WELCOME!

Let me start by saying welcome to Jacoby Symphony Hall, home of the Jacksonville Symphony!

It’s been an absolute pleasure getting to meet you and to settle into the beautiful city that is Jacksonville. My wife Carol and I could not be more appreciative of the warm welcome we’ve received since our arrival almost two months ago.

The past few months have been a bit of a whirlwind: the orchestra went on tour to the Kennedy Center for the Performing Arts in Washington, D.C. for SHIFT: A Festival of American Orchestras, and we experienced the Symphony Gala with the incomparable Susan Graham. I’ve had the pleasure of hearing the Symphony perform at nine concerts already, and I know you all will agree when I say I look forward to many, many more. How fortunate we are to have such a wonderful orchestra under the impeccable leadership of Courtney Lewis!

In short, we are thrilled to be here in Jacksonville to work with the musicians, staff, Courtney, the Board of Directors, and of course, you, as our loyal supporters and advocates. The Symphony’s mission, my mission, is to “enrich the human spirit through symphonic music.” That means that every day we come to work trying to reimagine what a symphony can be; be it through the experience we provide, the music we play, where we play it, how we demonstrate appreciation for our patrons, and so much more.

The upcoming fourth quarter of the Symphony’s 2019-2020 season includes a great variety of wonderful music for you to chose from. Music by Copland, Brahms, Beethoven, Schubert, Ravel, Mahler and more highlight the remaining Masterworks concerts. We’ll host three fabulous vocalists in our tribute to Aretha Franklin. Patriotic Pops will provide inspiration on Memorial Day weekend, and the cinematic thrill of Jurassic Park will leave you on the edge of your seats. Tickets: 904.354.5547 Contributions: 904.354.5477 The final performance of the season (it’s hard to believe we’re there already), Administration: will be Beethoven’s Ninth Symphony. What better way to finish our celebration 904.354.5479 of Beethoven’s 250th birthday than with this miraculous piece of music? JaxSymphony.org The Guardian said of Beethoven’s Ninth, “…its gigantic, irrefutable musical power is a wellspring of renewal and possibility.” The perfect symphony to close Encore Production our season as we prepare for what will come in 2020-2021. Publisher – Onstage Publications Editor – Thank you once again for the enthusiastic welcome to Jacksonville. Carol and Sydney Schless I can’t wait to spend more time with you next season. We hope you’ll fill your Graphic Designer – Ken Shade summer with music and look forward to seeing you in September. Photography – Tiffany Manning, Renee Parenteau, Fran Ruchalski Steven B. Libman Program Notes – Laurie Shulman

©Jacksonville Symphony Association 300 Water Street, Suite 200 | Jacksonville, FL 32202 follow us President & CEO /jaxsymphony - @jaxsymphony - /jaxsymphony - #jaxsymphony STEINWAY & SONS Is the official piano of the Jacksonville Symphony

ENCORE 3

ENCORE THE MAGAZINE OF THE JACKSONVILLE SYMPHONY 2019 – 2020 SEASON VOLUME 26 – EDITION 4

EVENTS 26 PETER AND THE WOLF FAMILY SERIES March 29

29 COPLAND’S GREAT AMERICAN SYMPHONY FLORIDA BLUE MASTERWORKS SERIES April 3 & 4

29 34 34 RESPECT: ARETHA FIDELITY NATIONAL FINANCIAL POPS SERIES RAYMOND JAMES COFFEE SERIES April 17 & 18

36 BRAHMS SYMPHONY NO. 2 FLORIDA BLUE MASTERWORKS SERIES REGENCY CENTERS SYMPHONY IN 60 SERIES April 23, 24 & 25

40 MUSIC OF THE KNIGHTS SPECIAL PRESENTATION 36 44 May 1

44 JACKSONVILLE SYMPHONY YOUTH ORCHESTRAS FESTIVAL OF STRINGS YOUTH ORCHESTRAS SERIES May 4

48 JACKSONVILLE SYMPHONY YOUTH ORCHESTRAS MAJOR/MINOR YOUTH ORCHESTRAS SERIES May 8

52 64 52 THE GREAT SCHUBERT SYMPHONY REGENCY CENTERS SYMPHONY IN 60 SERIES May 14

52 BEETHOVEN’S EMPEROR CONCERTO FLORIDA BLUE MASTERWORKS SERIES May 15 & 16

56 PATRIOTIC POPS FIDELITY NATIONAL FINANCIAL POPS SERIES RAYMOND JAMES COFFEE SERIES 58 May 22 & 23 58 JURASSIC PARK SYMPHONIC NIGHT AT THE MOVIES SERIES DEPARTMENTS May 30 & 31 3 Welcome 7 Music Director Courtney Lewis 60 MAHLER 1 8 Symphony Association FLORIDA BLUE MASTERWORKS SERIES Board & Administration June 5 & 6 9, 75-79 Thank You, Supporters 11 About the Symphony 64 SEASON FINALE: BEETHOVEN’S NINTH 14-15 Jacksonville Symphony Musicians SPECIAL PRESENTATION 25 Volunteer Activities and Events June 12 & 13 43 Meet Steven Libman 72 Sound Investment Program 74 The Cadenza Society ENCORE 5 6 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020

