Memphis Symphony Orchestra Experience Magazine Volume 1 2017-18 Season by Memphis Symphony

2017-2018 |

volum e

Experience

Some are born with

contents CONCERT EXPERIENCE

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

Robert Moody, Music Director..................................................................................................................... 4 Andrew Crust, Asistant Conductor/Memphis Youth Symphony Conductor.......................... 6 Orchestra Roster................................................................................................................................................8 Memphis Symphony Chorus......................................................................................................................10 Opening Weekend: The Promise of America..................................................................................... 12 Rachmaninoff’s Paganini Rhapsody.......................................................................................................22 The U.S. Naval Academy Glee Clubs in Concert!...............................................................................33 Magic of Memphis Holiday Spectacular...............................................................................................39 Handel’s Messiah............................................................................................................................................. 41 Elvis’™ Memphis...............................................................................................................................................49 Percussion Explosion.....................................................................................................................................53 Bach Brandenburg...........................................................................................................................................63 PATRON EXPERIENCE MSO Governance and Staff.........................................................................................................................68 Memphis Symphony League.......................................................................................................................70 Advertiser Listing............................................................................................................................................. 73 Supporting Partners....................................................................................................................................... 74 Symphony Fund................................................................................................................................................ 76 Contributors........................................................................................................................................................ 77 Tributes.................................................................................................................................................................83 Patron Information.........................................................................................................................................86 The Memphis Symphony Orchestra, Inc. is a qualified 501(c)(3) tax deductible organization funded by gifts from you, ticket sales, and contracted services. We are recipients of grants from ArtsMemphis and the Tennessee Arts Commission. ©2017|2018 Memphis Symphony Orchestra 610 Goodman Rd., Memphis, TN 38152 Your attendance constitutes consent for the use of your likeness and/or voice on all video and/ or audio recordings and in photographs made during Symphony events. FOR TICKETS (901) 537-2525 | MEMPHISSYMPHONY.ORG

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MEMPHIS SYMPHONY ORCHESTRA | 3

Memphis Symphony Orchestra Robert Moody, Music Director

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

Robert Moody Music Director

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

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Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He has gone on to conduct at the opera companies of Santa Fe, Rochester, Hilton Head Opera, and North Carolina Opera. He also assisted on a production of Verdi’s Otello at the Metropolitan Opera, conducted by Valery Gergiev, and at The English National Opera, where he was Assistant Conductor for Weill’s Street Scene. He made his Washington National Opera and North Carolina Opera debuts in 2014, and he conducted Bartók’s Bluebeard’s Castle, Leoncavallo’s I Pagliacci, and Poulenc’s Dialogues of the Carmelites during 2016-2017.

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

Moody’s work can be heard on several commercially released compact disc recordings. He collaborated with the Canadian Brass for their Bach and Legends CDs; he is also the conductor for the CD Fourth World, highlighting the music of Native American recording artist R. Carlos Nakai (available on the Canyon Record label); and in 2010, the Winston-Salem Symphony released their performance (live from 2009) of Beethoven’s Symphony No. 9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012. Recently, he was honored to conduct on the Cancer Blows concert with Ryan Anthony, members of the Dallas Symphony, and a host of trumpet luminaries, to aid the fight against multiple myeloma. CD and DVD recordings of that live concert, held in Dallas, TX in March 2015, are now available for purchase.

Moody served as Associate, then Resident Conductor, of The Phoenix Symphony (AZ) from 1998 through 2006. There he conducted a wide variety of concerts, including Classics, Chamber, Pops, Family, Handel’s Messiah, and

MEMPHIS SYMPHONY ORCHESTRA | 5

Memphis Symphony Orchestra Robert Moody, Music Director

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

Andrew Crust

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

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

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

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

Memphis Youth Symphony Program String Orchestra Fall Concert 11.07.17 | 7:00 pm

String Orchestra Winter Concert 02.27.18 | 7:00 pm

Youth Symphony Fall Concert 11.12.17 | 7:00 pm

Youth Symphony Concerto Winners Concert 03.04.18 | 7:00 pm

String Ensemble & String Sinfonia Fall Concert 11.14.17 | 7:00 pm Sounds of the Season Concert 12.09.17 | 1:30 pm String Ensemble & String Sinfonia Winter Concert 02.20.18 | 7:00 pm

String Ensemble & String Sinfonia Spring Concert 05.01.18 | 7:00 pm String Orchestra Spring Concert 05.08.18 | 7:00 pm Youth Symphony Side by Side Concert with MSO 05.13.18 | 6:00 pm - Cannon Center for Performing Arts

Please visit www.MYSP-Music.org for more information MEMPHIS SYMPHONY ORCHESTRA | 7

Memphis Symphony Orchestra Robert Moody, Music Director

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

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Jeffrey Jurciukonis Hannah Schmidt Mark Wallace

BASS CLARINET

Wes Lebo

Nobuko Igarashi

Mark Vail

BASS

BASSOON

BASS TROMBONE

Susanna Whitney, Principal

Mark Vail

Scott Best, Principal Chris Butler, Assistant Principal Sean O’Hara Andrew Palmer Timothy Weddle Jeremy Upton Sara Chiego FLUTE Karen Busler, Principal The Marion Dugdale McClure Chair Chris James* PICCOLO

Michael Scott Christopher Piecuch CONTRABASSOON Christopher Piecuch HORN Caroline Kinsey, Principal The Morrie A. Moss Chair Robert Patterson TRUMPET Scott Moore, Principal

Chris James*

The Smith & Nephew Chair Susan Enger

OBOE

J. Michael McKenzie

Joseph Salvalaggio, Principal

TROMBONE

Saundra D’Amato Shelly Sublett, Assistant Principal

Greg Luscombe, Principal

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

ENGLISH HORN Shelly Sublett CLARINET Andre Dyachenko, Principal Rena Feller Nobuko Igarashi

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

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Memphis Symphony Chorus Lawrence Edwards, Choral Director

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

Lawrence Edwards Choral Director

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

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

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

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

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

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

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

M A S T E R W O R K S Opening weekend: The promise of America Saturday, September 30, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, October 1, 2017 at 2:30 p.m. at Germantown Performing Arts Center

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ANTONIN DVORAK (1841 - 1904) Symphony No. 9 in E minor, Opus 95, “From the New World” I. Adagio - Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco INTERMISSION MAYA ANGELOU (1873 - 1943) On the Pulse of Morning PETER BOYER (b. 1970) Ellis Island: The Dream of America

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begins 1 hour prior to showtime Saturday, September 30 6:30 pm Morgan Keegan Lobby Sunday, October 1 1:30 pm Ballet Room

Special underwriting support provided by T.W. Medlin in honor of: Laura Shy Jane Mims Julie Stonebarger Memphis Symphony Orchestra

MEMPHIS SYMPHONY ORCHESTRA | 13

Opening weekend: The promise of America Saturday, September 30, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, October 1, 2017 at 2:30 p.m. at Germantown Performing Arts Center

Program Notes Michelle Pellay-Walker ANTONÍN DVOŘÁK (1841–1904) Symphony No. 9 in E Minor, Opus 95, From the New World Duration: 40 minutes Antonín Dvořák was one of the first leading composers of a Czech national style (immediately following Bedřich Smetana), and he incorporated many elements of folk and dance music into his compositions. He was born in the village of Nelahozeves, Bohemia, 15 or so miles north of the capital city of Prague. A butcher’s son, he began violin lessons at the age of 6, adding organ and piano in his early teens. His German language instructor, Anton Liehmann, also introduced the young Dvořák to music theory and composition at approximately the same time. Dvořák played viola in a number of orchestras in and around Prague, including the Bohemian Provisional Theatre Orchestra, which first introduced him to the music of Wagner. In 1871, he left the orchestra in order to focus more closely on his composing. His works began to be performed in Prague a year later, and became known to a wider European audience as the result of first place finishes in the Austrian State Prize (composition) in 1874, 1876, and 1877.

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It was through this competition that his works first came to the attention of the great German composer Johannes Brahms, who was one of the members of the jury. Brahms took the extraordinarily generous step of recommending Dvořák to his publisher, Friedrich August Simrock, which helped to secure his international reputation as a composer of note. Dvořák served as Director of the National Conservatory of Music in New York City from 1892 until 1895, and encouraged his students to incorporate the music of African-Americans and Native Americans into their compositions to strengthen an emerging American nationalistic style.

each subsequent movement. The third

Larry Alan Smith and Harold Farberman.

theme of this movement reappears in

Post-doctoral studies included private

movements three and four. The second

instruction with John Corigliano in

movement’s opening and closing brass

New York City, and a stint at the USC

chorales return during the climax of

Thornton School of Music with noted

the fourth movement. This movement’s

film composer Elmer Bernstein. He

main theme, a beautiful English Horn

joined the faculty of Claremont Graduate

solo that was eventually set with words

University in 1996, and holds the Helen

(the spiritual we know as “Goin’ Home”),

M. Smith Chair in Music. He has served

is restated in movements three and

as Composer-in-Residence for the Fort

four. Finally, the initial rhythmic gesture

Worth Symphony Orchestra (2010–2011)

from the first two measures of the third

and the Pasadena Symphony (2012–

movement’s first theme finds its way

2013). He has written commissioned

into the development and the coda of

works for the Boston Pops and the

the fourth movement.

Eastern Music Festival, and is the

During his tenure at the National

PETER BOYER (b. 1970) Ellis Island: The Dream of America

Conservatory, the New York Philharmonic commissioned Dvořák to write the symphony that we now know as the New World Symphony, which had its premiere at Carnegie Hall in December 1893, with Anton Seidl conducting. What is so astonishing about this work is the thematic unity that Dvořák weaves effortlessly throughout the entire composition. Themes appear and reappear on a regular basis, tying the entire symphony together as a cohesive whole. The first movement hints at its primary theme in the introduction, states it in its entirety at the beginning of the exposition, and returns to it in

recipient of numerous awards, including

Duration: 44 minutes A native of Providence, Rhode Island, Peter Boyer began composing when he was 15 years of age. He wrote his first large composition, a Requiem Mass dedicated to the memory of his grandmother, during this time. He is a graduate of Rhode Island College, and received an Honorary Doctor of Music from that institution in 2004. He received both a Master of Music and a Doctor of Musical Arts degree from the Hartt School of the University of Hartford, where his instructors included

BMI Awards (for young composers), a First Music Carnegie Hall commission, and the Lancaster Symphony Composer’s Award. Boyer’s most successful work to date has been Ellis Island: The Dream of America. This composition premiered in 2002, and has received more than 160 performances by more than 70 orchestras to date. The Bushnell Center for the Performing Arts originally commissioned the work to celebrate the inaugural season of its Belding Theatre. The Hartford Symphony Orchestra premiered the work, conducted by the composer, at the Bushnell in April (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 15

Opening weekend: The promise of America Saturday, September 30, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, October 1, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued) 2002, with actors from the New York

experiences emigrating to America

stage (Martin Charnin, director). The

... Boyer chose the stories of seven

Philharmonia Orchestra later recorded

immigrants who came to America

it on the Naxos label in 2005 as part

through Ellis Island from disparate

of its American Classics Series, and

nations between 1910–1940. He

the recording subsequently received a

fashioned short monologues from the

nomination for a Grammy Award in the

actual words of these immigrants, and

category Best Classical Contemporary

wove them into an orchestral tapestry

Composition.

which frames and comments on their

The following brief description comes from the composer’s website: “The spoken texts for the work come from the Ellis Island Oral History Project, an historic collection of interviews with actual immigrants about their

stories...The work concludes with a reading of the Emma Lazarus poem The New Colossus (“Give me your tired, your poor …”), providing an emotionally powerful ending to this celebration of our nation of immigrants.”

Anita Jo Lenhart

Bill Andrews actor

Bill has been working in and around theater his entire adult life. Performance remains a passion, and Bill is particularly proud of work on: The Rocky Horror Show, Spamalot, Sunset Boulevard, Frost/Nixon, Urinetown the Musical, Saucy Jack and the Space Vixens, and Peter Pan, all at Playhouse on the Square or Circuit Playhouse. Training in acting, set design, and construction provided the foundation for a career designing and building sets and environments for museums, corporate and entertainment events, television, and the stage; formerly with Memphis Scenic and currently with Good Show LLC. Clients include FedEx, Baptist Hospital, Medtronic, BRIDGES and Archer>Malmo. 2017 will mark Bill’s 22nd year as designer and director for the National Civil Rights Museum Freedom Award, an annual benefit that has brought to Memphis honorees and performers including Nelson Mandela, the Dalai Lama, Oprah, Bill Clinton, Bono, Stevie Wonder, Faith Hill, and Angela Bassett. It has been an honor to meet and serve so many wonderful people, and such a valuable organization.

actor

Anita “Jo” Lenhart resides in Memphis, TN but enjoys traveling round the country to perform in a variety of venues, including Thingamajig Theatre in Colorado, The Barter Theatre, and Mill Mountain Theatre in Virginia, The Neil Simon Festival in Utah, The Oklahoma Shakespearean Festival, Actors Theatre of Louisville, Opera Memphis, Playhouse on the Square in Memphis, and Lamplighter’s Music Theatre in San Francisco. Favorite roles include Fraulein Schneider in Cabaret, Baby Jane in Jerry Springer the Opera, Queen Margaret in Richard III, and Charlotte in A Little Night Music. Jo also directs in Memphis –King Lear for New Moon Theatre, As You Like It for Theatre Memphis, Bad Jews for Circuit Playhouse - and teaches performance training as Head of the BFA in Performance for The Department of Theatre and Dance at The University of Memphis.

