following the performance, Maestro Robert Moody will host a Question and Answer session from the stage with interested audience members. Session will last app. 15 minutes. Sponsored by

KNOW THE SCORE, a pre-concert lecture, begins 1 hour prior to show-time Sat, May 16 | 6:30 pm Director’s Lounge Sun, May 17 | 1:30 pm Watkins Room

PAUL & LINNEA BERT CLASSIC ACCENTS 3

Program Notes 16 and 17 May 2020 MAURICE RAVEL (1875-1937): Five Fairy Tale Scenes from Mother Goose Duration: approximately 16 minutes Maurice Ravel was born in Ciboure, France, a coastal Pyrenees town in the Pays de Basque region near the Spanish border. The rich heritage provided by his Basque mother and his Swiss father shows itself in much of his music, both in regards to Spanish influence as well as attention to craftsmanship and detail (Igor Stravinsky went so far as to describe Ravel as a “Swiss watchmaker” when it came to his compositions). He studied at the Paris Conservatory under the tutelage of Gabriel Faure, and was an associate of Claude Debussy and the aforementioned Stravinsky, also collaborating on a number of projects with the Ballets Russes’ famed impresario, Sergei Diaghilev. Renowned for his lavish and gorgeous orchestrations, he is perhaps best known in the United States for Bolero, a fifteen minute orchestral showpiece made famous by its use in the 1979 movie, 10. The Mother Goose Suite was originally written as a duet for piano, four hands, for the children of sculptor Cyprian Godebski. The work was premiered in the spring of 1910 by pianists Genevieve Durony and Jeanne Leleu. Jacques Charlot, a friend of Ravel’s, transcribed the piece for solo piano later that year, and Ravel orchestrated it in 1911. Later that year, Ravel expanded the work, adding four interludes and two new movements, creating a ballet that was premiered in 1912. Characters and images from the stories contained in Mother Goose include, Sleeping Beauty, Tom Thumb, Empress of the Pagodas, Beauty and the Beast, and the Fairy Garden. GEORGES BIZET (1838-1875): “Au fond du temple Saint” from The Pearl Fishers Duration: approximately 4 minutes Georges Bizet, best known for his opera, Carmen, was born and raised in Paris, France. Music was an important part of his family’s life: His father gave voice lessons, and his mother was an accomplished pianist, who presumably gave Georges his first lessons on the instrument. Georges’ musical talents evidenced themselves early on, both in his playing, and in his ability to identify and analyse complex chord structures. He entered the Conservatoire de Paris two weeks before his 10th birthday, winning first prize in a solfege contest six months later. His instructors at the Conservatoire included Pierre-JosephGuillaume Zimmerman (composition), and Antoine Francois Marmontel (piano). The composer Charles Gounod, Zimmermann’s son-in-law, also influenced Bizet’s musical style. Bizet won the Conservatoire’s first prize in piano in 1852 (though he was an outstanding pianist, he rarely performed in public), and the prestigious Prix de Rome in Composition in 1857. While mostly noted as an 65

PAUL & LINNEA BERT CLASSIC ACCENTS 3

Program Notes opera composer, Bizet’s instrumental works began to gain traction in the 20th century, most notably his Symphony In C Major, and his incidental music to L’Arlesienne, a play by Alphonse Daudet. The Pearl Fishers is a three-act opera based on a libretto by Eugene Cormon and Michel Carre. It was premiered at the end of September 1863 at the Theatre Lyrique in Paris, receiving 18 performances in its initial run. The work, while being well received by the public, was given cavalier treatment at best by the press and music critics, and would not be revived until 1886, eleven years after Bizet’s death. Set in Ceylon (renamed Sri Lanka in 1972), this opera tells the story of how two fishermen’s vow of eternal friendship is threatened by their love for the same woman. Shortly following the opening of Act One, Zurga, the head fisherman, is reunited with his old friend, Nadir. In their duet, they reminisce about their past, and the near destruction of their friendship due to their love of the priestess, Leila. Having renounced this past love, they reaffirm their allegiance to each other, promising to remain true to their friendship until death. GUSTAV MAHLER (1860-1911): Das Lied von der Erde (Schönberg chamber version) Duration: approximately 60 minutes One of the last of the great 19th century Austrian Romantic composers, Gustav Mahler is a mass of contradictions. His family was part of the Germanspeaking Austrian minority living in Bohemia at the time of his birth, which took place in Kaliste; they moved several months later to Jihlava (also in Bohemia), where he was raised. His family was also Jewish, with his father working as a tavern keeper. He spent his entire life as an outsider: an Austrian amongst Bohemians, a Jew amongst Austrians, and eventually in Germany, an outsider as both an Austrian from Bohemia AND as a Jew. Despite these obstacles, his musical gifts were seen and acknowledged early: At four years of age, he was able to reproduce the folk songs and military music he heard on the piano and the accordion, and by age ten, he had begun to compose himself. Those early influences permeate his musical style in his symphonies and in his songs with orchestra. During his own lifetime, he was far better known as a conductor, holding positions with the Vienna Court Opera (he converted to Catholicism in order to secure this position), the Metropolitan Opera, and the New York Philharmonic. His compositions following his death were largely ignored in some quarters, especially in war-torn Europe, where his works were condemned and banned by the anti-Semitic Nazis as being “degenerate.” Happily, this is no longer the case. Championed by such notable conductors as Leopold Stokowski, Dimitri Mitropoulos, John Barbirolli, and Leonard Bernstein, a revival of interest in his works began during the 1950s; today, Mahler’s works are amongst those most frequently performed and recorded. 66