SYMPHONY ASSOCIATION BOARD OF DIRECTORS

Officers David M. Strickland, Chair Don Baldwin, Vice Chair Michael R. Imbriani, Treasurer Hon. Gwen Yates, Secretary

Board of Directors Becky Grimes Foundation Board Akin Agar Katheryn Hancock, ex officio Gilchrist B. Berg Martha Barrett Randolph R. Johnson, Jeffrey E. Bernardo Development Committee Co-Chair Gilchrist B. Berg R. Chris Doerr Charles S. Joseph, Farrukh A. Bezar Governance Committee Chair Peter Karpen Douglas A. Booher Kiki Karpen Karen Ann Bower, Ross T. Krueger Honorary Directors Marketing Committee Chair Trevor Lee Ruth Conley J.F. Bryan, IV Anne Lufrano David W. Foerster Rafael Caldera Sheila McLenaghan Preston H. Haskell Katharine Caliendo, ex officio Tracye A. Polson Anne H. Hopkins Carl Cannon Bernard Reidy Robert E. Jacoby Chung-Hae Casler Ronald Rettner, Frances Bartlett Kinne Elizabeth L. Colledge, Development Committee Co-Chair Programming Committee Chair Mary Carr Patton Daniel Rios, ex officio Tyler Dann Robert T. Shircliff † Brenda Wolchok Barbara Darby Mary Ellen Smith Timothy A. Woodward Stacy B. Derr Jay Stein Douglas C. Worth Jack Dickison James Van Vleck R. Chris Doerr James H. Winston † Thomas M. Galvin, Jr. † designates deceased

JACKSONVILLE SYMPHONY ADMINISTRATION

EXECUTIVE OFFICE Kenneth Every, Assistant Orchestra Tara Paige, Patron Services Associate Steven Libman, President & CEO Personnel Manager Robin Robison, Patron Services Associate Andreea Vineyard, Executive Assistant & Annie Hertler, Bowing Assistant Cori Roberts, House Manager Board Liaison Education & DEVELOPMENT ARTISTIC OPERATIONS Community Engagement Michelle Barth, Associate Vice President of Roger Wight, Vice President & General Manager Ashley Green, Manager of Education & Advancement and External Affairs Community Engagement Terri Montville, Director of Grants and Reporting Artistic Administration Jimmy Peluso, Director of Business Partnerships Tony Nickle, Director of Artistic Administration MARKETING Colin Walker, Individual Giving Manager Ileana Fernandez, Staff Accompanist Peter Gladstone, Vice President of Marketing David Anderlik, Executive Assistant to the VP Linda Holmes, Ballet Coordinator Christie Helton, Director of Marketing & Patron Experience of Advancement Jill Weisblatt, Chorus Manager Scott Hawkins, Director of Ticketing Cassie Castaneda, Advancement Events Coordinator Sydney Schless, Director of Marketing Orchestral Operations & Communications Ann Marie Ball, Patron Systems Specialist Bart Dunn, Principal Librarian Anna Birtles, Digital Marketing Manager Ray Klaase, Stage Manager Christina Reyes, Sales Manager FINANCE & ADMINISTRATION Jim Neglia, Orchestra Personnel Manager Deborah Forsberg, Chief Financial Officer Ken Shade, Graphic Designer Ross Triner, Manager of Artistic Operations Mark Crosier, Controller Kaela McLendon, Patron Services Supervisor Shamus McConney, Technical Director Sydna Breazeale, Staff Accountant Betty Byrne, Patron Services Associate James Pitts, Stage Associate Heather Blew, Office Manager