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Christopher Tracy actor

Christopher Tracy has most recently been seen in Arlington Community Theatre’s production of Much Ado About Nothing and A Streetcar Named Desire at Germantown Community Theatre where he was nominated for an Ostrander for his portrayal of Mitch. He can next be seen in New Moon’s production of Buried Child. He is excited to be performing with this talented group and hopes you all enjoy the show! (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 17

Claire D. Kolheim actor

Claire D. Kolheim is a four-time Ostrander Award winner and the Diversity on Stage Awards’ first Actress of the Year recipient (2015). She was last seen playing Coretta Scott King and Fannie Lou Hamer in Playhouse on the Square’s production of All the Way; as part of the ensemble in Memphis; and raising her voice as Deloris Van Cartier in Sister Act; and chasing her one true love as Rosie in Mamma Mia! Prior to that, she performed in The Gospel at Colonus, Kiss Me Kate, and as Francine in POTS @ TheWorks’ new work, We Live Here. Other Playhouse, Circuit, and Theatreworks credits include: Celie (The Color Purple - Playhouse), Sarah (Ragtime - Playhouse), Gary Coleman (Avenue Q - Circuit), Ann Atwater (Best of Enemies - Circuit), Elizabeth (In the Next Room - Circuit), and Maddy Johnson (The Left Hand Singing - Theatreworks). Claire was last seen in Priscilla Queen of the Desert, and as Sarah in Ragtime in Great Plains Theatre in Abilene, KS. She continues to travel across the US performing on various stages, sets, and screens. Claire would like to thank her husband, Kendall, for always encouraging, supporting, and pushing her to be her absolute best. “I love you so much, Boo-Boo! Thank you for allowing me to be me... SMOOCHES!!” For more information about Claire, visit her website at cdkolheim.com.

Irene Crist actor

Irene Crist has been directing, teaching, and acting on Memphis stages for almost 40 years. Hailing originally from Roundhouse Theater in Bethesda, Maryland, her recent directing resumé includes Angels in America, Disgraced, Anne Frank, Matchmaker, Hand to God, The Seagull, and Seminar. She most recently directed Shakespeare in Love at Playhouse on the Square.

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Her acting credits, far too numerous to name, have brought her many Ostrander Awards (excellence in acting) over the decades. Irene also works with corporations in team building workshops and with various business individuals and groups on presentation skills.

Jackie Nichols

Executive Producer, Playhouse on the Square Founder and Artistic Director of Circuit Playhouse in 1968, a theatre company producing a diverse repertory of plays and musicals, 1968 – Present; Founder and Executive Producer of Playhouse on the Square, a resident professional theatre company which is a member of Arts Memphis, Theatre Communications Group, 1975 – Present. Founder of TheatreWorks, a performing space and arts incubator for emerging artists and art groups; Created “Arts Access” and “Pay What You Can” for Memphians who are unable to afford regular ticket prices to attend performances; Founder of the United Professional Theatre Auditions, the largest professional audition for working professional actors held each February in Memphis, attended by over 100 Theatre Companies and over 1,000 actors and theatre technicians. Past President of Tennessee Theatre Association; Theatre Advisory Panel; Tennessee Arts Commission, 1981 -1983, 1979-1981, 1973-1975. Received the distinguished Achievement Award in Theatre, Memphis Theatre Awards, 1985; Gordon Hall Award, 1993 Rotary Club Outstanding Community Service Award.Member of the Memphis & Shelby County Film & Television Commission, Communicator of the Year Award 2010 PRSA.

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Leah Nichols actor

Leah Bray Nichols is thrilled to be appearing with The Memphis Symphony on this important work. She has performed many roles with Playhouse on the Square over the last 20 years, including Next to Normal (Diana); August Osage County (Ivy); Bat Boy: The Musical (Meredith); Nine (Luisa); Book of Day (Ruth); Smoke on the Mountain (June); Eleemosynary (Artie); Time Stands Still (Sarah) and Peter Pan (Peter/Tiger Lily). This spring she will appear as Helen Bechdel in the musical Fun Home at Playhouse on the Square. Her work extended beyond the stage in Mamma Mia!, The Country House and Lord of the Flies (Assistant Director). This season she directed the world-premiere of Other People’s Happiness at New Works at the Works Project. Leah performed the stories of Jail East’s incarcerated women in Elaine Blanchard’s Prison Stories. Her performance in The Profound Plan helped raise awareness of Planned Parenthood and their mission to provide quality health care for women and girls.

in private practice and appreciates this opportunity to perform with the Memphis Symphony. Thank you Jackie Nichols!!!

Lindsey Roberts actor

Lindsey is honored to be a part of this extraordinary opportunity and very proud to be collaborating with the amazing Memphis Symphony Orchestra. She is a native Memphian and is very active in the Memphis theatre arts and film community having been an actor, director, producer and choreographer for the stage and screen for over 20 years. Lindsey was last seen at Theatre Memphis playing the role of Nancy in Oliver! where she shared the stage with her amazing son Jackson. She is also a member of the Screen Actors Guild having acted in over 20 films and regional television commercials either locally or nationally produced. Lindsey’s passion for production and the arts can also be noted in her work as the Program Director for the local theatre awards - The Ostranders, an appointment she has held since July of 2011, as well as her day time job as Director of Sales and Client Services for VIA Productions here in Memphis.

Leah started Evergreen Yoga Center in 2006 and teaches Iyengar Yoga. She is a yoga therapist and a Certified Iyengar Yoga Teacher.

Karen Mason Riss actor

Karen Mason Riss has been acting on Memphis stages since she arrived here in the 1970s. Most recently she has appeared in The City of Conversation and Mothers and Sons at Theatre Memphis. At Playhouse on the Square, she last appeared in 4000 Miles and Eleemosynary, a role she reprised after 20 years. Ms. Riss, is a psychotherapist

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M A S T E R W O R K S RACHMANINOFF’S PAGANINI RHAPSODY Saturday, October 28, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, October 29, 2017 at 2:30 p.m. at Germantown Performing Arts Center

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

ROBERT MOODY, CONDUCTOR ANDREW VON OEYEN, PIANO begins 1 hour prior to showtime. FRANZ LISZT (1811 - 1886) Totentanz for Piano and Orchestra SERGEI RACHMANINOFF (1873 - 1943) Rhapsody on a Theme of Paganini, Op. 43

Saturday, October 28 6:30 pm Morgan Keegan Lobby Sunday, October 29 1:30 pm Ballet Room

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FELIX MENDELSSOHN (1809 - 1847) Symphony No. 5 in D major, Opus 107, “Reformation” I. Andante - Allegro con fuoco II. Allegro vivace III. Andante IV. Chorale: Andante con moto - Allegro vivace

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RACHMANINOFF’S PAGANINI RHAPSODY Saturday, October 28, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, October 29, 2017 at 2:30 p.m. at Germantown Performing Arts Center

Program Notes Michelle Pellay-Walker FRANZ LISZT (1811–1886) Totentanz, S. 126 Duration: 16 minutes Franz Liszt, in many ways, was to the piano what Niccolò Paganini was to the violin: a virtuoso of the most astonishing gifts. A native of Raiding, Hungary (now Austria), he began to study piano with his father, Adam, who was a manager of the Esterhazy estates (and had been a cellist in the court orchestra of Franz Joseph Haydn). Young Franz was recognized as a prodigy by the time he was six, began composing two years later, and by age nine was performing in concert halls. The family relocated to Vienna, where Liszt studied piano with Carl Czerny, and composition with Antonio Salieri. Another move, this time to Paris, occurred when he was 12, continuing his composition studies with Ferdinando Paer. Upon his father’s passing at age 15, he temporarily gave up touring and began to delve seriously into the subjects of art and religion; these foci were to have a very strong impact on his later compositions. He returned to the concert hall several years later, and, by this time, having attended a benefit concert organized by Paganini, determined to become as great a virtuoso performer on the

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piano as Paganini was on the violin. Until 1847, his performances took Europe by storm, and met with overwhelming enthusiasm--especially by the ladies! Upon retiring from the concert stage, he focused much more closely on his composing. One of the more important developments of his writing was his invention of the symphonic poem (also referred to as tone poem): singlemovement compositions with nonmusical influences, such as a story, a poem, or a picture. He composed 12 of them over a ten-year period between 1848 and 1858, writing a thirteenth in 1881. Liszt, well known for his generosity and support of humanitarian efforts, took Holy Orders in 1865, and continued to compose until a year before his passing in 1886. He began Totentanz, a set of variations for piano and orchestra, in 1838 and completed it 11 years later. Liszt revised the work in 1853, and again in 1859, with the premiere of the work in its final form at The Hague in 1865 by Hans Von Bulow, to whom Liszt dedicated the work. Totentanz, or Dance of the Dead, is based on the medieval plainchant Dies Irae (Day of Wrath); its use here may have been inspired by Liszt’s attendance at the 1830 premiere performance of Hector Berlioz’s Symphonie fantastique, in which the Dies Irae is incorporated with great effect into the final

movement. A visual source of inspiration was Francesco Traini’s fresco, “Il Trionfo della Morte” (“The Triumph of Death”), located in Pisa, Italy. Richard Pohl, an early biographer of Liszt, notes the following: “Every variation discloses some new character—the earnest man, the flighty youth, the scornful doubter, the prayerful monk, the daring soldier, the tender maiden, the playful child.”

SERGEI RACHMANINOFF (1873–1943) Rhapsody of a Theme of Paganini, Opus 43 Duration: 23 minutes With a hand span that encompassed one-and-a-half octaves, Sergei Rachmaninoff was perhaps the foremost pianist of his generation; this in addition to his skills as a composer, and secondarily as a conductor. He was born in Oneg, Russia, into a family that was part of the old Russian aristocracy. He began piano and music lessons at the age of four, entering the Saint Petersburg Conservatory at age 10. Two years later, he entered the Moscow Conservatory, studying piano with Nikolai Zverev, while also taking counterpoint with Sergei Taneyev and harmony with Anton Arensky. In 1891, he passed his final piano exams with honors, receiving his diploma the following year. He and his family

departed Russia in late December of 1917 following the October Revolution, and he spent the remainder of his life in exile, in Switzerland, then in the United States. Having settled in America (first in Long Island and later in Beverly Hills), he held to a very demanding schedule as a concert pianist, allowing him to maintain his accustomed lifestyle. As a composer, his output tended to be more sporadic, with periods between compositions sometimes lasting years at a time. The Rhapsody on a Theme of Paganini is actually a set of 24 variations based on Niccolò Paganini’s Caprice No. 24 in A Minor for solo violin. Written during the summer of 1934 whilst vacationing in Switzerland, the Rhapsody premiered later that fall, featuring Rachmaninoff as piano soloist, with the Philadelphia Orchestra conducted by Leopold Stokowski. These forces recorded the work shortly before the end of the year. Some of the more obvious highlights include Rachmaninoff’s use of the Dies Irae in variations six and 24, and his inversion of the theme in variations 14, 15, and 18. Variation 18 is undoubtedly the best known section of the work; in Rachmaninoff’s hands, the inverted theme is transformed into a gloriously soaring melodic line that truly becomes his own. He was well aware (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 25

RACHMANINOFF’S PAGANINI RHAPSODY Saturday, October 28, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, October 29, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued) of the popularity generated by that beautiful variation, and is said to have quipped upon one occasion (to Vladimir Horowitz), “I have composed this one for my manager.” Movie aficionados will also recall that variation from its use in Groundhog Day!

JOHN ADAMS (b. 1947) “Christian Zeal and Activity” from American Standard Duration: 10 minutes John Adams is a native of Worcester, Massachusetts, and began his musical studies as a clarinetist under the tutelage of his father. He performed with a number of community orchestras and marching bands throughout New England during his teenage years, and also began to hear his music performed, having taken up composition at the age of 10. He was undoubtedly encouraged in the pursuit of his musical studies by the great American composer, Walter Piston, who was a neighbor while the Adams family was living in Vermont. Upon graduation from high school, he entered Harvard University, where his instructors included Leon Kirchner, Roger Sessions, Earl Kim, and David Del Tredici. He received a Bachelor of Arts degree in 1969; continued studies at Harvard resulted in a Master of Arts

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degree in 1972. He taught at the San Francisco Conservatory of Music for 10 years, and also served as the Composerin-Residence for the San Francisco Symphony from 1982 until 1985. Since 2009, he has held the post of Creative Chair for the Los Angeles Philharmonic, and served as Composer-in-Residence for the Berlin Philharmonic during the 2016–2017 season. Two of his works won Grammy Awards for Best Contemporary Composition: Nixon in China in 1989, and El Dorado in 1998. On the Transmigration of Souls, written to commemorate the first anniversary of 9/11, won the Pulitzer Prize in Music in 2003, and went on to earn multiple Grammys in 2005 (Best Classical Album, Best Orchestral Performance, and Best Contemporary Composition). “Christian Zeal and Activity,” written in 1973, is the second movement of an ensemble work entitled American Standard. It is an arrangement of “Onward, Christian Soldiers,” a popular hymn tune written by English composer Sir Arthur Sullivan in 1871. There is one commercial recording of American Standard in its entirety (a 1975 release of a 1973 performance given by the New Music Ensemble of the San Francisco Conservatory of Music); multiple recordings exist for the middle movement. The work features very

tonal, slow-moving chords, which recall the gentle opening of Aaron Copland’s Appalachian Spring. Adams instructs the conductor to incorporate “sonic found objects” into the work. In the first recording, this consisted of an argument between a radio talk show host and a guest later revealed to be a preacher; a later recording used part of a sermon, expounding on the miracle of Jesus healing a man with a withered hand.