The Song of the Earth was completed in 1909, and was originally scored for alto and tenor soloists with a large orchestra (Mahler noted that the alto part could be sung by a baritone, “if necessary,” and that substitution is featured quite often in contemporary performances). It was later arranged as a chamber ensemble; the version being featured in this concert set consists of string and woodwind quintets and three percussionists, along with piano, celesta, and harmonium. Schönberg did not finish the work during his lifetime; Rainer Riehn completed the project in 1980. The Chinese Flute, a collection of adaptations and translations of original Chinese poetry by German poet Hans Bethge, was Mahler’s source for his chosen texts. Seven Tang Dynasty poems are used, with two being combined (along with added lines by Mahler) in the final movement of the work. I. THE DRINKING SONG OF EARTH’S SORROW (tenor) The wine beckons in golden goblets but drink not yet; first I’ll sing you a song. The song of sorrow shall laughingly in your soul. When the sorrow comes, blasted lie the gardens of the soul, wither and perish joy and singing. Dark is life, dark is death! Master of this house, your cellar is full of golden wine! Here, this lute I call mine. The lute to strike and the glasses to drain, these things go well together. A full goblet of wine at the right time is worth more than all the kingdoms of this earth. Dark is life, dark is death! The heavens are ever blue and the earth shall be sure, and blossom in the spring. But you O man, what long life do you have? Not a hundred years may you delight in all the rotten baubles of this earth. Lake down there! In the moonlight, on the graves squats a wild ghostly shape; ape it is! Hear you his howl go out in the sweet fragrance of life. Now! Drink the wine! Now it is time comrades. Drain your golden goblets to the last. Dark is life, dark is death!

PAUL & LINNEA BERT CLASSIC ACCENTS 3

Program Notes II. THE SOLITARY ONE IN AUTUMN (baritone) Autumn fog creeps bluishly over the lake. Every blade of grass stands frosted. As though an artist had jade-dust over the fine flowers strewn. The sweet fragrance of flower has passed; A cold wind bows their stems low. Soon the wilted, golden petals of lotus flowers on the water float. My heart is tired. My little lamp expires with a crackle, minding me to sleep. I come to you, trusted resting place. Yes, give me rest, I have need of refreshment! I weep often in my loneliness. Autumn in my heart lingering too long. Sun of love, will you no longer shine Gently to dry up my bitter tears? III. OF YOUTH (tenor) In the middle of the little pond stands a pavilion of green and white porcelain. Like the back of a tiger arches the jade bridge over to the pavilion. Friends sit in the little house dressed, drinking, chatting. some writing verses. Their silk sleeves glide backwards, their silk caps rest at the napes of their necks. On the small pondâ&#x20AC;&#x2122;s still surface, everything shows whimsical in mirror image. Everything stands on its head in the pavilion of green and white porcelain. Like a half-moon is the bridge its arch upturned. Friends well dressed, drinking, chatting.

IV. OF THE BEAUTY (baritone) Young girls picking flowers, picking lotus flowers at the riverbank. Amid bushes and leaves they sit, gathering flowers in their laps and calling one another in raillery. Golden sun plays about them in the clear water. The sun reflects her slender limbs, her sweet eyes, and the breeze teasing the warp of her sleeves, directing the magic of perfume through the air. O See, what a tumult of handsome boys there on the shore on their spirited horses. Yonder shining like the Sun’s rays between branches of green willows trot along the bold companions. The horse of one neighs happily on and shies and rushes there, hooves shaking down blooms, grass, trampling the flowers fall wildly. Hei! How frenzied his mane flutters, and hotly steam his nostrils! Golden sun plays about them in the clear water. And the most beautiful of the maidens sends long looks adoring at it. Her proud pose is but a pretense; in the flash of her big eyes, in the darkness of her ardent gaze beats longingly her burning heart. V. THE DRUNKARD IN SPRING (tenor) If life is but a dream, why work and worry? I drink until I can no more, the whole, blessed day! And if I can drink no more than throat and soul are full, then I stagger to my door and sleep wonderfully! What do I hear on waking? Hark! A bird singing in the tree. I ask him if it’s spring already; to me it’s as if I’m in a dream. The bird chirps Yes! 69