8 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 ENCORE 9

ABOUT THE JACKSONVILLE SYMPHONY

© Tiffany Manning

As Music Director Courtney Lewis begins his fifth school districts. In addition to offering free tickets to season on the conductor’s podium, the Jacksonville children under the age of 18 for selected Florida Blue Symphony celebrates the 2019-2020 season that Masterworks concerts, and other special youth pricing, promises more weeks of music reaching more people there are several programs to foster music education. than ever before. In June 2018, the Jacksonville Symphony Youth Orchestras embarked on its first national tour as one of The Jacksonville Symphony is one of Northeast only three student orchestras invited to perform in the Florida’s most important cultural institutions. Founded Los Angeles International Music Festival at Walt Disney in 1949, the Symphony now enjoys a national Concert Hall. reputation, regularly heard on more than 250 public radio stations across the country on Performance Over the years, the Jacksonville Symphony has hosted Today. In March 2020, the orchestra will depart on a some of the most renowned artists of the music tour to Washington, D.C. as one of four orchestras world including Isaac Stern, Benny Goodman, Duke selected from across the country for SHIFT: A Festival Ellington, Marilyn Horne, Luciano Pavarotti, Itzhak of American Orchestras. The Symphony’s home, Perlman, Kathleen Battle, Mstislav Rostopovich, Audra Robert E. Jacoby Symphony Hall, is considered to McDonald, Joshua Bell, Lang Lang, Alisa Weilerstein, be an acoustic gem. Each year thousands enjoy the Branford Marsalis and Renée Fleming. Symphony’s performances both at Jacoby Symphony Hall in the Times-Union Center for the Performing Arts For more information about the Jacksonville and at venues located throughout the state of Florida. Symphony, please visit JaxSymphony.org, like us on Facebook at Jacksonville Symphony, follow us The Symphony is also the community’s leader in on Twitter @JaxSymphony, and on Instagram at music education for children, serving four county JaxSymphony.

ENCORE 11 12 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 ENCORE 13 14 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 ENCORE 15

18 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 ENCORE 19 20 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 ENCORE 21 22 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 CELEBRATING BEETHOVEN’S 250TH

Last season, the Jacksonville Symphony brought opera back during a two week long festival celebrating one of the most famous composers of all time: Wolfgang Amadeus Mozart. As part of our 70th season, the Symphony brings to life multiple works from another monumental composer: Ludwig van Beethoven.

Born in 1770, Beethoven is known for paving the way for the future of the musical art form. 2020 will mark his 250th birthday, the perfect occasion for the Jacksonville Symphony to celebrate this composer’s legacy.

By the time he was 26, Beethoven had already started to experience loss of hearing. That didn’t stop him though. By the end of his life, when he was completely deaf, he had composed over 300 works (some of which were not published until after his death).

Knowing the prolific impact Beethoven had on classical music, the case of his deafness becomes an even more interesting characteristic. How is it possible that he was able to create such powerful music without the ability to hear it? Beethoven himself even admits to have struggled with this.

“For two years I have avoided almost all social gatherings because it is impossible for me to say to people ‘I am deaf’,” he wrote. “If I belonged to any other profession it would be easier, but in my profession it is a frightful state.”

As his hearing deteriorated over the years, Beethoven found himself retreating from the public eye. He only accepted a few close friends as visitors and struggled with his degrading state and the isolation and depression that came with it. So how was it he continued to write music that remains a key part of classical music repertoire?

Music is a language in and of itself. And like spoken languages, music has rules that guide its creation. Having spent most of his life writing music, Beethoven was still able to use those rules in a soundless world to compose. Having also had a gradual deterioration of his hearing, Beethoven was more than familiar with each instrument’s voice and where it fit within the ensemble.

Beethoven’s continued determination to compose, even after having lost a majority of his hearing, is what led to some of his most powerful music, including his instantly recognizable Ninth Symphony. From his silence and his struggles, he was able to bring us one of the most uplifting works in the classical repertoire: Symphony No. 9, a “declaration in favor of universal brotherhood.”

ENCORE 23 24 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 ENCORE 25 SPECIAL PRESENTATION

FAMILY SERIES

Sunday, March 29, 2020 | 3 pm

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

PETER AND THE WOLF

Gonzalo Farias, conductor Michael Boudewyns, narrator

Johann Overture to Die Fledermaus (The Bat) STRAUSS JR.