FELIX MENDELSSOHN (1809-1847) Symphony No. 5 in D Major, Opus 107, “Reformation” Duration: 33 minutes Felix Mendelssohn, one of the bestloved composers of the nineteenth century, was born into a wealthy and prominent Jewish family in Hamburg, Germany; the family moved to Berlin two years after Felix’s birth. He began piano lessons with his mother at age six, and also studied with Marie Bigot and Ludwig Berger. He took counterpoint and composition lessons with Carl Friedrich Zelter. The musical genius of this extraordinarily gifted child was recognized at an early age, and rightfully placed at the same level as that of his famous predecessor, Wolfgang Amadeus Mozart. Mendelssohn was a brilliant keyboard performer

before reaching the age of 10, and by his mid-teens, his composition output already included symphonies, concerti, chamber music, and vocal works. The String Octet in E-Flat Major, Opus 20, which was composed at age 16, is still considered to be one of the greatest pieces of string chamber music ever written. The Overture to A Midsummer Night’s Dream followed a year later. Both works show remarkable maturity and mastery of form. As an adult, Mendelssohn championed the works of other composers; perhaps most notably for resurrecting interest in the music of Johann Sebastian Bach. His performance of Bach’s Saint Matthew Passion (in Berlin in 1829) was the first to occur in the nearly 80 years following Bach’s passing, and established Mendelssohn’s reputation as an international force in the world of music. Mendelssohn would go on to take the position of conductor of the Leipzig Gewandhaus Orchestra at age 26, and he founded the Leipzig Conservatory of Music at age 33. A happily married father of four, Mendelssohn was well travelled, and a skilled painter and writer in addition to his musical talents. He composed the “Reformation” Symphony during 1829 and 1830 to celebrate the 300th anniversary of the (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 27

RACHMANINOFF’S PAGANINI RHAPSODY Saturday, October 28, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, October 29, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued) presentation of the Augsburg Confession, which in turn led to the founding of the Lutheran Church. Festivities commemorating the event were to take place in Berlin on June 25, 1830; unfortunately, Mendelssohn fell ill while writing the piece, so it was unable to be presented at that time. The first performance was in Berlin in 1832 (specific details unknown). Even though it was Mendelssohn’s second composed symphony, it was not published until nearly 21 years after his passing, as he was never completely satisfied with the scoring. He actually withdrew it from performance consideration in 1838, and

it would be another 30 years before it was played again. In structure, it is a typical 19th-century symphony in four movements, reversing the usual order of movements two and three (as Beethoven did with his Ninth Symphony): a scherzo precedes the slow movement. References to the intended subject of its writing include the “Dresden Amen,” used in the first and third movements; and Martin Luther’s famous chorale, “Ein feste Burg ist unser Gott” (“A Mighty Fortress Is Our God”), which opens and closes the fourth movement.

Andrew von Oeyen piano

Hailed worldwide for his elegant and insightful interpretations, balanced artistry and brilliant technique, Andrew von Oeyen has established himself as one of the most captivating pianists of his generation. Since his debut at age 16 with the Los Angeles Philharmonic and Esa-Pekka Salonen, Mr. von Oeyen has excelled in a broad spectrum of concerto repertoire — Bartok, Barber, Beethoven, Brahms, Chopin, Fauré, Ligeti, Liszt, Gershwin, Grieg, Mendelssohn, Mozart, Prokofiev,

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Rachmaninoff, Ravel, Schumann, Shostakovich, Tchaikovsky — with such ensembles as the Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, National Symphony, Detroit Symphony, Saint Louis Symphony, Seattle Symphony, Atlanta Symphony, Cincinnati Symphony, Berlin Symphony Orchestra, New Japan Philharmonic, Singapore Symphony, Grant Park Orchestra, Ravinia Festival Orchestra, Vancouver Symphony, Utah Symphony, Orchestre Symphonique de Marseille, Geneva Chamber Orchestra, Spoleto Festival USA Orchestra, Slovenian Philharmonic and Slovak Philharmonic. As both soloist and conductor he has led concerti and orchestral works by Haydn, Mozart, Beethoven, Ravel and Kurt Weill. On July 4, 2009, von Oeyen performed at the U.S. Capitol with the National Symphony in “A Capitol Fourth,” reaching millions worldwide in the multi-award winning PBS live telecast. Mr. von Oeyen has appeared in recital at Wigmore Hall and Barbican Hall in London, Lincoln Center in New York, the Kennedy Center in Washington, D.C., Boston’s Symphony Hall, Zürich’s Tonhalle, Tchaikovsky Hall in Moscow, Bolshoi Zal in St. Petersburg, Dublin’s National Concert Hall, Royce Hall in Los Angeles, Herbst Theater in San Francisco,

Sala São Paulo, Teatro Olimpico in Rome, in Bucharest, Hanoi, Macau, and in every major concert hall of Japan and South Korea. Mr. von Oeyen’s 2016/2017 engagements included, among others, a European and North American tour with the Prague Philharmonia (including performances as both soloist and conductor), appearances with the Vancouver Symphony, Jerusalem Symphony, Rochester Philharmonic, Calgary Philharmonic, Chicago’s Grant Park Music Festival Orchestra and the orchestras of Grand Rapids, Oklahoma City, Wichita and Boise. He will also appear in recital in San Francisco and throughout Europe. Mr. von Oeyen’s 2015/16 engagements included, among others, appearances with the Mariinsky Theater Orchestra in St. Petersburg, Detroit Symphony, Prague Philharmonia, Chicago’s Grant Park Festival Orchestra, American Youth Symphony, Portland Symphony, the Brevard Music Center Orchestra and Winston-Salem Symphony. He also appeared in recital throughout the US and Europe and performed at the Royal Opera House, Muscat, for the Sultanate of Oman’s New Year’s Eve Gala. In June 2016 Mr. von Oeyen signed an (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 29

RACHMANINOFF’S PAGANINI RHAPSODY Saturday, October 28, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, October 29, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued) exclusive recording contract with Warner Classics. His debut album under the label will be released in January 2017 and will include works for piano and orchestra by Saint-Saëns, Ravel and Gershwin. In 2013 Mr. von Oeyen released a critically acclaimed album of Debussy and Stravinsky piano works under the Delos Label (including two pieces written for him by composer, David Newman), following his 2011 award-winning album of Liszt works under the same label. 2013 also saw the release of the ChopinDebussy-Ravel digital album “Andrew von Oeyen: Live in Recital.”

Mr. von Oeyen, of German and Dutch origin, was born in the U.S. He began his piano studies at age 5 and made his solo orchestral debut at age 10. An alumnus of Columbia University and graduate of The Juilliard School, where his principal teachers were Herbert Stessin and Jerome Lowenthal, he has also worked with Alfred Brendel and Leon Fleisher. He won the prestigious Gilmore Young Artist Award in 1999 and took First Prize in the Leni Fe Bland Foundation National Piano Competition in 2001. Mr. von Oeyen lives in Paris and Los Angeles. “Hear Me Dance” by General Hambrick. Photo by Patricia Possel

REMEMBERING JOE POWELL Arriving in Memphis in 1954, Joe Powell began his career with Baptist Memorial Hospital as an administrative resident and became president in 1980. A major contribution of his years as CEO was the creation of the Baptist Memorial Healthcare System. He retired as president in 1994 and achieved several professional recognitions. He was instrumental in the formation of the Baptist Memorial Healthcare Foundation, the charitable arm of the Baptist system. Joe loved classical music and began attending concerts soon after coming to Memphis. He went to the shows of the early Memphis Sinfonietta at the Goodwyn Institute, the precursor to the modern era Memphis Symphony Orchestra. Joe was a dedicated Symphony subscriber and served on the Symphony Board. A kind, generous, and caring individual, he was loved by friends and family and is loved and missed by the Memphis Symphony Orchestra.

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P O P S ! The U.S. Naval Academy Glee Clubs in Concert! Saturday, November 11, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, November 12, 2017 at 2:30 p.m. at Germantown Performing Arts Center

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ROBERT MOODY, CONDUCTOR DR. AARON SMITH, DIRECTOR, MUSICAL ACTIVITIES CHAIRMAN, USNA MUSIC DEPT. Celebrate America with the stirring voices of the U.S. Naval Academy Glee Club. A tribute to America’s heroes with all your favorite red, white, and blue melodies. Patriotic anthems, Broadway hits, choir classics, and more!

THE UNITED STATES NAVAL ACADEMY MEN’S AND WOMEN’S GLEE CLUB The United States Naval Academy Glee Club is comprised of The United States Naval Academy Men’s Glee Club, which has achieved prominence as one of the world’s premier men’s choruses, and The United States Naval Academy Women’s Glee Club, which is the only all-female military choral ensemble in the world.

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Appearances on network television include The Kennedy Center Honors (CBS), The Today Show (NBC), The Early Show (CBS), Christmas in Washington (NBC and TNT), Good Morning, America (ABC), and countless regional and local television stations. (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 33

Texas, Virginia, and Washington. Ensembles have been seen performing in San Diego’s Copley Symphony Hall, New York’s Carnegie Hall and Avery Fisher Hall, Washington D.C.’s Kennedy Center, and Dallas’ Morton Meyerson Symphony Center and many of the nation’s great concert halls.

The Glee Clubs often perform masterpieces of choral-orchestral literature combining with the nation’s leading orchestras. In addition to the Academy’s annual presentation of Handel’s Messiah, the Glee Clubs are featured each year on the Naval Academy’s Distinguished Artist Series. Recent performances have included A Night at the Opera, Orff’s Carmina Burana, Requiems by Brahms, Dvorak, Faure, Mozart and Verdi, Haydn’s Creation, Beethoven’s Ninth Symphony, Vaughan-Williams’ A Sea Symphony, Stravinsky’s Symphony of Psalms, Mahler’s Symphony No. 2, among many others. Recent orchestral collaborations away from USNA include performances with the Boston Pops Orchestra, Charlotte

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Symphony, Phoenix Symphony, Columbus Symphony, Nashville Symphony, Dana Point Symphony, Portland Symphony, Winston-Salem Symphony, Jacksonville Symphony, and Dallas Symphony. In the past decade alone, the Glee Clubs have performed extensively throughout the U.S. and abroad including Chile, Argentina, Brazil, and several European Tours with performances at St. Peter’s in the Vatican, cathedrals in Brussels, Wells, Winchester, Salisbury, and St. Paul’s in London. Recent domestic tours have taken them to Arizona, California, D.C., Florida, Hawaii, Illinois, Michigan, Minnesota, Nevada, New Mexico, New York, North Carolina, Pennsylvania, Puerto Rico, South Carolina, Tennessee,

Additional recent notable appearances include the dedication ceremony of the Pentagon Memorial (9/11), the Ronald Reagan Freedom Award, the Commissioning Ceremony and Gala for the George H. W. Bush Aircraft Carrier (CVN-77), and the Presidential Inaugural Concert “We Are One” performed on the steps of the Lincoln Memorial for a live audience of over half a million and an internationally televised audience, the nationally televised JFK 50th Commemorations in Dallas and Boston, a performance at the White House, numerous concerts at the Academy, and participation in a nationally televised Kennedy Center Honors hosted by the President of the United States. The ability to perform in such a variety of public venues undoubtedly assists in the recruitment of potential candidates who otherwise would not be exposed to the incredible opportunities offered by attending the Naval Academy and presents our midshipmen to the public

at the highest level of professionalism to audiences around the globe as ambassadors for the United States and its Armed Forces. It is with honor, pride, and distinction that the Glee Clubs represent the United States, the Navy and Marine Corps, and the United States Naval Academy. DR. AARON SMITH Director of Musical Activities, Men’s Glee Club Director DR. CINDY BAUCHSPIES Women’s Glee Club Director CAPTAIN ROB CALHOUN USN, Officer Representative CAPTAIN MICHAEL BILZOR USN, Officer Representative LIEUTENANT PHILLIP CRAWFORD USN, Officer Representative LIEUTENANT SYLVIA JORDAN USN, Officer Representative MIDSHIPMEN FIRST CLASS HALSTON HOOVER Men’s Glee Club President MIDSHIPMAN FIRST CLASS SAVANNAH BATES Women’s Glee Club President (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 35