The spring is here, it came overnight! From deep wonderment I listen; the bird sings and laughs! I fill my cup anew and drink it to the bottom and sing until the moon shines in the black firmament! And if I can not sing, then I fall asleep again. What is me spring? Let me be drunk! VI. THE FAREWELL (baritone) The sun departs behind the mountains. In all the valleys the evening descends with its shadow, full cooling. O look! Like a silver boat sails the moon in the watery blue sky. I sense the fine breeze stirring behind the dark pines. The brook sings out through the darkness. The flowers pale in the twilight. The earth breathes, in full rest and sleep. All longing now becomes a dream. Weary men traipse homeward to sleep; forgotten happiness and youth to rediscover. The birds roost silent in their branches. The world falls asleep. It cools in the shadows of my pines. I stood here and wait for my friend; I wait to bid him a last farewell. I yearn, my friend, at your side to enjoy the beauty of this evening. Where are you? You leave me alone! I walk up and down with my lute on paths swelling with soft grass. O beauty! O eternal loving-and-life-drunk world! He dismounted and handed him the drink of Farewells. He asked him where he would go and why must it be. He spoke, his voice was quiet. Ah my friend, Fortune is not kid to me in this world! Where do I go? I go, I wander in the mountains. I seek peace for my lonely heart. I wander homeward, to my abode! Iâ&#x20AC;&#x2122;ll never walk far. 70

Still is my heart, awaiting its hour. The dear earth everywhere in spring and grows green anew! Everywhere and forever blue is the horizon! Forever…Forever… by Michelle Pellay-Walker

Featured Artists Philip Andrew Himebook

TENOR

Philip Andrew Himebook is a Memphis based tenor, known for his work in both the opera and theatre stages of Memphis, TN. His introduction to opera came upon his enrollment at the University of Memphis in 2010, where he recently completed his Masters degree in Vocal Performance. “With his powerful build and angel’s voice” (Chris Davis, Memphis Flyer), Philip first came to the public’s attention with his performance as Ubaldo Piangi in the University of Memphis production of The Phantom of the Opera. Afterwards, he went on to take center stage as Jean Valjean in two back-to-back productions of Les Misérables, in which he was heralded for his “magnificent voice… it literally soars beyond the barricades” (Joseph Baker, broadwayworld.com). As he continued to pursue his love of musical theatre in other successful productions displaying his versatility as an actor and singer (including rave reviews for his performances in Into the Woods, The Producers, and Beauty & the Beast), he knew that the one area in his vocal journey yet to be truly ventured was the world of opera. He auditioned twice for the Metropolitan Opera National Council, and both times placed as a winner in the Divisional level, going on the receive the Encouragement Award at the Regional level. As a resident artist with Opera Memphis for their 2018-19 season, Philip served as the understudy for Pinkerton in Madama Butterfly, and starred as Ralph Rackstraw in the H.M.S. Pinafore, and Jumper in The Falling & the Rising. This season he will be performing as Rinuccio in Gianni Schicchi and Ferrando in Cosi fan tutte, also with Opera Memphis. He holds a Bachelor of Music degree from Toccoa Falls College, and a Master of Music in Vocal Performance from the University of Memphis. 71

Hyung Yun BARITONE

Baritone Hyung Yun has been acclaimed for his “subtle musicality and grand voice,” and regularly performs on some of the most esteemed opera stages in the United States. With The Metropolitan Opera, he has performed numerous roles including Valentin in Faust under Maestro James Levine, Ping in Turandot, Lescaut in Manon with Renee Fleming in the title role, and Silvio in Pagliacci. With Los Angeles Opera he made his début as Angelotti in Tosca and returned to sing Marcello in La bohème, Micheletto Cibo in Die Gezeichneten, and Lescaut in Manon with Rolando Villazón & Anna Netrebko under the baton of Plácido Domingo. He débuted as Ping in Turandot with the Santa Fe Opera and returned to sing in their 50th Anniversary Gala Concert. Last season, Yun returned to The Metropolitan Opera for their productions of Turandot and Madama Butterfly and performed the title role in Rigoletto with Ash Lawn Opera. He also sang in numerous concerts around New York City as part of The Metropolitan Opera’s 2017 Summer Recital Series. This season, Mr. Yun returns to The Metropolitan Opera once again for productions of Gianni Schicchi and La Traviata.

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.

Tunes and Tales made possible by a generous grant from the IP Foundation.

Tunes and Tales

SPONSORED BY

Sandy D’Amato

PRINCIPAL OBOE

A story read to a child…music performed for children…what could be better than putting those two things together? For the past ten years, members of the MSO—woodwind quintet, brass quintet, string quartet, kinder trio, and percussion—have been setting children’s books to music and performing the shows in area libraries in a program called Library Tunes and Tales. For the past three seasons, we have expanded that concept by selecting one book, arranging music for specific small ensembles, and performing the result in area schools in a program called, naturally enough, School Tunes and Tales. As a member of the woodwind quintet, I’ve been fortunate enough to be putting music to stories for the MSO Library Tunes and Tales program for a decade now, and this year, I was honored to arrange the music for this year’s School Tunes and Tales book, The Curious Garden, By Peter Brown. Of course, combining music and story is not new; just ask our friends at Opera Memphis, or for that matter, watch and listen to any TV show, or cartoon, or movie—in fact, silent movies had musicians helping the story along before the actors could give voice to their lines. And certainly children get exposed early to this concept. When I was 4, my parents had a set of records with a man reading Alice’s Adventures in Wonderland. In between the chapters, there was music by the New York Woodwind Quintet…one of whose members I would study with years later. (Coincidence?) There is, however, a special kind of joy that comes from adding music specifically for a children’s story, making the words come to life but also introducing classical music in an enjoyable way. (As a member of the Bugs Bunny generation, I must give a shout out here to the geniuses at Warner Brothers, who have taught millions of kids themes by Wagner, Rossini, Mendelssohn and Liszt without their realizing it.)