Viet The Wild Woods CUONG

Serge Peter and the Wolf, Op. 67 PROKOFIEV

This program runs approximately 60 minutes. Gonzalo Farias, Associate Conductor

This performance is presented by An engaging Chilean orchestral conductor and award-winning pianist, Main Street America Group & Duval Motor Company. Gonzalo Farias has been recently appointed as the associate conductor of the Jacksonville Symphony. In an ever-changing world, Gonzalo’s main ambition is to establish music-making as a way of rethinking our place in society by cultivating respect, trust and Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. cooperation among all people in AVL Productions is the official production partner of the Jacksonville Symphony. our community. is the official transportation of the Jacksonville Symphony Jax Black Car Transportation . He served as the assistant conductor of the Virginia Symphony Orchestra under JoAnn Falletta’s leadership. Farias was the recipient of the prestigious Baltimore Symphony Orchestra Conducting Fellowship for two seasons, mentored by Marin Alsop. As former music director of the Joliet Symphony Orchestra, Farias embraced the Hispanic residents of the greater Chicago area with pre-concert lectures, Latinbased repertoire and a unique side-by-side bilingual narration of Bizet’s Carmen. During the summer, Farias has worked closely with Jaap Van Zweden and Johannes Schlaefli at the Gstaad Menuhin Festival in Switzerland. In the United States, he was the recipient of the prestigious Bruno Walter Memorial Conducting Scholarship twice at the Cabrillo Music Festival and named “Emergent Conductor” by Victor Yampolsky at the Peninsula Music Festival. For the past two summers,

26 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 Farias was Marin Alsop’s assistant for the New Music Festival curated by the Baltimore Symphony Orchestra. Out of 566 applicants and 78 countries, Gonzalo was chosen as one of the 24 finalists of the prestigious 2018 Malko Conducting Competition with the Danish National Symphony Orchestra. He has conducting experience with orchestras including the Charlotte Symphony, Baltimore Symphony, Buffalo Philharmonic, Zagreb Philharmonic, National Symphony of Chile, among others. Gonzalo Farias was born in Santiago de Chile, where he began his piano studies at age five. He earned his bachelor’s degree at the P.C. University of Chile, and then continued his graduate piano studies at the New England Conservatory as a full scholarship student. He has won first prize at the Claudio Arrau International Piano Competition and prizes at the Maria Canals and Luis Sigall Piano Competitions. As a conductor, Farias attended the University of Illinois working with Donald Schleicher, the Peabody Conservatory with Marin Alsop, worked privately with the late Otto- Werner Mueller, and studied under the guidance of Larry Rachleff for several years.

Michael Boudewyns Michael Boudewyns, Actor Sara Valentine, Director & Designer Michael Boudewyns and Sara Valentine are co-founders of Really Inventive Stuff, and are delighted to return for their second appearance with the Jacksonville Symphony following last season’s The Life and Times of Beethoven. The Jacksonville Symphony concert marks Michael’s 130th solo performance of Peter and the Wolf. Sara and he invented this production in 2005 for Maestro Rossen Milano and New Jersey’s Symphony in C. Over the past 15 years he has performed it with numerous orchestras, including the National Symphony Orchestra, Milwaukee Symphony Orchestra, Saint Louis Symphony Orchestra, Detroit Symphony Orchestra, and 15 times with the Philadelphia Orchestra. He is thrilled to celebrate this special milestone with the wonderful Jacksonville Symphony. Based outside of Portland, Maine, and founded in 2004, Really Inventive Stuff, noted for “using simplicity as a form of genius” by The Philadelphia Inquirer, regularly performs family concerts with orchestras internationally (England, Singapore), in Canada, and around the United States. In the 2019-2020 season, in addition to Jacksonville, Really Inventive Stuff returns to the Philadelphia Orchestra for their 12th season (The Life and Times of Beethoven); Milwaukee Symphony Orchestra (Peter and the Wolf, Toy Symphony); Annapolis Symphony Orchestra (The Life and Times of Beethoven); and Symphony in C (The Sara Valentine Life and Times of Beethoven). Michael grew up in Iowa. He has a BA in Theatre from the University of Northern Iowa, and his MFA in Acting from the University of Delaware. Sara grew up in Massachusetts. She has a BA in Theatre from Ithaca College, and her MFA in Acting from the Professional Theatre Training Program at the University of Delaware. Sara is assistant professor and chair of the Department of Theatre at the University of Southern Maine.

ENCORE 27

MASTERWORKS SERIES

Friday and Saturday, April 3 & 4, 2020 | 8 pm Thank you for joining us! If you have any questions about your experience with us, please feel free to ask a one hour prior to each Masterworks concert “Insight” staff member or usher in the lobby. We hope Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts to see you again!

If you enjoyed tonight’s performance, you COPLAND’S GREAT AMERICAN SYMPHONY may also like these upcoming performances!

Carlos Miguel Prieto, conductor Amanda Crider, mezzo-soprano

Manuel de The Three-Cornered Hat FALLA INTRODUCTION PART I Afternoon Dance of the Miller’s Wife The Grapes PART II Dance of the Neighbors The Miller’s Dance The Corregidor’s Dance The Final Dance

INTERMISSION

Aaron Symphony No. 3 COPLAND Molto moderato; with simple expression Allegro molto Andantino quasi allegretto Molto deliberato - Allegro risoluto

This program runs approximately 1 hour 45 minutes.