The U.S. Naval Academy Glee ClubS in Concert! Saturday, November 11, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, November 12, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued) MIDSHIPMEN FIRST CLASS WESLEY STEWART AND ANNE FISHER Vice Presidents MR. DON NELSON, TOUR LOGISTICS, MS. HELEN ARGUELLO Office Assistant MS. STEPHANIE WOODALL Department Coordinator Additional information can be found by visiting our website at www.usna.edu/ music. The United States Naval Academy’s Musical Activities Department is the primary source of Fine Arts education for the Brigade of Midshipmen. Throughout the Academy’s 172 year history, Musical Activities have played a crucial role in the lives and development of midshipmen who have found academic enrichment, leadership opportunities, inspiration, and camaraderie in its varied offerings. In a single year, Music Department ensembles will perform for the Brigade and thousands of concert attendees throughout the nation and around the world. An estimated 150,000 people will see a live performance – millions when televised. For the midshipmen, the various ensembles provide an invaluable resource during their evolution to become leaders. In addition to being exposed to military

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and world leaders, midshipmen gain strength and confidence by performing for senior officers and their classmates. They are continually taught to strive to work together as an ensemble to create something greater than themselves. They are taught to embrace the finest qualities the Naval Academy strives to engender in its future leaders. The United States Naval Academy was founded in 1845 in Annapolis, Maryland. The history of the Academy has often reflected the history of the United States itself. As the U.S. Navy has moved from a fleet of sail and steam-powered ships to a high tech fleet of nuclear-powered submarines and surface ships as well as supersonic aircraft, the Academy has changed also. The Naval Academy gives young men and women the upto-date academic and professional training needed to be effective naval and marine officers in their assignments after graduation. Every day, as the undergraduate college of the naval service, the United States Naval Academy strives to accomplish its mission to develop midshipmen “morally, mentally, and physically.” Moral and ethical development is a fundamental element of all aspects of the Naval Academy experience. As future officers in the Navy or Marine Corps,

midshipmen will someday be responsible for the priceless lives of many men and women and multi-million dollar equipment. From their first day through graduation, the Naval Academy’s Officer Development Program is a four-year integrated continuum that focuses on the attributes of integrity, honor, and mutual respect. Every midshipman’s academic program begins with a core curriculum that includes courses in engineering, science, mathematics, humanities, and social science. This is designed to provide a broad-based education that will qualify the midshipmen for practically any career field in the Navy or Marine Corps. At the same time, our majors program gives them the opportunity to develop a particular area of academic interest. The Academy also provides professional and leadership training. After four years at the Naval Academy, the life and customs of the naval service become

second nature. The professional classroom studies are backed by many hours of practical experience in leadership and naval operations, including assignments with Navy and Marine Corps units. Just as the Naval Academy promotes the moral and mental development of midshipmen, so also must it fulfill its responsibility for each midshipman’s physical development. Everyone has a wide variety of athletic choices, as well as the required physical education curriculum. The primary goal of the physical education curriculum is fitness, which is so vital for midshipman health, personal appearance and well-being. Upon graduation, every midshipman becomes a commissioned officer in the United States Armed Forces serving to protect our nation and better the world at large.

MEMPHIS SYMPHONY ORCHESTRA | 37

P O P S ! Magic of Memphis Holiday Spectacular Friday, December 1, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, December 3, 2017 at 2:30 pm at Cannon Center for the Performing Arts

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Share Memphis’ favorite new holiday musical tradition with family and friends. It’s a sparkling celebration that features the very best talent from this magnificent musical community.

GIFT THE GIFT OF MUSIC THIS HOLIDAY SEASON! Call the MSO box office or go online to purchase gift certificates!

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MEMPHIS SYMPHONY ORCHESTRA | 39

Program Notes

S P E C I A L

C O N C E R T

Brahms Fourth by: Ken Meltzer

Handel’s Messiah Tuesday, December 19, 2017 at 7:30 pm at Lindenwood Christian Church Wednesday, December 20, 2017 at 7:30 p.m. at Lindenwood Christian Church

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Margaret Carpenter Haigh soprano

Hailed for her “clear, bright tone” (Cleveland Classical) and described as “fiery, wild, and dangerous” (Classical Voice North Carolina), soprano Margaret

JONATHAN BLALOCK, TENOR TROY COOK, BASS MSO CHAMBER CHORALE DR. LAWRENCE EDWARDS, DIRECTOR

Carpenter Haigh is a versatile artist, with repertoire ranging from mediaeval to contemporary music. She has performed as a soloist with groups including the Portland (ME) Symphony, WinstonSalem (NC) Symphony, Oxford Bach Soloists, Apollo’s Fire, Simon Carrington Chamber Singers, and Piedmont Baroque Consortium. Alongside her husband, organist and harpsichordist Nicolas Haigh, Ms. Carpenter Haigh is co-founder of L’Académie du Roi Soleil, an ensemble specializing in French music from the time of Louis XIV and with which she has performed in venues including York Minster; New College Chapel, Oxford; and Clare College Chapel, Cambridge. Recent engagements of note including singing and narrating David Del Tredici’s An Alice Symphony with Robert Moody and the Portland Symphony, singing alongside Mark Padmore as a BrittenPears Young Artist in the Aldeburgh (continued on next page)

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Handel’s Messiah Tuesday, December 19, 2017 at 7:30 pm at Lindenwood Christian Church Wednesday, December 20, 2017 at 7:30 p.m. at Lindenwood Christian Church (continued) Festival, and performing at the Oregon Bach Festival. Touring engagements have taken her to Israel, Germany, and France under the baton of Timothy Brown, and she has been featured as a soloist in the Easter at King’s Concert Series in King’s College Chapel, Cambridge. In the 2017-2018 season, Ms. Carpenter Haigh’s engagements include débuts with the Memphis Symphony and the Newberry Consort, numerous Bach cantatas with the Raleigh Bach Soloists, a national tour of Monteverdi’s Orfeo with Apollo’s Fire, and the release of an album of seventeenth-century German chamber music with Ensemble Vermillian.

Ms. Carpenter Haigh holds degrees from the University of Cambridge, where she was a Gates Cambridge Scholar, and the University of North Carolina at Greensboro. She is a doctoral candidate in Historical Performance Practice at Case Western Reserve University where she studies with Ellen Hargis and Aaron Sheehan. Recent scholarship includes work on florid ornamentation practice in the airs sérieux of seventeenth-century composer Bénigne de Bacilly and gesture in the madrigal repertoire of the concerto delle donne in late sixteenthcentury Ferrara. www.margaretcarpenter.org

Mikah Meyer alto

As featured by Classical Singer Magazine, the Washington Post, and NBC News, countertenor Mikah Meyer is thrilled to return to Memphis and join the MSO for Handel’s Messiah. A graduate of the University of Memphis (teachers Dr. Pamela Gaston and Dr. Lawrence Edwards), Meyer received a Rotary Ambassadorial Scholarship through the Memphis Central Rotary Club to pursue a Masters in Voice at McGill University in Montreal, Canada. There he studied with Sony Classical Masterworks recording artist, countertenor Daniel Taylor, and Grammy

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award winning baritone, Sanford Sylvan. As a soloist, he has performed with L’Orchestre Symphonique de Longueuil, Rebel Baroque, and the Spire Ensemble, and with professional choirs like the Simon Carrington Chamber Singers, the Abendmusik Chamber Choir, and Memphis’ own DeltaCappella. Active in expanding countertenor repertoire, he is the co-creator of Dr. Mezzo & Mr. High, a cabaret-style battle between himself and mezzo-soprano Kathryn Humphries, and designer of the lecture recital The Modern Countertenor, which he premiered at Western Connecticut State University in 2015. He is also a former

member of the Washington D.C. musicalimprov troupe Door #3. Having most recently sung with the professional choirs at America’s National Cathedral in Washington D.C., Mikah’s artistic endeavors are currently taking him on a three-year journey to become the youngest person to visit all 417 U.S. national parks. Along the way, he weekly joins churches across America as a guest preacher and soloist, sharing the countertenor voice with audiences in every U.S. state and territory. Learn more at TBCMikah.com or by following @TBCmikah on Instagram, Facebook, and Twitter.

Jonathan Blalock tenor

American tenor Jonathan Blalock recently triumphed as Prince Claus in the world premiere of Mark Adamo’s Becoming Santa Claus at The Dallas Opera. His critically acclaimed performance was broadcast live to Lincoln Center and will be released on DVD later this year. Recent and upcoming engagements for Jonathan include season include Don Ramiro (La Cenerentola) with Syracuse (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 43

Handel’s Messiah Tuesday, December 19, 2017 at 7:30 pm at Lindenwood Christian Church Wednesday, December 20, 2017 at 7:30 p.m. at Lindenwood Christian Church (continued) Opera, Beppe (I Pagliacci) with Arizona MusicFest, Nanki-Poo (The Mikado) with Performance Santa Fe, Les Illuminations with Bear Valley Music Festival, Britten’s Serenade for Tenor, Horn and Strings with Oakland Symphony, a debut with Michigan Opera Theatre as Harry in La Fanciulla del West, Adam in the world premiere of Rev23 in Boston, and Podesta in Mozart’s La Finta Giardiniera with both OnSite Opera and Atlanta Opera. Highly acclaimed for his work in 20th and 21st Century Opera, Jonathan has appeared in a number of world premieres, including Huang Ruo’s An American Soldier with Washington National Opera, The Secret Agent with the Center for Contemporary Opera in NYC, and the Armel Festival in Hungary; Jorge Martin’s Before Night Falls with Fort Worth Opera; and Paul’s Case with Urban Arias, which Alex Ross in The New Yorker declared it as one of the top ten musical events of 2014, saying, “The tenor Jonathan Blalock was transfixing in the title role; Spears’s score glistened beautifully and eerily around him.” In addition, Jonathan sang The Electrician in Adès’ Powder Her Face with West Edge Opera, made his Virginia Opera debut as Cégeste in Philip Glass’ Orphée, and has sung in the same composer’s Hydrogen Jukebox with both West Edge Opera and Fort Worth Opera.

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As a specialist in Rossini and Mozart, Mr. Blalock has performed Pedrillo in Mozart’s Die Entführung aus dem Serail with Des Moines Metro Opera; Don Ottavio (Don Giovanni) with Cedar Rapids Opera and Nevada Opera; Ferrando (Così fan tutte) with Capitol Opera Raleigh; Count Almaviva (Il Barbiere di Siviglia) with TriCities Opera, LOFT Opera, and Opera Company of Middlebury; Ramiro (La Cenerentola) with Opera Roanoke, Opera in Williamsburg, and as a guest with Bob Jones University; and covered two Rossini roles at Santa Fe Opera: Rodrigo (La Donna del Lago) and Conduliermo (Maometto II). Career highlights also include Pang (Turandot) with Nashville Opera and Pacific Symphony; the title role in Candide with Emerald City Opera; and The Electrician in Adès’ Powder Her Face with West Edge Opera; The Burrowing Mole (The Fantastic Mr. Fox) with both Opera San Antonio and Odyssey Opera; Remendado (Carmen) with Pacific Symphony and Fort Worth Opera; and Fenton (Falstaff) with Mercury Opera Rochester. In concert Mr. Blalock has performed Carmina Burana with the Southern New Jersey Philharmonic and Las Cruzas Symphony; Handel’s Messiah with Winston-Salem Symphony and Lexington Philharmonic; and as

soloist with the Portland Symphony, Opera America’s New Opera Showcase, the Prototype Festival, The Washington

Chorus, the Rackham Choir (Detroit), and Opera Hong Kong.

with a return to Des Moines Metro Opera for their 2017 summer festival, singing Frederick in A Little Night Music, joins the Hong Kong Philharmonic as the baritone soloist for the Carmina Burana, and creates the role of John Cree in the world premiere of Elizabeth Cree with Opera Philadelphia. He will also perform Enrico in Lucia di Lammermoor with Florida Grand Opera, Rodrigo in Don Carlo with Washington National Opera, and Falke in Die Fledermaus with Utah Opera. He also appears in concert with the Charlotte Symphony and Memphis Symphony for Handel’s Messiah.