So how does one select select the music that will make a storybook come to life? With the Library Tunes and Tales books, the person selecting the music for the story chooses repertoire from their own group, meaning the music is from the repertoire of string quartet, brass quintet, percussion, or, in our group’s case, woodwind quintet. Some musical choices I’ve made were offbeat—what makes the Nielsen Woodwind Quintet sound like musical mice?—and some were more obvious—Malcom Arnold’s Sea Shanties makes perfect pirate music—but for me, if I see the book, read the words, and then hear the music in my head, then I know it will work. An ensemble coach of mine once commented that a lot of woodwind quintet repertoire, even the serious stuff, sounded like cartoon music to him. “I always see lines of bananas and oranges dancing down the street,” he said. (He was a horn player.) Maybe it’s the non-homogenous nature of a woodwind quintet as compared to brass and string ensembles, but it is relatively easy to make different characters and situations come to life with flute, oboe, clarinet, bassoon and horn. (Just ask Prokofiev, or listen to Peter and the Wolf.) This year, I was lucky enough to arrange music for our School Tunes and Tales book, which meant expanding the available field of music from woodwind quintet to orchestra, piano, vocal, basically anything that could be arranged for four voices (string quartet and woodwind quartet). It was requested that the book be one with an ecological theme, and after some searching, I found The Curious Garden, with its theme of transforming urban areas through gardening. Interestingly, with a whole world of music at my disposal, I only had two characters to work with, one of whom was nonhuman. But the process was the same: see the book, look at the words, and hear the music. In this case, the gardener gardens to the music of Beethoven’s 6th Symphony; the garden itself, for some reason, is Russian. Don’t ask me why! Finally, how do any of us know if the music/story collaboration is successful? That one’s easy: if the kids are engaged and enjoying themselves—especially if they are dancing or clapping along—then it’s a success.

MSO Governance BOARD OF DIRECTORS

TRUSTEE MEMBERS (PAST CHAIRS)

Louise Barden, Chairperson

Dr. Suzanne Gronemeyer

Leo Bearman, Jr., Esq. Paul A. Bert Jack R. Blair George E. Cates Michael Edwards George E. Falls, Jr. David B. Ferraro Lewis E. Holland G. Dan Poag Jeff Sanford Michael Uiberall Joseph Weller

Pam Guinn

TRUSTEES ETERNAL

Scott Heppel

Dunbar Abston, Jr. Newton P. Allen, Esq. Walter P. Armstrong, Jr. Troy Beatty Robert L. Booth, Jr. Judge Bailey Brown Robert E. Cannon Eric Catmur Charles P. Cobb, Esq. Nancy R. Crosby William F. Kirsch Martha Ellen Maxwell Dr. Joseph Parker Thomas M. Roberts P. K. Seidman Dr. Russel L. Wiener

Peter Abell, President/CEO Dr. Paul Brezina Nancy Coe Mark Crosby Jason Farmer, Secretary Harvey Felder III Dr. Candace Steele Flippin

Dr. Carol Johnson-Dean Michelle McKissack Dinah Makowsky, President, Memphis Symphony League Montgomery Martin Ramon A. Marus, Jr., Treasurer Dr. Lisa Lucks Mendel, Symphony Chorus Representative Gloria Nobles, Emeritus Dr. Andre Dyachenko, Musicianâ&#x20AC;&#x2122;s Representative Ashley Moore Remmers, Chairperson Elect Gayle S. Rose, Immediate Past Chair

MSO Staff ARTISTIC

PATRON SERVICES

Robert Moody, Music Director

Brandon Knisley, Vice President of Patron Engagement

Kalena Bovell, Assistant Conductor Dr. Lawrence Edwards, Chorusmaster EXECUTIVE Peter Abell, President & Chief Executive Officer Tracy Prewitt, Finance Director Karen Wright, Office Manager/ Executive Assistant

Bryan Artiles, Marketing Manager Blake Longcrier, Patron Services Manager Lindsey Stanfill, Development Manager PRODUCTION & ORCHESTRA OPERATIONS Margaret Sippey, General Manager Erin Kaste, Personnel Manager Scott Roberson, Stage Manager Irene Wade, Music Librarian

Memphis Symphony League Letter from the President Dinah Makowsky Memphis is home to much of what we know as modern American music—rock and roll, soul, and rhythm and blues. The Memphis Symphony Orchestra is a vital component of the Memphis musical tradition. Be a part of this dynamic music heritage by becoming a member of the Memphis Symphony League for the 2019-2020 season. Membership is open to women and men of all ages. Today’s MSL actively supports the Orchestra through educational activities, special events, financial contributions, and fund raising. Founded in 1959, the MSL sponsors diverse and dynamic events that directly support all of the Orchestra’s programs, including performances, youth instruction, and community outreach. Your taxdeductible membership contribution directly and positively impacts the mission of the Memphis Symphony to enrich the lives of our diverse community through exceptional music and dynamic programing. Please connect—or reconnect—with this vibrant group supporting our orchestra by filling out the application below and mailing to the MSO office. We look forward to having you as a member during this amazing year.