Masterworks guest artists are sponsored by Ruth Conley.

Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. AVL Productions is the official production partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.

Tickets: 904.354.5547 JaxSymphony.org

ENCORE 29 Carlos Miguel Prieto, Conductor Carlos Miguel Prieto was born into a musical family of Spanish and French descent in Mexico City. His charismatic conducting is characterized by its dynamism and the expressivity of his interpretations. Prieto is recognized as a highly influential cultural leader and is the foremost Mexican conductor of his generation. He has been the music director of the Orquesta Sinfónica Nacional de México, the country’s most important orchestra, since 2007. Prieto has also been music director of the Louisiana Philharmonic Orchestra (LPO) since 2006, where he has led the cultural renewal of New Orleans following Hurricane Katrina. In 2008 he was appointed music director of the Orquesta Sinfónica de Minería, a hand-picked orchestra which performs a two-month long series of summer programs in Mexico City.

Prieto’s 2018-2019 season included his debuts with the National Symphony Orchestra, Washington, Orquesta Sinfónica de Castilla y León and the BBC National Orchestra of Wales. Other recent highlights include his debuts with the London Philharmonic Orchestra, the Minnesota Orchestra and the Los Angeles New Music Group. Prieto is in great demand as a guest conductor with many of the top North American orchestras including Cleveland, Dallas, Toronto and Houston Symphony orchestras and has enjoyed a particularly close and successful

© Benjamin Ealovega relationship with the Chicago Symphony Orchestra.

Since 2002, alongside Gustavo Dudamel, Prieto has conducted the Youth Orchestra of the Americas, which draws young musicians from the entire American continent. A staunch proponent of music education, Prieto served as principal conductor of the YOA from its inception until 2011 when he was appointed music director. In early 2010 he conducted the YOA alongside Valery Gergiev on the 40th anniversary of the World Economic Forum at Carnegie Hall. In 2018 he conducted the orchestra on a tour of European summer festivals, which included performances at the Rheingau and Edinburgh festivals as well as Hamburg’s Elbphilharmonie.

Prieto is renowned for championing Latin American music and has conducted over 100 world premieres of works by Mexican and American composers, many of which were commissioned by him.

Amanda Crider, Mezzo-soprano Praised for her “focused golden toned voice,” American mezzo-soprano Amanda Crider is quickly gaining recognition for her extraordinary musicality and assured dramatic presence. Engagements for the 2018-2019 season included soloist in Bernstein’s Jeremiah and Beethoven’s Ninth Symphony with the Amarillo Symphony, the title role in L’incoronazione di Poppea with Florentine Opera, Bach’s B Minor Mass with Apollo’s Fire, a return to the Jacksonville Symphony for Handel’s Messiah, and her debut with the Calgary Philharmonic. In the 2017- 2018 season Crider performed Alma in Persona with LA Opera, Handel’s Messiah with the Jacksonville Symphony, Angelina in La Cenerentola with Opera Orlando, Speranza in L’Orfeo with Apollo’s Fire, and the title role in Carmen with Pine Mountain Music Festival.

In the 2016-2017 season, Crider made her debut with Boston Lyric Opera as Doreen in Greek, and joined Apollo’s Fire for Handel’s Messiah and the Southwest Michigan Symphony for Beethoven’s Ninth Symphony. The 2015-2016 season saw her return to Eugene Opera as Olga in Eugene Onegin, her debut with Florentine Opera as Prince Orlovsky in Die Fledermaus, Alma in Persona with Beth Morrison Projects, a series of concerts with Seraphic Fire, and Handel’s Messiah with Augustana College.