Troy Cook bass

American baritone Troy Cook recently performed his first Ford in Hamburgische Staatsoper’s Falstaff, following his debut with the company as Marcello in La bohème, and debuted with the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. Troy Cook begins the 2017-2018 season

Mr. Cook began the 2016-2017 season with Des Moines Metro Opera for their 2016 Summer Festival, singing de Bretigny in Manon and Young Galileo in Galileo Galilei, followed by performances with the Lyric Opera of Kansas City as Peter in Hansel und Gretel, Atlanta Opera to reprise the role of Father Palmer in Silent Night, San Diego Opera as Ford in Falstaff, the title role in Eugene Onegin with Syracuse Opera, and a debut with Washington National Opera as Sharpless in Madama Butterfly. (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 45

Handel’s Messiah Tuesday, December 19, 2017 at 7:30 pm at Lindenwood Christian Church Wednesday, December 20, 2017 at 7:30 p.m. at Lindenwood Christian Church (continued) He also appeared with the Portland Symphony for Brahms’ Ein deutsches Requiem. In the 2015-2016 season, Mr. Cook performed the role of Jupiter in Virginia Opera’s production of Orpheus in the Underworld, followed by debuts with the Dallas Opera as de Bretigny in Manon, Austin Lyric Opera as Figaro in Il barbiere di Siviglia, and the Macau Festival as Valentin in Faust. On the concert stage, he sang the Messiah with the Pacific Symphony and the Indianapolis Symphony. The 2014-2015 season brought important role debuts for the baritone, including Germont in La Traviata with Central City Opera and a critically acclaimed Rodrigo in Don Carlo with Opera Philadelphia. He appeared in Lady Be Good at the Teatro de la Zarzuela in Madrid, made his company debut with Utah Opera as Sharpless in Madama Butterfly, and returned to the role of the Marquis de la Force in Poulenc’s Dialogues des Carmélites with both the Portland and Winston-Salem Symphonies. Additionally, he debuted with the San Francisco Symphony for Handel’s Messiah, and appeared in concert with both the Portland Symphony and AZ Music Fest. The 2013-2014 season brought

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performances as Paolo in Simon Boccanegra with Kentucky Opera, Riccardo in Boston Lyric Opera’s I puritani, Marcello in La bohème with Pittsburgh Opera and North Carolina Opera, and the Marquis de la Force in Dialogues des Carmélites with Opera Theatre of St. Louis. Mr. Cook also appeared in concert with the Jacksonville Symphony Orchestra and Winston Salem Symphony. He closed the season as Captain von Trapp in The Sound of Music with Central City Opera. During the 2012-2013 season, Troy Cook appeared as Marcello in La bohème and Father Palmer in Silent Night with Opera Philadelphia, in Handel’s Messiah with the Boise Philharmonic, and Lord Cecil in Maria Stuarda with Washington Concert Opera. He concluded the season with a debut as Silvio in Pagliacci with Opera Theatre of Saint Louis, and in a return to Central City Opera as Gaylord Ravenal in Show Boat.   Previous highlights include creating the role of Father Palmer in the world premiere of Silent Night with Minnesota Opera; Marcello in La bohème with the Jacksonville Symphony Orchestra, Florida Grand Opera, Berkshire Opera, Semperoper Dresden, and Opera Philadelphia; Lescaut in Manon Lescaut with Opera Philadelphia; the Count in

Le nozze di Figaro with Lyric Opera of Kansas City; Escamillo in Carmen with the Green Mountain Opera Festival; Sharpless in Madama Butterfly with Opera Philadelphia and Berkshire Opera; Enrico in Lucia di Lammermoor with Las Palmas Opera and Lyric Opera of Kansas City; Guglielmo in Così fan tutte with Santa Fe Opera and Toledo Opera; Zurga in Les pêcheurs de perles with Lyric Opera of Kansas City and Opera Carolina; Figaro in Il barbiere di Siviglia with Opera Omaha, San Francisco Opera and Fort Worth Opera; Mr. Flint in Billy Budd with San Francisco Opera;

Albert in Werther with Kentucky Opera; and Giacomo in Beatrix Cenci with Grand Théâtre de Genève. He has also appeared with the Metropolitan Opera, Opera Bilbao, Opera Pacific, and La Monnaie, Brussels. Equally in demand on the concert stage, Mr. Cook has appeared with the Pacific Symphony, Arizona Musicfest, Portland Symphony Orchestra, the WinstomSalem Symphony, the American Ballet Theater, the LA Philharmonic, San Antonio Symphony, and the Marilyn Horne Foundation.

proud supporter of the

Memphis Symphony Orchestra MEMPHIS SYMPHONY ORCHESTRA | 47

A Rock ‘n’ Roll Landmark. Now an Unforgettable Event Destination.

P O P S ! Elvis’™ Memphis Saturday, January 6, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts

T H E H O M E O F E LV I S P R E S L E Y

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

Elvis Presley’s Memphis

PRESENTED BY

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

The Guest House at Graceland TM

Graceland’s new AAA Four-Diamond resort hotel offers extraordinary meeting, banquet, and entertainment space. Inspired by the same warm Southern hospitality that Elvis Presley always showed his guests, The Guest House features more than 25,000 square feet of event space — ample room to accommodate groups of up to 1,800.

TERRY MIKE JEFFREY - LEAD VOCALS,GUITAR, PIANO ADAM JEFFREY - PIANO, PERCUSSION, SAXES, VOCALS DEBBIE JEFFREY - KEYBOARD, VOCALS TIFFANY OKERSON - VOCALS STEVE WALSTON - DRUMS KEVIN SYNAN - BASS GUITAR, VOCALS THOMAS MICHAELS - LEAD GUITAR Graceland’s favorite tribute artist, Terry Mike Jeffrey, returns to join the Memphis Symphony for his salute - the music made on Elvis Presley Boulevard. A celebration fit for “The King”. All your Elvis memories in one unforgettable evening! Elvis Presley ™© 2016 ABG EPE IP LLC

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MEMPHIS SYMPHONY ORCHESTRA | 49

Elvis’™ Memphis Saturday, January 6, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts

over a dozen appearances fronting the Memphis Symphony. With the blessings of Graceland/EPE, and the original orchestra charts from the official Elvis archives, he and his band blend with full orchestras in presenting their salute to the King of Rock & Roll, minus the impersonator element. Terry Mike is also a frequent guest deejay and performer on Sirius/XM’s Elvis Radio, and routinely sings with Elvis’ former band members and background singers. Terry Mike Jeffrey’s other career highlights include: • a 1997 Emmy Award nomination (songwriting for TV’s Sesame Street)

Terry Mike Jeffrey

lead vocals, guitar, piano Veteran singer, multi-instrumentalist and songwriter Terry Mike Jeffrey began singing on stages at the age of 3. Fronting his own band since the early ‘70’s, he has performed all over the planet. A unique entertainer singing musical styles from most genres all of his life, Terry Mike is especially known world-wide for his presentation of Elvis Presley’s music. In recent years he has performed the King’s songs with symphony orchestras across the country, including those in Detroit, Jacksonville, Birmingham, Denver, Knoxville, and

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• Live performances in Italy, France, Germany, Sweden, Norway, Switzerland, England, Belgium, Holland, Denmark, Russia, Canada, and Hawaii

Wynette Story, which was featured for extended runs at Nashville’s Ryman Auditorium 2001-2002 • 56 performances on TNN’s Music City Tonight w/Crook & Chase (mid ‘90’s). A regular solo vocalist and musician on the show, TMJ shared the stage with country music legends such as Eddy Arnold, Shania Twain, Ray Price, Toby Keith, Kenny Chesney, and Chet Atkins • Critical praise from the New York Times, Variety, Billboard Magazine, Los Angeles Times, Ottawa Citizen, Houston Post, Nashville Banner, Memphis Commercial Appeal, Music City News

• Feature articles in USA Today, People Magazine, Country Weekly • Network TV appearances on NBC’s Today Show (twice!), CBS This Morning, CNN’s Show Biz Today, and Live with Regis and Kathie Lee • World-wide radio interviews, including London, England’s BBC, Sirius/XM satellite radio • Live shows with such stars as Jewel, Dixie Chicks, Fats Domino, Fabian, Travis Tritt, Carl Perkins, Steve Wariner, Jerry Lee Lewis, Boots Randolph, Billy Ray Cyrus, Jose Feliciano, Juice Newton, The Jordanaires, The Guess Who, Ricky Skaggs, Leon Russell, and the 2002 American Idol top 3

• Musical director and starring role in Elvis - An American Musical, a New York-produced multi-media show from the producers of Grease and Beatlemania. Toured the US & Canada with a Broadway run in the late ‘80’s. His other musical theater adventures include regional productions of Beehive, Hairspray, Always Patsy Cline and a 2-year run in Stand By Your Man - The Tammy

MEMPHIS SYMPHONY ORCHESTRA | 51

M A S T E R W O R K S Percussion Explosion Saturday, January 13, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, January 14, 2018 at 2:30 p.m. at Germantown Performing Arts Center SONJA BRANCH, SENEGALESE DRUMS DOM GUEYE, SENEGALESE DRUMS PAPE DIOUF, SENEGALESE DRUMS

KNOW THE SCORE a pre-concert presentation sponsored by

ABDOU MBAYE, SENEGALESE DRUMS WATOTO MEMPHIS PERFORMING ARTS ACADEMY DANCE ENSEMBLE

DMITRI SHOSTAKOVICH (1906 - 1975) Symphony No. 10 in E minor, Opus 93 I.

Moderato

II. Allegro III. Allegretto IV. Andante: Allegro

begins 1 hour prior to showtime. Saturday, January 13 6:30 pm Morgan Keegan Lobby Sunday, January 14 1:30 pm Ballet Room

INTERMISSION JAMES DEMARS (b. 1952) “Sabar Concerto”

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MEMPHIS SYMPHONY ORCHESTRA | 53

Percussion Explosion Saturday, January 13, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, January 14, 2018 at 2:30 p.m. at Germantown Performing Arts Center

Program Notes

by: Michelle Pellay-Walker

DMITRY SHOSTAKOVICH (1906–1975): Symphony No. 10 in E Minor, Opus 93 Duration: 57 minutes Dmitry Dmitryevich 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 13, he entered the Petrograd Conservatory, studying piano first with Elena Rozanova, then with Leonid Nikolayev; he later took composition lessons with Maximilian Steinberg, along with studies in counterpoint administered by Nikolay Sokolov. He wrote his First Symphony, premiered in 1926, 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.

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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, six concerti, a set of 24 Preludes and 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. (Personal Note: His last work before his passing in 1975 was a Viola Sonata, Opus 147, which I was privileged to perform on my Junior Recital in May of 1979.) There are few works in the symphonic repertoire containing more power and emotion than the Tenth Symphony. His preliminary sketches trace back as far as 1946, though there is some disagreement on when the full work was actually completed. This was Shostakovich’s first symphonic undertaking following the 1948 denunciation that resulted from the Zhdanov Decree (an extension of his 1946 Doctrine), in which the use of “cosmopolitan” and “formalistic” composition was looked upon with extreme disfavor. Joseph Stalin’s death in March of 1953 opened the door for Shostakovich’s “rehabilitation,” culminating in the premiere of the

Tenth Symphony, which took place in December 1953, performed by the Leningrad Philharmonic Orchestra, with Yevgeny Mravinsky on the podium. The scoring is massive, featuring triple woodwinds, full brass, and a large number of percussion in addition to the strings. Personal touches from the composer abound, beginning with the soul-felt sadness of the very lengthy first movement. In contrast, some describe the second movement, only four minutes long, as a savage and venomous portrait of the aforementioned Stalin, though this has never been conclusively proven, and remains a disputed point amongst music scholars. Things get even more interesting in the third movement, which makes graphic use of the DSCH motive that is the composer’s musical signature (it is hinted at by the violins near the beginning of the opening movement). [D-Es-C-H: D for “Dmitri,” and Es (E-Flat), C, H (B-Natural) for “Shostakovich,” remembering that in German, the letter C is normally found between S and H!] Another motive in this movement spells out the name of one of his piano and composition students from his Moscow Conservatory days, Elmira Nazirova (E-AE-D-A: E-La-Mi-Re-A). The emotional ambiguity of the fourth movement’s substantial introduction eventually gives

way to reminiscences of earlier thematic material, ultimately culminating in defiant repetitions of the DSCH motive, bringing the Symphony to a triumphant close. JAMES DEMARS (b. 1952) Sabar Concerto for African Drum Ensemble and Orchestra Duration: 25 minutes James DeMars holds degrees in piano and composition from Macalester College (Bachelor of Arts in Piano and Composition, 1974), where he studied both disciplines with Donald Betts. Graduate studies continued at the University of Minnesota, where he received a Master of Arts in Music Composition and Theory in 1977, and Doctor of Philosophy in Music Composition and Theory in 1981. His composition instructors in graduate school included Eric Stokes and Dominick Argento. Since 1981, he has taught theory and composition at Arizona State University. He has written commissioned works for a number of entities, including the Phoenix Symphony Orchestra, the Art Renaissance Foundation, the National Flute Association, and I Solisti di Zagreb. He received Pulitzer Prize nominations in 1996, 1997, and 2008, and in 1997 was awarded the Chevalier de l’Ordre (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 55

Percussion Explosion Saturday, January 13, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, January 14, 2018 at 2:30 p.m. at Germantown Performing Arts Center (continued) des Arts et Lettres (the French Order of Arts and Letters) by the government of France, honoring his work on An American Requiem (1994) and the Two World Symphony (1989). In 1999, an NEA Commission provided for a Concerto featuring the African Sabar drum ensemble with the Phoenix Symphony Orchestra. DeMars wrote the Sabar Concerto, which premiered the following year. It features four drummers plus a dance ensemble in addition to the symphony orchestra. The work is divided into four movements; movements three and four are played

without pause, being connected by a cadenza featuring the four soloists. From the MotherAmelia blog: “The composer wrote the following about the Sabar: ‘The Sabar Concerto was initiated at the request of Maestro Hermann Michael and Dr. Mark Sunkett for the purpose of creating a work that would integrate the musicians of two cultures to celebrate a new millennium.’” From the Arizona Republic: “DeMars brings the orchestra into direct union with ritual music and dance from Senegal in a sonic travelogue that was stunningly entertaining as well as culturally engaging.”

established ensemble Ndeye Soxna, a group dedicated to keeping Senegalese Sabar drumming alive in Phoenix. Sonja is an accompanist in the ASU School of Film, Dance, and Theatre at Grand Canyon University and for weekly public West African dance classes, hosted by City of Phoenix Parks & Recreation. She performs regularly with a variety of ensembles, including the MusicaNova Orchestra, Kawambe Omowale African Drum and Dance Theater, and the funk band, Dr. Delicious. A regular guest artist with the Phoenix Chorale, she was the featured instrumentalist on their 2008 Grammywinning album Spotless Rose: Hymns to

the Virgin Mary. Along with her freelance and teaching activities, Sonja also plays guitarron and vihuela with various mariachi ensembles in the Phoenix area. Believing that versatility really is the key to success, Sonja also is interested in design and fabrication. She is a certified SolidWorks professional and works part-time as a mechanical fabricator for Southwest Solar Technology, LLC. She likes to experiment with woodworking, welding, blacksmithing, glass cutting, printmaking, computer-automated design, machining, additive manufacturing, and any other skill that strikes her as useful in better designing, building, modifying, and repairing the tools of her musical trade.