Memphis Symphony League Recognizing the dependency of the Memphis Symphony Orchestra (MSO) upon donations, in 1959, a group of civic minded women and men formed a sponsoring body for the orchestra to increase ticket sales, provide education, optimize awareness and appreciation for the Orchestra, and raise funds. This Memphis Symphony League (MSL) continues today to directly support the MSO through all its activities. These primarily include diverse fund raising social events, and volunteer support for educational and other community programs, as well as any other orchestral needs. Open to everyone, the MSL works actively to realize its mission to be the best Symphony League in its ongoing support of the MSO.

BOARD OFFICERS 2019-2020

ADVISORS

Dinah Makowsky, President

Jean de Frank

Katherine Godoy, Vice President

Charlotte Neal

Molly Pennington, Recording Secretary

Tommie Pardue

Alice Dudas, Corresponding Secretary Mary Beth Bryce, Treasurer Florence Leffler, Parliamentarian Betty Weiss, Nominations BOARD OF DIRECTORS Mary Booker Virginia Cupples Donna Flinn Kathy Gardner Jere Gerard Billie Jean Graham Eula Horrell

Nancy Lou Jones Carole Klein Jean (Sissy) Long Elisa Marus Amy Meadows Jane Mims Gloria Nobles

Shelley Sublett, Musician Representative Mary Anne Sullivan Lura Turner Joy Brown Wiener

THANK YOU TO EVERYONE WHO HELP US SPREAD HOLIDAY CHEER WITH AN HONORARIUM SUPPORTING THE MEMPHIS SYMPHONY ORCHESTRA: Carol K. Baker Louise Barden Charles and Mary Booker Jean De Frank Carl and Donna Flinn Juan Fuentes and Robert Thompson Dr. Suzanne Gronemeyer Jim and Mary Anne Hall David and Pamela Hallin Frances James

Florence Leffler Dinah and Gary Makowsky Elisa and Ramon Marus Mary Ellen and Phillip McDow Dan and Amy Meadows Ann Nichols Estie Sheahan Lura Turner Christina Ward

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.

$10,000 - $14,999

$50,000 - $99,999

PAUL & LINNEA BERT SCOTT & CAROLYN HEPPEL

$15,000 - $49,999

$5,000 - $9,999

$2,500 - $4,999

LEMAY + LANG, LLC

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 2019-2020 season. TM

UP TO $2,499 BELZ FAMILY FOUNDATIONS HOHENBERG FOUNDATION JENIAM CLARKSON FOUNDATION BRIGGS FOUNDATION PLOUGH FOUNDATION FIRST HORIZON FOUNDATION INTERNATIONAL PAPER FOUNDATION URBAN CHILD INSTITUTE

IN KIND

Symphony Fund 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 Development Manager, Lindsey Stanfill 901-779-7826 lindsey.stanfill@memphissymphony.org PATRON MEMBER ($100-$249) • Recognition on Memphis Symphony Orchestra website SYMPHONY MEMBER ($250-$499) • One VIP parking pass for the Cannon Center for Performing Arts • Acknowledgement in the Experience Magazine’s Contributors section • Plus all the privileges above ENCORE MEMBER ($500-$999) complimentary guest tickets to any performance at the Cannon Center, subject to availability • Two VIP parking passes for the Cannon Center for Performing Arts • Plus all the privileges above • Two

GOLDEN CIRCLE ($1,000-$2,499) invitation to attend the new “Circle Appreciation Evening” event hosted by our Music Directors • Admission to the Golden Circle level donors only VIP reception during intermission at Masterworks concerts (includes complimentary wine and hors d’oeuvres) • VIP parking passes for all subscription concerts at the Cannon Center for the Performing Arts • Access to Masterworks Series dress rehearsals, upon request, subject to availability • Annual Golden Circle newsletter • Plus all the privileges above • Exclusive

AMBASSADOR’S CIRCLE ($2,500-$4,999) access to the annual Bob & Friends special event hosted by Maestro Robert Moody • Receive a 20% discount on all single ticket purchases • Plus all the privileges above • Pre-sale

BENEFACTOR’S CIRCLE ($5,000-$9,999) • Invitation to a backstage tour and toast • Early access to acquire VIP seating for Symphony in the Garden at Dixon Gallery & Gardens (must book two weeks in advance, subject to availability) • Early access to upgrade to VIP seating at POPS concerts, when available • Opportunity to donate eight (8) Saturday evening Masterworks concert tickets to a charity of your choice • Opportunity to designate your gift as underwriting for a special guest artist & host a private pre-concert event for the guest list of your choice • Invitations to special guest artist events throughout the season when applicable • Plus all the privileges above MAESTROS CIRCLE ($10,000-$24,999) dinner with Maestro Robert Moody • Complimentary valet parking for all Memphis Symphony Orchestra Masterworks concerts at the Cannon Center with a permanent VIP placard • Plus all the privileges above • Private