30 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 The work is suffused with musical (1900-1990) PROGRAM NOTES humor, relying heavily on folk dances Aaron Copland By Laurie Shulman of Murcia, Aragon, Navarre, and Falla’s Symphony No. 3 native Andalusia. Falla’s vibrant score 43 minutes Manuel de Falla (1876-1946) breathes the perfumes of Spain, with No European composer could have The Three-Cornered Hat arresting melodies and foot-tapping (sometime foot-stomping) rhythms. written Copland’s Third Symphony. 34 minutes It is as American as apple pie, as patriotic as the flag, suffused with Along with his older countrymen Isaac The scenario revolves around an ugly the spirit and strength of America’s Albéniz and Enrique Granados, Manuel miller and his beautiful young wife. heartland. Often cited as a prime de Falla helped to restore Spanish They love each other but neither can example of Copland’s so-called music to a level it had not enjoyed resist flirtation. The ballet takes its name “patriotic” period, the Third Symphony since Renaissance times. Enormously from the local magistrate [Corregidor], manages to retain its dignity without gifted, he was drawn to music early. whose three-cornered hat symbolizes slipping into the histrionics and He decided on composition after authority. The bassoon illustrates his chauvinism of, say, Tchaikovsky’s developing a passion for the works of stuffy, self-important personality. The 1812 Overture. the Norwegian composer Edvard Grieg, miller’s wife catches his eye as he passes by in a procession. Slipping back vowing to achieve a comparable legacy The Third Symphony is Copland’s for Spanish music. to attract her attention, he watches as she dances, ignoring him. ‘Dance of the largest orchestral work. Starting in the late 1930s, Copland composed the In 1907, at the age of 31, he went Miller’s Wife’ is a fandango, a dance in series of ballets on which his reputation to Paris, where he benefitted by his rapid triple time customarily danced by principally rests: Billy the Kid (1938), association with Debussy and Ravel. a couple with accompaniment of guitar Rodeo (1942), and Appalachian Spring Falla’s was an original voice, however, and castanets. When she eventually (1943-44). Though these scores were all and he learned from them without acknowledges his presence, she dances written for orchestra, the collaborative imitating; to the contrary, both Debussy a very Spanish minuet, tempting presence of narrative dance governs and Ravel were drawn to the sensuous him with a cluster of grapes that she their spirit. With the Third Symphony, harmonies and compelling rhythms of keeps just out of reach. Falla’s music Copland returned to absolute music. Falla’s native Spain, revealing more of frequently evokes the sonorities of But he brought with him the lyric spirit Spain in their French music than Falla Spanish guitar. of the ballets, and the intense flavor did of France in his own. The ballet’s second scene takes place of Americana that so uniquely stamps Falla composed some 20 operas, on St. John’s Eve. The neighbors each one. only one of which, La vida breve, has assemble for a party: they will drink Emotionally, the core of the work is achieved any kind of niche in the wine and dance. “The Neighbors’ its finale, which takes as its starting standard repertoire. He is best known Dance” is a seguidilla, with origins in point Copland’s 1942 Fanfare for the for his symphonic impressions for piano Andalusia; it is also in moderately fast Common Man. The last movement and orchestra, Nights in the Gardens triple meter. The ‘Miller’s Dance’ is a is the only one of the four in sonata of Spain, and the two ballet scores farruca, a Gypsy dance with abrupt form, and is the most traditional in El amor brujo [Love the magician] and changes of tempo and mood. This other ways. An atmosphere of prelude The Three-Cornered Hat. number was likely added to the score to provide a solo for the Russian dancer permeates the first three movements, In its original 1917 version, The Three- and choreographer Leonid Massine, heightening the dramatic tension Cornered Hat was a comic pantomime who created the role of the Miller. It and the psychological impact of the about flirtation, temptation, attempted shows him as a strong, macho type. entire symphony. seduction and mistaken identity. The In a 1978 interview with Philip Ramey, Russian impresario Serge Diaghilev At this point the plot becomes very Copland observed: convinced Falla to develop Pedro complicated, with the Corregidor Antonio de Alarcon’s folk tale into winding up in the Miller’s house, and the Miller stealing away disguised in Before the Third Symphony, my a ballet. It premiered in London in so-called grand-manner music was 1919, with sets by Picasso. Falla added the magistrate’s uniform—to serenade the Corregidor’s wife! In the end, the what might be termed lean-grand. the Introduction so that the English The Symphony tends more toward audience would have sufficient time to Miller and his wife are reconciled and everyone lives happily ever after. Falla’s the fat-grand side: I’m thinking now appreciate the drop-curtain that Picasso of the orchestration, the longer-lined had designed. ‘Final Dance’ is a jota, with roots in Aragon (northeastern Spain) but widely melody, the duration. This may have known throughout the country. Jotas come as a surprise to those who were appear in the music of several non- familiar with my previous work. Spanish composers, notably Franz Liszt, Copland disclaimed any direct use of Mikhail Glinka, and Camille Saint-Saëns. folk or popular music in a program note Falla’s is a Spanish-to-the-core he provided for the 1946 premiere of heart-pounder! the symphony: “Any reference to jazz or folk material in this work is purely unconscious.” But Latin American rhythms, cowboy prairie songs, and New England hymns have all left their sympathetic echo in the Copland’s symphony, however unconsciously.