Sonja Branch

Senegalese drums Dr. Sonja D. Branch, D.Mus.A., holds degrees in music performance from Ithaca College and Arizona State University. She was introduced to West African drumming in 1998 on a two-week excursion to Senegal organized by the late ASU professor, percussionist, and ethnomusicologist, Dr. Mark E. Sunkett. That single trip led to many years of study and collaboration with Dr. Sunkett, as well as several more adventures in Senegal and The Gambia as his research assistant. In 2014, after serving for more than a dozen years as Associate Director of the ASU African Drum Ensemble, Sonja

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Medoune Yacine Gueye (Dom) Senegalese drums

Master Drummer of the djembe Kutiro and Sabar Orchestra, former Musical Director of the renowned KanKouran West African Dance Company, Washington D.C., Gueye (Gaye) born in Dakar Senegal, is the son of a Griot, Abdou Karim Gueye. He began his musical career under his father’s tutelage and by age 15 was performing spiritual ceremonies. During that time, Gueye also began working (continued on next page) MEMPHIS SYMPHONY ORCHESTRA | 57

Percussion Explosion Saturday, January 13, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, January 14, 2018 at 2:30 p.m. at Germantown Performing Arts Center (continued) with Les Super Ballets du Senegal where he learned the oral language of the djembe under Magousso Thiam at the Fontaine School of Art. Gueye has performed and toured nationally and internationally with several national Ballet companies of Senegal. He has been commissioned by the Phoenix, Winston Salem, and Portland Symphony Orchestras. His detailed instructions and authentic performances of traditional music and culture are sought by several conferences both in the U.S. and Internationally. Medoune has served

as musical coach and consultant to Thiossane West African Dance Institute Columbus, Ohio for six years. Currently, he teaches at a school for behavioral challenged students that has proven how the arts and music fosters appropriate behavior and accountability. Alongside of other traditional artists, Gueye host annual excursion to Senegal and surrounding countries and regions to share the richness of Africa through dance and music for culturally enriched experiences. Fara Lambe House of Drum is the organization formed by “Dom” to archive the lineage of griot musicians.

group and in Europe with traditional and popular music artists from Senegal. A long-time associate of late Arizona State University professor, Dr. Mark E. Sunkett, his extensive contributions to Sunkett’s “Drums of Senegal Project” led to an invitation in 2004 to perform with ASU’s

with his older brothers and cousins. In 1989 he traveled with the orchestra of master drummer, Doudou N’Diaye Rose, to perform at the Festival de Toussaint Louverture in Lille, France. And in 1997 that group returned to France to perform at the Festival de Cannes.

Dethie Sarr Diouf (Pape) Senegalese drums

Dethie Sarr Diouf was born in Bargny, Senegal, into the Lebou ethnic group. It has been his family’s tradition to perform for every manner of ceremony and celebration in his village. He is a Géwël, one responsible for knowing all of the rhythms of his ethnic group and the family histories of all who live in Bargny. For many years he directed a group of drummers in both entertainment and ceremonial functions, primarily in Rufisque but also throughout Senegal. Called “Pape” by his friends, Mr. Diouf has toured in the United States with his traditional healing

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African Drum Ensemble and Symphony Orchestra in a presentation of James DeMars’ SABAR Concerto. Mr. Diouf now lives in Los Angeles where he is in demand as a teacher, performer, and dance class accompanist.

Abdou M’Baye Senegalese drums

Mr. M’Baye was born in Dakar, Senegal to an nguewel household – a family of artists – and from his early years, had a drumstick in hand. As a child, his uncles taught him sabar drumming and he performed at community events

After coming to the US in 1997, Mr. M’Baye continued to perform and teach sabar drumming. He works with his family’s ensemble, Sing Sing Rhythms, and has performed around the US, Canada and the Caribbean, including Central Park SummerStage, Celebrate Brooklyn!, Festival du Nuit D’Afrique (Montreal), Kalalu Music Festival (St. Lucia), Danzafrica Festival (Puerto Rico), the Apollo, and Lincoln Center. He also accompanies dance classes at the Alvin Ailey School and plays for dance conferences around the country.

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Percussion Explosion Saturday, January 13, 2018 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, January 14, 2018 at 2:30 p.m. at Germantown Performing Arts Center (continued)

Orchestrating a bright future together!

Watoto Memphis Performing Arts Academy Dance Ensemble In 1987, native Memphian Donald Oâ&#x20AC;&#x2122;Conner, musician/songwriter/ producer, founded the non profit Memphis Cultural Arts Enrichment Center (MCAEC), umbrella to the Watoto Memphis Performing Arts Academy. Reflecting the love that all children have for performing arts activities and the rich and historical musical culture of African American people, the Watoto Memphis Performing Arts Academy was formed. The program uses a variety of Afrocentric performing arts and literary styles, including blues, jazz, gospel,

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Negro spiritual, contemporary Afrocentric movement, and Black poetic composition and expression to introduce students to the historical experiences of their ancestors. Watoto program youth have their unique experience of singing, dancing, and performing their way through history, an approach that improves their self image and teaches them to appreciate their cultural heritage. Hundreds of children have had their lives positively impacted by the Watoto programs.

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PAUL & LINNEA BERT

Classic Accents BACH BRANDENBURG Saturday, January 20, 2018 at 7:30 p.m. at Harris Auditorium, University of Memphis Sunday, January 21, 2018 at 2:30 p.m. at Germantown Performing Arts Center

ROBERT MOODY, CONDUCTOR KATHRYN MUELLER, SOPRANO PATRICK DAILEY, COUNTERTENOR

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

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

ARCANGELO CORELLI (1653 - 1713) Concerto Grosso, Opus 6, No. 8, “Christmas Concerto” I.

Vivace - Grave - Allegro

II.

Adagio - Allegro - Adagio

III. Vivace IV. Allegro V. Pastorale SAMUEL BARBER (1910 - 1981) Knoxville: Summer of 1915, Opus 24 INTERMISSION CHRISTOPHER THEOFANIDIS (b. 1967) MUSE HENRY PURCELL (1659 - 1695) Sound the trumpet from Welcome Ode for James II JOHANN SEBASTIAN BACH (1685 - 1750) Brandenburg Concerto No. 3 in G major, BWV 1048 I.

[NO TEMPO INDICATED]

II. ALLEGRO

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BACH BRANDENBURG Saturday, January 20, 2018 at 7:30 p.m. at University of Memphis Harris Auditorium Sunday, January 21, 2018 at 2:30 p.m. at Germantown Performing Arts Center

performed include Barber’s Knoxville: Summer of 1915, Haydn’s Creation, Bach’s St. John Passion, and many works by Mozart and Handel. She collaborates as a guest artist with the award-winning early music group Wayward Sisters, and has also sung operatic roles for Arizona Opera, the North Carolina HIP Music Festival, and Bach Collegium San Diego.

Kathryn Mueller soprano

Hailed as a singer “who thoroughly captures the imagination,” soprano Kathryn Mueller is also praised for her “lovely tone and easy agility.” Her frequent engagements across the United States include appearances with the Los Angeles Chamber Orchestra, American Bach Soloists, Pacific Symphony, Portland Baroque Orchestra, Eastern Music Festival, Santa Fe Pro Musica, and the symphonies of cities including Phoenix, Grand Rapids, Mobile, and Winston-Salem. Favorite concert works that she has

Kathryn’s honors include a GRAMMY nomination for her solo work on True Concord’s album Far in the Heavens, and prizes from the Oratorio Society of New York’s Solo Competition and Early Music America’s Baroque Performance Competition. In 2011 she was one of four fellows in the prestigious Adams Vocal Master Class at the Carmel Bach Festival. Kathryn has also recorded two GRAMMYnominated albums with Seraphic Fire, and is featured as a soloist on Seraphic Fire’s best-selling Monteverdi Vespers of 1610. Kathryn was born in San Francisco, and began her musical studies on the edge of Arizona’s White Mountain Apache Reservation. She got her first pro gig – a section leader position at a church in Providence – during high school in Rhode Island, continued her vocal studies as an undergraduate at Brown University, and then earned a Masters degree in vocal performance from the University of

Arizona. She is based in Raleigh, North Carolina and is on the voice faculties

of East Carolina University and North Carolina State University.

Emerging Artist Program. Operatic roles include Nerone in Monteverdi’s L’incoronazione di Poppea, Oberon in Britten’s A Midsummer Night’s Dream, and Belize in Angels in America. On the eve of President Barack Obama’s historic inauguration, Mr. Dailey made his John F. Kennedy Center for the Performing Arts debut in a featured duet with Aretha Franklin as the finale for the annual Let Freedom Ring Celebration, a concert honoring the Legacy of Dr. Martin Luther King Jr.

Patrick Dailey countertenor

Versatile countertenor and Tennessee native, Patrick Dailey has earned honors in the NAACP ACT-SO and the National Classical Singer Magazine University Vocal Competition. He made his operatic debut with Opera Saratoga as the first countertenor member of the company’s Young Artist program and later became the first countertenor admitted to Opera New Jersey ‘s Victoria J. Mastraboso

Mr. Dailey made his west coast operatic debut as Satirino in Cavalli’s La Calisto with Pacific Opera Project of Los Angeles and recently debuted with Opera Memphis in Purcell’s Dido and Aeneas. He has appeared in concert with the Mid-Atlantic Symphony, Soulful Symphony, Music City Baroque, the American Bach Soloist Festival, and Cook, Dixon, and Young. Concert repertoire includes Bach’s Mass in B minor, Handel’s Messiah, Mendolssohn’s Elijah, Mozart’s Requiem, and Beethoven’s Mass in C major. Additionally, he is the first place winner in Opera Ebony‘s 2014 (continued on next page)

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“That would be great for a storm scene!” or “That sounds like a princess!” My catalogue of pieces has grown quite large and I am always ready to create a new musical score for one of our stories.

BACH BRANDENBURG Saturday, January 20, 2018 at 7:30 p.m. at University of Memphis Harris Auditorium Sunday, January 21, 2018 at 2:30 p.m. at Germantown Performing Arts Center (continued) Benjamin Matthews Vocal Competition and performed the opening invocation for the 2015 Trumpet Awards at the invitation of Trumpet Foundation founder and CEO, Xernona Clayton. Growing in his reputation as a scholar and educator, Mr. Dailey was invited to the Center for Black Music Research ‘s first annual Black Vocality Symposium to give a performative presentation entitled The Anatomy of the Black Voice: Peculiarities, Challenges, and Regional Differences. Recently, Mr. Dailey made his United Kingdom operatic debut as Marc’Antonio in Hasse’s Marc’Antonio e Cleopatra with the Woodhouse Opera

Festival and will travel to Belo Horizonte, Brazil in August of 2016 to reprise this role and serve as Artist-in-Residence at Il Academia de Ópera Barroca. Mr. Dailey received his Bachelor of Arts degree in Music-Vocal Performance from Morgan State University in Baltimore, MD and completed the Masters of Music degree in Vocal Performance from Boston University . Currently, he serves as adjunct professor of voice and director of opera workshop at Tennessee State University in Nashville, TN.

Tunes & Tales: A Musician’s Take By Joseph Salvalaggio There is magic in combining music and words. Movies, television programs and even commercials have their own soundtracks designed to elevate message and meaning. A story is more exciting, more suspenseful and more dramatic when combined with the right piece of music. A musician’s ear is uniquely sensitive to musical underpinnings, which is why musicians of the Memphis Symphony Orchestra have been combining classical music with children’s stories for almost a decade.