STRADIVARIUS CIRCLE ($25,000+) Stradivarius Circle donors receive premium recognition and customized benefits. • Recognition as a sponsor for a concert performance or an education or community program • Opportunity to name a concert in memory of or in honor of a person(s) of your choosing • Plus all the privileges above Consider a gift to the Symphony Fund today! To donate: Visit the MSO office at 610 Goodman St, Memphis, TN 38152 Go online to Memphissymphony.org Call (901) 537-2500 Email: development@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 half 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 2019-2020. We are most appreciative. $25,000+ Carol & Bert Barnett Paul & Linnea Bert Kitty Cannon & Jim Waller Community Foundation of Greater Memphis Jim & Susan Edelman Scott & Carolyn Heppel Hyde Family Foundation Jeniam Foundation Plough Foundation Ashley & John Remmers Rudi & Honey Scheidt Carey P. Stanley, Jr. Mrs. Charles E. Walker Patricia Walker

Montgomery & Laura Martin Beth Musgrave Orion Federal Credit Union Pinnacle Bank Ann L. Powell Mary Alice Quinn Estie Sheahan Tennessee Arts Commission Thomas W. Briggs Foundation Mr. & Mrs. Joseph C. Weller Joy Brown Wiener Becky & Spence Wilson

$10,000+ Allied Pest Control Louise & Will Barden Boots & Maggie Boyd J. Richard Briscoe Jere Gerard Graceland Dr. Suzanne Gronemeyer Laura & Lowry Howell Buzzy Hussey & Hal Brunt Dr. & Mrs. Masanori Igarashi Ellen Klyce Michael & Joan Lightman

$5,000+ Louise and Will Barden Avery & Meadows, D.D.S., PC. Reed Baskin & Alice Nishiwaki Martha & Jim Boyd Walter Brown Michael & Maria Douglass Mr. & Mrs. John Evans Dr. Phillip George Pam & Steve Guinn International Paper Foundation Carol Johnson-Dean

Ed Koshland Leslie and Nathaniel Landau Sylvia Goldsmith Marks Living Trust J. W. McAllister Mr. & Mrs. Alexander D. McLean Karl Schledwitz Henry & Snowden Morgan Mary Scheuner Ron & Linda Sklar Irene & Fred Smith Trustmark Bank Ann Vining Jack & Cristina Ward Barry & Cynthia White $2,500+ Elizabeth & Lorin Allen Stanley & Dorothy Bilsky Jack & Kathleen Blair Karen Bowyer Foy Coolidge Mrs. Katherine Buckman Gibson Frank & Jeanne Jemison Dorothy O. Kirsch Dinah & Gary Makowsky Mr. & Mrs. Ramon A. Marus, Jr. Jan & Scott Morrell

Zoe & Alan Nadel Patricia Gray & Robert Patterson Regional One Health Barbara Runyan Debby & Steve Schadt John & Cristina Speer Candace Steele Flippin Bruce & Gillian Steinhauer Deborah Tipton Andie & Michael Uiberall Dr. & Mrs. Otis S. Warr III Jules & Elizabeth Weiss $1,000+ Peter & Fran Addicott Albert and Kathie Alexander Kay & Keith Anderson David & Betty Blaylock Ms. Joanne Bloom Peggy Bodine Phillip & Ritche Bowden Janis Boyd Deana Brunjes Mary Beth Bryce Dr. & Mrs. Paul Burgar Joanne & George Buzard Henry and Christy Cannon Carol Lee & Joe Royer Elizabeth and Charles Carter Gloria & Irvine Cherry Karen Clawson Charles & Nancy Coe Ms. Jeanette S. Cooley David & Barbara Crippen Dr. Loren & Elaine Crown Carol Cummings Dr. Ray Curle Adrienne D. Davis Emily Davis

Mike & Blanche Deaderick Alice & John Dudas Jane & John Dulin Lawrence Edwards David & Susan Ellison Donna Fisher Jim & Susan Fletcher Fred & Mary Lawrence Flinn Shawn Franks Susan Frazee Barbara & Hiram Fry Juan Fuentes Luther & Dot Gause Donna and Robert Goodman Jerrold & Martha Graber Thelma Greenberg Paula Crocker Mimi Grossman Joanne Hackman Steven & Stephanie Hancock Carolyn Hardy Larry Hardy Dan & Robin Hatzenbuehler Page Price Henrion Emil Henry Paul & Marisa Hess Lunida & Lewis Holland Sara Holmes Eva & Bobby Hussey Mr. & Mrs. J. R. Hyde, III Lisa & Louis Jehl Eric & Cynthia Johnson Phillip & Mindy Johnson Mr. & Mrs. Robert K. Jones Yoriko Kitai Preston & Sally Klinke Barbara Lapides Kate Lindsay and Matthew Shifflett Lester and Roslyn Lit

Aron Livnah & Rose Merry Brown Dr. & Mrs. William Long Fred R. and Luretia Luscombe Al & Janet Lyons Evelyn & Jerome Makowsky Allen & Mary Malone Dhane & Sheri Marques Jerry and Elizabeth Marshall Samuel H. Mays, Jr. Debra McAdoo Mary Allie Baldwin McLellan Tina McWhorter Dr. & Mrs. Dan Meadows Memorial Park Maurice & Lisa Mendel Carey & Rick Moore David Nelson Gloria Nobles Dr. Nancy Otto Marianne Parrs Robert Patterson John Pickens Chloee and G. Dan Poag Mrs. Robert R. Proctor Mr. & Mrs. Robert J. Quinn Laretha Randolph Judy & Nick Ringel Gayle S. Rose Emily Ruch Diane Rudner Bev & Ken Sakauye Andrea & Dr. Craig Sander Mary M. Seratt Patricia & John Seubert Bruce R. & Jane Scharding Smedley Lisa & Bayard Snowden Charles Askew & Cynthia Spangler