ENCORE 31 The Symphony opens in E-major proud trumpets, horns and timpani with a predominantly slow, hymn- proclaim their salute. Copland’s fanfare like character, a sort of Americanized honors not the hero of battle, but the Mahler style. Copland thought of this shared efforts of a nation strapped by movement as an arch. This type of first wartime hardship. Pastoral and military movement has distinguished precedent elements settle their differences in the in earlier American works by Charles conclusion, moderated by another Ives, Virgil Thomson and Roy Harris. hymn. Virgil Thomson called this finale Copland imprints his individuality on it “a triumphal affirmation of faith in the with a thematic kinship to his Fanfare pastoral virtues.” and to certain pastoral sections of Appalachian Spring. The Koussevitzky Music Foundation commissioned Copland’s Third The second movement is more Symphony, which bears a dedication traditional, a tripartite scherzo that to the memory of Natalie Koussevitzky. relies heavily on the brasses. A The work was premiered by the Boston march-like theme introduces the Symphony under the direction of Serge military element. Copland’s expanded Koussevitzky in November 1947, and orchestral palette blossoms in this won the New York Music Critics Circle Allegro molto, with colorful solos for Award that year. celesta, xylophone and piano.

He emphasizes the idea of extended introduction to the all-important finale by connecting his last two movements, which are played without pause. In contract to the second movement, brasses are noticeably absent from the slow movement. Only solo horn and trumpet make an appearance. A subtle transition leads to the familiar Fanfare music, with unexpected tranquillity. Flutes and clarinets begin, before

32 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020

POPS SERIES

Friday, April 17, 2020 | 11 am Friday and Saturday, April 17 & 18, 2020 | 8 pm

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

RESPECT: ARETHA

Gonzalo Farias, conductor Calvin and Ellen Hudson Charitable Trust Endowed Chair CoCo Smith, vocalist Shaleah Adkisson, vocalist Melvin Tunstall, vocalist John Boswell, piano

Selections to be announced from the stage.

This program runs approximately 2 hours.

Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. Coco Smith, Guest Vocalist AVL Productions is the official production partner of the Jacksonville Symphony. Coco is thrilled to be part of RESPECT: A Jax Black Car Transportation is the official transportation of the Jacksonville Symphony. Tribute to Aretha Franklin having spent the last few years traveling the world with The Book of Mormon (Broadway/ Aretha Franklin National Tour/International). Since being chosen one of “Broadway’s She is both a 20th and 21st century Rising Stars” in 2015, Coco has starred musical and cultural icon known the in numerous regional productions world over simply by her first name: including Oklahoma (Weston Playhouse), Aretha. The reigning and undisputed Sideshow (Near West Theatre), Children “Queen Of Soul” has created Of Eden (Near West Theatre), and made an amazing legacy that spans an a return appearance in the 2016 edition incredible six decades, from her first of “Broadway’s Rising Stars” at historic recording as a teenage gospel star, to Town Hall in the heart of Times Square. her most recent RCA Records release, She is a graduate of the American Aretha Franklin Sings The Great Musical and Dramatic Academy in New Diva Classics. York City. Coco would like to give special Her many countless classics include thanks to Mary Feeney and Amanda “(You Make Me Feel Like) A Natural Colliver. #99CoCoProblems Woman,” “Chain Of Fools,” “I Never Loved A Man (The Way I Love You)”; her own compositions “Think,” “Daydreaming” and “Call Me”; her definitive versions of “Respect” and “I Say A Little Prayer”; and global hits like “Freeway Of Love,” “Jump To It,” “I Knew You Were Waiting (For Me),” her worldwide chart-topping duet with George Michael, and “A Rose Is Still A Rose.” The recipient of the U.S.A.’s highest civilian honor, The Presidential Medal Of Freedom, an eighteen (and counting) GRAMMY Award winner — the most recent of which was for Best Gospel Performance for “Never Gonna Break My Faith” with Mary J. Blige in 2008 — a GRAMMY Lifetime Achievement and GRAMMY Living Legend awardee, Aretha Franklin’s powerful, distinctive gospel-honed vocal style has influenced countless singers across multi-generations, justifiably earning her Rolling Stone magazine’s No. 1 placing on the list of “The Greatest Singers Of All Time.” www.arethafranklin.net Melvin Tunstall, III, Guest Vocalist North Carolina native Melvin Tunstall made his Broadway debut in Beautiful: The Carole King Musical at the Sondheim Theater and has been performing with the show for over 1,500 performances. Before taking Broadway by storm, he appeared in the European Tour of the Tony Award-winning hit musical Ain’t Misbehavin!, which played many of the world’s most renowned stages including the legendary Folies Bergère in Paris, France. Prior to joining the company, Melvin originated the role of “Ja’Keith” in the Original Toronto Company of the Broadway smash Rock of Ages. Melvin is the creator of the original musical BLooM!, which was a finalist in the renowned NAMT Festival in New York City. His show Polkadots: The Cool Kids Musical won the Off-Broadway Alliance Award for Best Family Show in 2018. Melvin currently resides in New York City where he is hard at work writing the book, melodies and lyrics to Senior Class: a new musical.