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Each year MSO’s Tunes and Tales program takes storybook concerts into schools and libraries all over Shelby County, and I am one of several MSO musicians responsible for creating and performing these. Inspiration for my own Tunes and Tales work comes from a great marriage of music and storytelling: the classic cartoons of Bugs Bunny. These zany little masterpieces, set to Wagner’s Ride of the Valkyres or Rossini’s Barber of Seville, exposed my

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

Reducing the music is often the last step before rehearsal and performance. Orchestral music can include as many as 35 different instruments, but a Tunes and Tales ensemble typically has only 3 to 5 players. These small groups interact well with audiences and bring children in close to provide a complete concert experience ideal for young audiences. As the professional, resident orchestra of Memphis, we embrace our role as ambassadors of live classical music in our city. Knowing that we often give that first taste of classical music is exciting and we dedicate ourselves to bringing great quality. It’s hard, but gratifying work. For Tunes and Tales, the payoff comes when a child sings along to Twinkle, Twinkle Little Star (written by Mozart), or moves to the beat of the music, or simply smiles, and then we know the hard work is truly worthwhile.

MEMPHIS SYMPHONY ORCHESTRA | 67

Governance and Staff Board of Directors OFFICERS Gayle S. Rose Chairman EVS Corporation Belinda Anderson Vice Chair Carol Johnson Vice Chair South New Leaders Louise Barden Secretary Trustmark Bank Pam Guinn Treasurer St. Mary’s Episcopal School BOARD Ben Buffington Hi-Speed Industrial Service Nancy Coe Dominion Partners

Mark Glover Baker, Donelson, Bearman, Caldwell & Berkowitz Scott Heppel Retired Eula Horrell Symphony League Representative Ramon Marus Bryce Corporation Dr. Lisa Mendel Chorus Representative Gloria Nobles Robert Patterson Musicians Representative Ashley Remmers Diversified Trust John Speer Bass, Berry, and Sims, PLC Phil Stevenson Pinnacle Financial Partners

Mark Crosby

Tish Towns Regional One Health

Michael Douglas Gerber Taylor

Jim Vining Retired

Jason Farmer

Isabelle Welch Studio 708

Shea Flinn Greater Memphis Chamber Dr. Suzanne Gronemeyer St. Jude Children’s Research Hospital

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PAST CHAIRS Dunbar Abston, Jr. Newton P. Allen, Esq.* Walter P. Armstrong, Jr. *

Leo Bearman, Jr., Esq. Troy Beatty* Paul A. Bert Jack R. Blair Robert L. Booth, Jr. Judge Bailey Brown* Robert E. Cannon* George Cates Eric A. Catmur* Charles P. Cobb, Esq.* Nancy R. Crosby* Mike Edwards George E. Falls, Jr. David B. Ferraro Lewis E. Holland William F. Kirsch* Martha Ellen Maxwell* Dr. Joseph Parker* G. Dan Poag Thomas M. Roberts* Jeff Sanford P.K. Seidman* Michael Uiberall Joseph Weller Dr. Russel L. Wiener* *deceased

Andrew Crust Assistant Conductor Memphis Youth Symphony Conductor Steven Fox Engagement and Inclusion Manager Erin Kaste Personnel Manager Rebecca Longcrier Patron Services Specialist Doug Mayes Production Manager Jane Mims Director of Development Robert Moody Music Director Rachael Patton Director of Artistic Operations Irene Wade Librarian Karen Wright Executive Assistant

Staff

Larry Edwards Memphis Symphony Chorus Director

Peter Abell Chief Executive Officer

Rodney Gilchrist IT Support

Bryan Artiles Stewardship & Sponsorship Manager

Kimberly Lind Accountant

Jason Barnett Communications

Sandy D’Amato Education Coordinator

Rhonda Causie Director of Innovation & Impact

Joey Salvalaggio Education Specialist MEMPHIS SYMPHONY ORCHESTRA | 69

memphis symphony league

LETTER FROM THE PRESIDENT As a child, I gained an appreciation of music when I started taking music lessons at the age of eight. At the age of fifteen I became the assistant organist of my church. Marriage and family ultimately took precedent over the practice of music in my life but its power and magnitude never left me. My early exposure to music is what drives my dedication and enthusiasm for our renowned Memphis Symphony Orchestra. We are so fortunate to have one of the great orchestras in the country, and to have Robert Moody as Music Director.

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He took us to phenomenal musical heights last season and I cannot wait to see what he has in store for the 20172018 Season.

BOARD OFFICERS Eula Horrell

Education and music brings our community together and forges the bonds that define who we are as a community. This is why we all need to work to support musicians with our time, talents, and most importantly our financial support. One way to achieve this goal is through the Memphis Symphony League. I encourage you to become a member of the Memphis Symphony League today. There are no requirements to becoming a member other than having a love of music, a love for our orchestra and your financial contribution. Please complete the form below and become an integral part of the music in our community.

First Vice President

Eula Horrell President of the Memphis Symphony League “Music is the art of thinking with sounds”

President Betty Weiss Dinah Makowsky Second Vice President for Education Mary Beth Bryce Recording Secretary Alice Dudas Corresponding Secretary Gail Kimball Treasurer Donna Flinn Nominations Florence Leffler Parliamentarian Billie Jean Graham Mary Lawrence Flinn Charlotte Neal MSL Advisors BOARD OF DIRECTORS Mary Booker Jean de Frank Mary Lawrence Flinn Kathy Gardner Katherine Godoy Billie Jean Graham Nancy Lou Jones - Housing Chair Sissy Long Carol Martin

Elisa Marus Amy Meadows Charlotte Neal – MSL Advisor Gloria Nobles Representative for the MSL Tommie Pardue Julie Smith Shelly Sublett - Orchestra Representative Lura Turner - Media Chair Isabelle Welch Joy Wiener LIFETIME MEMBERS Abraham, Rev. Dr. Jane Anderson, Ms. Pat Barden, Louise Bohon, Scott E. Boyd, Janis Bryce, Mary Beth Burnett, Alice and Phil Clark, Kenneth Coe, Nancy Hughes Dudas, Alice Whitten and John Duignan, Kate and Chris Peck Flinn, Mary Lawrence Gerard, Jere Gronemeyer, Dr. Suzanne Halloran, Ann and Pat Handorf, Miriam and Charles Horrell, Eula King, Kathryn A. Kirsch, Dorothy Leffler, Florence Liles, Kay Taylor Loeb, Katherine Manning

MEMPHIS SYMPHONY ORCHESTRA | 71

Would You Like to be a Host Family?

memphis symphony league

A host family agrees to host one or more musicians for the several days prior to, and during a scheduled performance (usually 3-4 days)

(continued) Maroda, Dr. and Mrs. Stephen J., Jr. McDow, Phillip McDow, Mary Ellen Meadows, Amy and Dr. Dan T. Mims, Jane Montesi, Pam Nobles, Gloria Nunn, Madeline (Mrs. Stewart L.)

Orgill, Irene and Joe Pardue, Ms. Tommie Parker, Lyda G. Perry, Sally (Mrs. Alan L.) Pritchard, Elizabeth A. and John E. Shields Rose, Gayle S. Savell, Sara T. Shields, John Singh, Ms. Vicki Smith, Irene and Fred

Smith, Julie Spangler, Cynthia Hubard and Charles Earl Askew Tipton, Deborah Turner, Lura and Steve Turner, Ryan Turner, Megan Vaccaro, Maris T. Webb, Gina Welch, Isabelle and Lee

2017-2018 Memphis Symphony League Membership Form

The optimal host family can provide a private bedroom and bathroom and an area where practice can be done. Providing meals and libation is not required but very much appreciated. The musicians provide their own transportation. It is a wonderful way to get to know a musician from another city and show them great Memphis hospitality.

ADVERTISERS University of Memphis Rudi E. Scheidt School of Music................................................................ 2 Buster’s Liquors................................................................................................................................................ 12

(Please Print)

The Crescent Club........................................................................................................................................... 12

Name Spouse

Draper’s Catering of Memphis..................................................................................................................22 EM Printing..........................................................................................................................................................22

Address

New Ballet Ensemble..................................................................................................................................... 31 Hilton.....................................................................................................................................................................32

City State Zip

Kroger.....................................................................................................................................................................32 Heart & Soul Catering....................................................................................................................................38

Phone (home) (work) (cell)

Feathers Spa.......................................................................................................................................................39 Baker Donelson................................................................................................................................................ 40

Fax Email

Boyle Investment Company....................................................................................................................... 40 Payment: I have enclosed a total of $

Paragon Bank..................................................................................................................................................... 47

(Single $50; Couple $75; President’s Circle $100; President’s Circle of Lifetime Members $1,000)

Graceland.............................................................................................................................................................48

Check #

ArtsMemphis......................................................................................................................................................52

Credit Card: AMEX/Visa/Mastercard CC#

Exp.

Ciao Bella............................................................................................................................................................. 61 BMW....................................................................................................................................................................... 88

Signature Date

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MEMPHIS SYMPHONY ORCHESTRA | 73

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

$5,000 - $9,999

UP TO $2,499

NFC INVESTMENTS

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

IN KIND

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

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

$2,500 - $4,999

$10,000 - $14,999

BELZ FAMILY FOUNDATIONS HOHENBERG FOUNDATION JENIAM CLARKSON FOUNDATION

LEMAY + LANG, LLC

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BRIGGS FOUNDATION

NAPA CAFE

ASSISI FOUNDATION GETTY FOUNDATION MEMPHIS SYMPHONY ORCHESTRA | 75

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 Director of Development Jane Mims at 901-779-7824 or jane.mims@memphissymphony.org. STRADIVARIUS CIRCLE ($25,000+)

•

GOLDEN CIRCLE ($1,000+)

Plus all of the privileges below

•

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

•

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

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

•

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

•

Plus all of the privileges below

Thank you! Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission, and others make annual contributions to support the Memphis Symphony Orchestra. Because the MSO, like other orchestras throughout the country, obtains less than 30% of our income from ticket sales, these gifts and grants are crucial to our ability to provide music of the highest quality. The following community members have expressed their support for the Memphis Symphony Orchestra in FY16, between July 1, 2016 and June 30, 2017. We are most appreciative.

BENEFACTOR’S CIRCLE ($5,000+) •

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

•

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

•

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

•

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

•

Plus all of the privileges below

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

•

Invitations to special guest artist events throughout the season when applicable

•

A visiting artist through the Guest Artists Circle

•

Plus all of the privileges below

•

A concert performance

PATRON’S CIRCLE ($2,500+)

•

An education or community program

•

MAESTROS CIRCLE ($10,000+) •

Invitation to a backstage tour and toast

•

Special VIP seating for Summer Symphony at the Live Garden upon

76 | MEMPHIS SYMPHONY ORCHESTRA

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

request

ASSOCIATE’S CIRCLE ($500+)

MEMBER’S CIRCLE ($250+) Invitation to the annual Bob & Friends special event hosted by Maestro Robert Moody

•

Receive a 20% discount on all single ticket purchases

•

Plus all of the privileges below

•

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

Contributors

$100,000+ Anonymous ArtsMemphis Assisi Foundation Paul & Linnea Bert $50,000+ AutoZone Federal Express

MEMPHIS SYMPHONY ORCHESTRA | 77

symphony fund First Tennessee Bank

The Kroger Company

Dr. & Mrs. Masanori Igarashi

The Crescent Club

First Tennessee Foundation

Memphis Botanic Garden

International Paper Foundation

Mr. & Mrs. Mark Crosby

Scott & Carolyn Heppel

NewSouth Capital Management

Dr. Carol Johnson

Duncan-Williams, Inc.

Hyde Family Foundations

Mary Alice Quinn

Mr. Edwin Koshland III

Mrs. Katherine Buckman Gibson

Pitt & Barbara Hyde

Roadshow BMW, Inc.

Leslie & Nathaniel Landau

Donna & Mark Glover

Jeniam Foundation

Estie Sheahan

Michael & Joan Lightman

Mason & Ann Hawkins

Fred & Diane Smith

Thomas W. Briggs Foundation

Sylvia Goldsmith Marks

Frank & Jeanne Jemison

Ann & Joe Weller

Mr. & Mrs. Alexander McLean

Ben & Lauren Keras

Dr. & Mrs. Dan Meadows

Rose Johnston

Methodist Healthcare

Susan Kingston

Party Connection

KPMG

Pinnacle Bank

Eva Lang & Scott LeMay

Bryson & Laretha Randolph

LeMay+Lang, LLC

Regions Bank

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

Ashley & John Remmers

J. W. McAllister

Rose & Walter Montgomery Foundation

T. W. Medlin

John & Christina Speer

Zoe & Alan Nadel

Stash

Patricia Gray & Robert Patterson

Bruce & Gillian Steinhauer

Ann Powell

Trustmark Bank

Capt. & Mrs. Robert R. Proctor, USN (Ret.)

Mrs. Charles E. Walker

Mr. & Mrs. Robert J. Quinn

Jack & Christina Ward

Radians

$25,000+ Kitty Cannon & Jim Waller

$5,000+

The Cannon Center for Performing Arts

Anonymous (2)

George & Bena Cates

Peter & Jessica Abell

Hohenberg Charity Trust

Allied Pest Control

Buzzy Hussey & Hal Brunt

Avery & Meadows, D.D.S.

Dorothy Kirsch

Louise & Will Barden

Gayle Rose

Scott Bohon

Rudi & Honey Scheidt

Marion & Margaret Boyd

Sheraton Hotels & Resorts

Alice & Phil Burnett

The Peabody Hotel

Elizabeth & Charles Carter, Jr.