Trish & Richard R. Spore III Irma Stratton Joan & Michael Terry Drs. Deanna Langfitt and Paul Thomas Chris & Melissa Todd Tish Towns Triumph Bank Lura & Steve Turner James Newcomb & Susan Van Dyck Robert Vidulich & Diane Sachs Lee & Mary Linda Wardlaw Graham & Megan Warr Kiersten Watkins Gina Webb Drs. Benton M. Wheeler and Aimee M. Christian Alvin & Myra Whitney Linda Wible Page & Gail Williamson Evelyn B. Wofford Mrs. Charles L. Wurtzburger Lyn and Gordon Yukon $500+ Lee & Patricia Abraham Ben & Kathy Adams Patsy & Joseph Alexander Belinda and Calvin Anderson John & Lisa Bobango George & Linda Bond Benjamin and Beth Buffington Arthur & Michelle Buring Edward W. and Jeanne L. Carnes

Jeanne Gray Carr Daniel Case Laura Crane Jon Katze & Kathryn Deshpande Alan W. Dow Dr. Michael R. Drompp Betty Duke Carolyn & Michael Edwards Julie H. Ellis Dave Ferraro Noel & Martha Frizzel Don Gallant Emily & Jerry Gay Albert & Nancy Harvey Jean Hayden Deborah Hester Harrison Frances James John and Sandra Jones Nancy Lou & Mott Jones Father Albert Kirk Mr. & Mrs. Lloyd C. Kirkland, Jr. Jerry & Beverly Kirkscey Janie & Martin Kocman Thomas Lee, Jr. Timothy S. Huebner & Kristin Lensch Caroline MacQueen Dr. Shanea McKinney Nancy & Rodgers Menzies Deborah Northcross Max B. Ostner, Sr. Endowment Fund Joel & Eileen Prout Ann Ray Gretchen & Charles Reaves Mrs. Linda W. Rhea Dale Schaefer Eric & Connie Scott Rowlett Scott

Charles & Nino Shipp Tracey Williams Stallings Leslie Stratton Dr. Parker and Mrs. Patricia Suttle Irvin & Pat Tankersley Donald Tucker Mr. & Mrs. William M. Vaughan, Jr. Don and Mary Vollman Dick & Shirley Vosburg Jocelyn Wurzburg $250+ Frank Anthony Ms. Ellen Appel Richard & Nancy Barnhart John & Wanda Barzizza Thomas Beasley Cynthia D. Bowers Jerry & Marjorie Bowman Ruby Bright Sam Brooks Alice and Phil Burnett David Burton Doris & Irvin Califf Susan Callison Gale Carson Nancy A. Chase, M.D. Barbara Christensen Carol Claunch Mr. & Mrs. Charles P. Cobb, Jr. Robert & Sheila Cohen Jean Cooper Kimberly Coryat Bill & Margaret Craddock Elizabeth Cranwell Phili & Terry Deboo Robert & Elizabeth Dinkelspiel

Mary Ann Eagle Elizabeth Rouse Edward & Gloria Felsenthal Dr. & Mrs. Carl Flinn Pat Flynn and Jerry Heston Barbara Frederick Mary Freeman Mary Evelyn Goodwin Daniel Michael Green Phyllis & Thomas Guenter Bill & Claudia Haltom Cynthia Hamm Summer Hardy Walter Hoehn Rob & Eula Horrell Julia Howell Susan & Frank Inman, Jr. Janas L. Jackson David & Lisa Jennings Rose Johnston Kathy Junkin

Edward and Lawryn Kasper Lynne Keller Dale & Marty Kelman Chris Knott-Craig Reva Kriegal Bruce & Susanne Landau Bob Langston Dudley & Ann Langston Karie Leatherman Deidre Malone Randy & Carol Martin Holley & Lucius McGehee Simone & Logan Meeks Werner Michel Dr. & Mrs. David M. Mirvis Ed & Anne Motley David Neely Cecile & Frederick Nowak Ginger Owings

Dan Petit Louis & Dorothy Pounders Mr. & Mrs. Kerry Regen Ellen Rolfes Frida Saharovici Valerie Scott Anne E. Shaw Robin Shelton Joel Smith Mary Stagg Lauran Stimac Anne & John Stokes Owen & Margaret Tabor Bill & Peggy Veeser Bill Weppner Andre & Monica Wharton A C & Ruby Wharton Chuck Fox & Mary Wilder Billie Anne Williams Virginia Wilson David Work

This list recognizes philanthropic contributors to the MSO made between Jan. 1, 2019 and Dec. 31, 2019. While compiling this list every effort has been made to reflect the accuracy of our donors. If your name has been misspelled, omitted or misrepresented please contact us at 901-537-2500 and will correct our records. We appreciate your generosity and understanding.