Jim & Judy Ann Vining

Ciao Bella Italian Grill

Joy Wiener

Charles and Nancy Coe

$10,000+ Baker Donelson Bearman Caldwell & Berkowitz Jack & Marilyn Belz Ron & Anise Belz Belz Enterprizes Belz 2008 Foundation Gossett Audi Graceland Elvis Presley Enterprises

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Michael and Maria Douglass Draperâ&#x20AC;&#x2122;s Catering of Memphis Mr. & Mrs. John Evans

$2,500+

Farrell Calhoun, Inc.

Belinda & Calvin Anderson

Jere Gerard

Allen & Mary Blair

Getty Foundation

Jack & Kathleen Blair

Dr. Suzanne Gronemeyer

Betty & David Blaylock

Pam & Steve Guinn

Peggy Bodine

Larry Hardy

Boyle Investment Co.

Heart & Soul Catering

Benjamin and Beth Buffington

Lowry & Laura Howell

Bill and Foy Coolidge

Regional One Health Schadt Foundation, Inc. Charles & Susan Schadt Debby & Steve Schadt Ron & Linda Sklar SouthernSun Asset Management SunTrust Bank Patricia Walker Dr. & Mrs. Otis Warr III

MEMPHIS SYMPHONY ORCHESTRA | 79

symphony fund Barry White Mr. & Mrs. Charles. L. Wurtzburger $1,000+ Anonymous (4) Fran & Peter Addicott Elizabeth & Lorin Allen Bert & Carol Barnett Reed Baskin & Alice Nishiwaki Dot & Stanley Bilsky Fiona & Lance Binder Karen Bowyer Janis Boyd Walter Brown Mary Beth Bryce Dr. & Mrs. Paul Burgar David Burton Busters Liquors & Wines Joanne & George Buzard Canale Foundation Henry & Christy Cannon Carol Lee & Joe Royer Dan & Rhonda Causie Dr. Fenwick W. Chappell Gloria & Irvine Cherry Ken Clark Karen Clawson David & Barbara Crippen Dr. Loren & Mrs. Elaine Crown Carole Cummings Dr. Ray Curle Adrienne Davis Mike & Blanche Deaderick Alice & John Dudas Jane & John Dulin

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David & Susan Ellison George & Jackie Falls Donna Fisher Jim & Susan Fletcher Fred & Mary Lawrence Flynn Barbara & Hiram Fry Dr. James Gholson, Sr. Lydia & Jack Gibson Donna & Robert Goodman Georgia Pacific Cellulose Gerrold & Martha Graber Paula Crocker Grey White Paws, Inc. Joanne Hackman Page Price Henrion Emil Henry David and Elisabeth Hill Marian Himmelreich Lunida & Lewis Holland Sara Holmes Rob & Eula Horrell Susan & Frank Inman, Jr. Janas L. Jackson Donna Jefcoat Lisa & Louis Jehl Betty Johnson Eric & Cynthia Johnson Mr. & Mrs. Robert K. Jones Yoriko Kitai Preston & Sally Klinke Ellen Klyce KPMG Dudley & Ann Langston Barbara Lapides Florence Leffler

Dr. & Mrs. William Long Al & Janet Lyons Dinah & Gary Makowsky Evelyn & Jerome Makowsky Malco Theatres, Inc. Debra McAdoo Marion McClure Maurice & Lisa Mendel Nancy & Rodgers Menzies Bob & Jane Mims Monogram Food Solutions Robert Moody Carey & Rick Moore NFC Investments Gloria Nobles Paragon National Bank Marianne Parrs Pauletteâ&#x20AC;&#x2122;s Restaurant Martha Pearson-Wesson John Pickens Chloee & G. Dan Poag Mrs. Linda W. Rhea Anne Roane Mrs. Lori S. Robertson Emily Ruch Diane Rudner Barbara & Bill Runyan Bev & Ken Sakauye Albert & Sue Saltiel Andrea & Dr. Craig Sander Eric & Connie Scott Mary M. Seratt Patricia & John Seubert Bruce R. & Jane Scharding Smedley Irene & Fred Smith

Julie Smith Maida Pearson Smith Charles Askew & Cynthia Spangler Chris Stager Mary Stagg Phil & Leigh Ann Stevenson Owen & Margaret Tabor Irvin & Pat Tankersly Deanna Langfitt & Paul Thomas Deborah Tipton Tish Towns Lura & Steve Turner James Newcomb & Susan Van Dyck Robert Vidulich & Diane Sachs Dawn Vincent Lee & Mary Wardlaw Graham & Megan Warr Watkins Uiberall Jules & Elizabeth Weiss Isabelle & Lee Welch Evelyn B. Wofford Jocelyn Wurzburg Lyn and Gordon Yukon $500+ Anonymous Ben & Kathy Adams Andrew Michael Italian Kitchen Mari Askew John & Wanda Barzizza Carol Beachey & Donald Voth Marcia Bicks George & Linda Bond Martha & Jim Boyd Mr. & Mrs. Charles P. Cobb, Jr.

MEMPHIS SYMPHONY ORCHESTRA | 81

symphony fund Laura Crane Emily Davis Dr. Michael R. Drompp Bobbie and Dave Ferraro Dr. & Mrs. Carl Flinn Juan Fuentes Blanchard Gardner Luther & Dot Gause Dr. Phillip George Sharon J. Gilbert Bela & Nan Hackman Deborah Hester Harrison John & Sandra Jones Father Albert Kirk Chris Knott-Craig Sara Lam Lucy & Tom Lee Mrs. Esther K. Lubin Caroline MacQueen John & Jo Maxwell Mary Allie McLellan Tina McWhorter Jan & Scott Morrell Ed & Anne Motley Max B. Ostner, Sr. Endowment Fund Kerry Regen William Routt Cynthia Ham & Jeff Sanford Rowlett Scott Charles & Nino Shipp Trish & Richard R. Spore III Tracey Williams Stallings Leslie Stratton Barbara Thompson Janet & Rick Trent

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Mr. & Mrs. William M. Vaughan, Jr. Dick & Shirley Vosburg Dr. Benton M. Wheeler Jacqueline & Joseph White Alvin & Myra Whitney Billie Anne Williams Rebecca Yancey $250+ Anonymous (2) David Alperin Cynthia N. Armistead Richard & Nancy Barnhart Ellen & Robert Bartolotta Dr. & Mrs. Allen O. Battle Joy & Leo Bearman James & Deborah Bell Linda Bennett Dr. Hal D. & Mrs. Peggy Bishop Jerry & Marjorie Bowman Sam Brooks Edward W. & Jeanne L. Carnes Leigh Chiles Sue & Marshall Clark Robert & Sheila Cohen Robin Davis Elizabeth H. Domico Dolories A. Duncan Mary Ann Eagle Bill Eddings Freddi & Joel Felt Dr. & Mrs. Joseph Fisher Pat Flynn & Jerry Heston Richard & Pamela Flynt Don Gallant

John Gilmer & Catherine Willner Robert & Kate Gooch Mary Evelyn Goodwin Capt. & Mrs. James P. Googe, Jr. Billie Jean Graham Daniel Michael Green Julie & Michael Harreld Albert & Nancy Harvey Judith & Howard Hicks Howard & Janice Horn Alice & David Howard Joanna Hwang Mr. & Mrs. L.R. Jalenak, Jr. David & Lisa Jennings Nancy Lou & Mott Jones Mrs. Linda Kaplan Edward & Lawryn Kasper J.D. Kelly Dr. & Mrs. Noah Kimball Jerry & Beverly Kirkscey Janie & Martin Kocman Kitty Kosman Reva Kriegal Aron Livnah & Rose Merry Brown Lubin Enterprises, Inc. Alla & Nathan Lubin James & Kelly MacLain Randy & Carol Martin Mrs. Eloise Mays Mr. & Mrs. James McDonnell, Jr. Phillip & Mary Ellen McDow Daphene McFerren Holly & Lucius McGehee Simone & Logan Meeks Linda Milbradt

Dr. & Mrs. David M. Mirvis Monika & Thomas Nenon Cecile & Frederick Nowak Johanna & Peter Prancia Joel & Eileen Prout Curtis & Patricia Ringold Dr. & Mrs. Brown Robertson Sara T. Savell Dale Schaefer Fran & Phil Shannon Lisa & Bayard Snowdon Harold & Margie Steinberg D. Parker Suttle Ryals & Gwendolyn Thomas Donald Tucker Miriam van Mersbergen Gerald & Julie Walton Gina Webb Bill Weppner Chuck Fox & Mary Wilder Page & Gail Williamson Virginia Wilson Jerry Wolfe Muriel Zarlingo

Tributes Gifts in honor of Rhonda Causie ArtsMemphis Dr. Suzanne Gronemeyer Gifts made in memory of Ruth Moore Cobb Mr. & Mrs. Charles P. Cobb, Jr.

MEMPHIS SYMPHONY ORCHESTRA | 83

symphony fund Gifts in honor of Scottie Cobb

Gifts in honor of Marsha Evans

Gifts in memory of T.W. Medlin

Gifts in honor of Laura Shy

Gloria Nobles

Mr. & Mrs. Charles P. Cobb, Jr.

Bob & Jane Mims

T.W. Medlin

Gifts in honor of Nancy Coe

Gifts in honor of Donna Flinn

Gifts in honor of Jane Mims

Gifts in honor of Julie Stonebarger

Bob & Jane Mims

T.W. Medlin

Gifts in honor of Marisa Polesky

Gifts in memory of John Smith

Alice & David Howard

Mr. & Mrs. Charles P. Cobb, Jr.

Gifts in memory of Dr. Joe Powell

Gifts in honor of The Honorable Jim Strickland, Mayor of Memphis, Tennessee

Gifts in memory of Helga Cornell Dr. Suzanne Gronemeyer Gifts in honor of Pat Davidson Adrienne Davis Gifts in memory of Ellis Delin James & Carolyn Boren

Lura & Steve Turner Gifts in memory of Elaine Gompertz Joan Gips Gifts in honor of Billie Jean Graham Dr. & Mrs. Carl Flinn Randy & Carol Martin

Kitty Cannon & Jim Waller

Gifts in memory of Willis H. Hackman

David & Susan Ellison

Joanne Hackman

John & Marsha Evans M.W. & Jessica Friedlander Mary & Joseph Gill

Gifts in honor of G.R.O.W. TNSC The Junior League of Memphis

Ann L. Powell Barbara & Bill Runyan Mildred Schiff

Marsha & John Evans

Dr. Suzanne Gronemeyer Marie Moore Gifts in honor of Erin Kaste Elizabeth & Charles Carter

Gifts in memory of Irna Delin

William & Annette Bickers

Gifts in honor of Joy Wiener

George & Jackie Falls

Julie & Gerald Walton Herbert Wolf

Gifts in honor of Jane Rousseau

Mr. & Mrs. Charles P. Cobb, Jr.

Gifts in memory of Dr. Edward Kaplan

Virginia Trenholm Nancy Wheat

Bob & Jane Mims

Ed & Laura Crawford

Sara Holmes Maryanna Popper

Gifts in honor of Gayle Rose

Gifts in honor of Gloria Hendricks

Dr. Suzanne Gronemeyer Howard and Janice Horn

Anonymous

Gifts in memory of Judy Korones Bob & Jane Mims Daniel Zane

Dr. Suzanne Gronemeyer

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PATRON INFORMATION Your attendance constitutes consent for use of your likeness and/or voice on all video and/or audio recordings and photographs made during Symphony events. BEFORE THE CONCERT Box Office Location/Hours: The Box Office is located at 610 Goodman Road on the University of Memphis campus in Newport Hall and is open weekdays 9 a.m. to 5 p.m. On-site Concert Venue Box Office services are available 90 minutes prior to the scheduled performance through 20 minutes after that time. On-site Concert Venue Box Office ticket production is limited to tickets for the specific event of that day; tickets for future events cannot be printed on-site. All other ticket printing requests will be addressed and fulfilled during regular Box Office business hours. Please note that for concerts at The Cannon Center for the Performing Arts, day-of event concert tickets must be purchased through the Ticketmaster Box Office located in the east hallway. Patron Services and Will Call for other guests are clearly marked and are located near the Box Office at each venue. 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

86 | MEMPHIS SYMPHONY ORCHESTRA

garage or surface lots. Masterworks Sundays and Paul & Linnea Bert Classic Accent Series on Sundays are performed at the Germantown Performing Arts Center (GPAC), 1801 Exeter Road in Germantown. Free parking is available at GPAC. The Paul & Linnea Bert Classic Accent Series on Saturday is performed at Harris Concert Hall, 3775 Central Ave, The University of Memphis, 101 Music Building. Parking is available directly across Central Ave. in the UOM parking lot. DURING THE CONCERT Cameras and Recording Devices: No photos or video recordings are allowed during the performance due to potential injury to performers on stage, and copyright infringement. Concert Preview: “Know the Score” discussions begin one hour prior to each Masterworks 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 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. 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 (plus applicable processing fees) to regular series concerts based on availability. Students must be present and show a current and valid student ID. A maximum of one

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