Tributes HONORARIUMS Mickey Boring Ann Wingate Roane Ms. Suzanne Brown Foy Coolidge (Mrs. W.A., Jr.) Ruth Burgess Nancy Otto Kitty Cannon Frankie Wade Betsy Carter & Erin Kaste Charles & Elizabeth Carter Nancy Coe Deborah Dunklin Tipton Andre Dyachenko Shawn Franks Dr. Lawrence Edwards Ashley & John Remmers Ann Indingaro Dr. Suzanne Gronemeyer Carroll Ann Pera Frankie Wade Mrs. Frances James Pam Guinn Catherine & Ricky Harris Carolyn & Scott Heppel Ralph E. & Genie D. Gray, Jr.

Mr. & Mrs. Milton Knowlton Foy Coolidge (Mrs. W.A., Jr.) Greg Luscombe Fred & Lucretia M. Luscombe Dinah & Gary Makowsky Jerome & Evelyn Makowsky Victoria K. Gore Bob Moody Barbara Frederick Gloria Nobles Foy Coolidge (Mrs. W.A., Jr.) Mary Alice Quinn Dr. Suzanne Gronemeyer Ashley Remmers Mr. & Mrs. Preston Klinke Ellen Rolfes Ellen Cooper Klyce Susanne Landau Gayle Rose Ellen Cooper Klyce Ruby Bright Emily Boone Ruch Chuck & Scottie Cobb Mr. & Mrs. Joe Saino Foy Coolidge (Mrs. W.A., Jr.)

Jane D. Jones Mary Joy & Milton Knowlton

Jack Seubert Tricia Seubert Jon R. Katze & â&#x20AC;&#x192; Katherine Deshpande

Mrs. Dorothy Kirsch Jackie E. Stewart

Frank & Marian Shaffer Billie Anne Williams

Mayor Jim Strickland Chuck & Scottie Cobb

Richard W. Barnes Kim & Cal Alexander

Memphis Symphony Chorus Tricia Seubert

Irma “Mickey” Downs Bell Chuck & Scottie Cobb

William Vaughan Ben & Beth Buffington

Robert L. Booth, Jr. Marilyn Stoeckig Jack & Kathy Blair

Betty Weiss Rebecca Blake Longcrier Joy Brown Wiener Louise and Will Barden Janice S. Bell Kate Orgill Boone Scottie and Chuck Cobb Robert & Elizabeth D. Dinkelspiel Donna and Carl Flinn Nancy & Sonny Golden/ Mary Golden Dunlap Suzanne A Gronemeyer Peggy and L.R. Jalenak Amy and Dr. Dan T Meadows Ms. Lucia Outlan Cheryl McGuire Parker Lyda G Parker Mary Alice Quinn Lura and Steve Turner Billie Anne Williams Jocelyn D. Wurzburg Chuck & Scottie Cobb MEMORIALS Lydia Abell Gibson & Jack Abell Susan Darnell Ethel M. Scrivner & Margaret Dyck Terry Starr

J. Richard & Carole M. Briscoe J. Richard & Carole M. Briscoe Fund Grace Mallery Brown Chuck & Scottie Cobb Memphis Symphony League Lula Burchett Paul & Linnea Bert Fred Collins Mary Casner Stagg Marilyn Curle Ray Curle Mrs. Eleanor Foner Sherri Flax Michael, Elaine & Louis Gompertz Joan B. Gips Susan Kingston Richard & Teresa Jordan William Rutland Leffler Jules & Betty Weiss Nancy & Mott Jones Dan & Amy Meadows Memphis Symphony League Board of Directors

Dunbar Abston Jennifer Brady

Eloise Ragsdale Mays Anne G. Fisher Carole S. Blackburn Sara M. Holmes Kathryn King Rodgers & Nancy Menzies Mary Lawrence Hughes Flinn Melissa Todd Ellen Cooper Klyce Martha & Jim Boyd David S. Work Dorothy D. Work John & Cristina Speer Leslie Stratton Chuck & Scottie Cobb Pam & Steve Guinn JW McClintock III Laura Robinson Fontaine Moore Kathryn King MSO Board and Staff Mr. Svend Nielsen Dr. Derene Akins Tom Pitman & Paul Martin

Bryson Randolph Board of Governors and Staff of the Community Foundation of Greater Memphis Louise & Will Barden Mr. and Mrs. J. David Blaylock Bill & Beate Griffin Sharon Leicham Melissa & Chris Todd Isabelle & Lee Welch Floyd William & Holly White George A. Riley Lisa D. and Mark D. Skinner Alfred M. Rome Chuck & Scottie Cobb Richard Shaknis Mr. & Mrs. Frederick F. Avery John Wesley Smith Chuck & Scottie Cobb Dr. Tom and Harriet Stern Dr. Suzanne Gronemeyer James Vining Louise & Will Barden David Williams Laura Robinson

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.

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.

BEFORE THE CONCERT

DURING 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 onsite. 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.

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.

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

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 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.

Patron Information 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 exitâ&#x20AC;&#x201D;do not run. All concerts, guest artists, and times are subject to change.