Shaleah Adkisson, Guest Vocalist Shaleah Adkisson has been seen on Broadway and on tour in Hair: The American Tribal Love Rock Musical and off-Broadway in the revival of Rent. She has also performed in regional productions of Jubilee (Arena Stage), Clybourne Park, Avenue Q (Arkansas Repertory Theatre), The Hot Mikado, Beehive: The 60’s Musical, Ain’t Misbehavin’ (Broward Stage Door Theatre), Grease, Nunsense (Murry’s Dinner Playhouse) and Children of Eden (Arkansas Repertory Theatre). When not working in the theatre she works as an administrator and teaching artist with Bridge Arts Ensemble, an organization of freelance musicians catering to school districts in upstate New York. Additionally, she performs in New York City and on tour with Soul Picnic Productions (Back to the Garden and August 1969: A Tribute to the Women of Woodstock).

John Boswell, Pianist Pianist John Boswell has served as musical director for Judy Collins, Andy Williams, Bob Newhart, Faith Prince, Scott Coulter, Maude Maggart, Carmen Cusack, Babbie Green, Jason Graae and a host of other fine talents. John played the role of “Moose” in the national tour of Crazy For You and has appeared on The Tonight Show, Today Show, CBS This Morning, Regis And Kathie Lee, General Hospital and was the piano playing hands of Nancy McKeon on the sit-com The Facts Of Life. Recent concerts with symphonies have included Jerry Herman: The Broadway Legacy Concert, Blockbuster Broadway!, Sheena Easton and Scott Coulter: The Spy Who Loved Me and Music Of The Knights. Boswell has been heard singing in the shows Three Men And A Baby...Grand, Cinema Toast, Broadway Today, Wiseguys and the New York cult hit Cashino. Broadway/Off-Broadway credits include Crazy For You, The Secret Garden, LIZA! Steppin’ Out At Radio City Music Hall, Back To Bacharach And David and The Kathy And Mo Show: Parallel Lives. His monthly concerts in 2017 at The Gardenia in Los Angeles have been crowd pleasers. Boswell has eight CDs of original piano music and a ninth on the way. While a student at UCLA, John received the Frank Sinatra Award for popular instrumentalists.

ENCORE 35 MASTERWORKS SERIES

SYMPHONY IN 60 SERIES

Thursday, April 23, 2020 | 6:30 pm Thank you for joining us! Friday and Saturday, April 24 & 25, 2020 | 8 pm If you have any questions about your experience with us, please feel free to ask a staff member or usher in the lobby. We hope one hour prior to each Masterworks concert “Insight” to see you again! Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts If you enjoyed tonight’s performance, you BRAHMS SYMPHONY NO. 2 may also like these upcoming performances!

Matthew Halls, conductor

Franz Joseph Symphony No. 96 in D major, “The Miracle” HAYDN Adagio - Allegro Andante Menuet: Allegretto Vivace

Piotr Ilyich Suite No. 4 in G major, Op. 61, “Mozartiana” TCHAIKOVSKY Gigue Minuet Prayer (Ave verum corpus) Theme and Variations on a theme of Gluck

INTERMISSION

Johannes Symphony No. 2 in D major, Op. 73* BRAHMS Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito

This program runs approximately 1 hour 50 minutes.

*This is piece is on the Regency Centers Symphony in 60 program.

Masterworks guest artists are sponsored by Ruth Conley.

Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. AVL Productions is the official production partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony. Tickets: 904.354.5547 JaxSymphony.org

36 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 Matthew Halls, Conductor The word “versatile” is an apt description for British conductor Matthew Halls. He first came to prominence as a keyboard player and early music conductor, but Halls is now better known for his dynamic and intelligent work with major symphony orchestras and opera companies, and for his probing and vibrant interpretations of music of all periods.

Increasingly in demand by North American symphony orchestras, Halls has performed with the Cleveland and Philadelphia Orchestras; Dallas, Pittsburgh, Houston, Seattle, Indianapolis, and Utah Symphonies; Los Angeles Chamber Orchestra; and National Arts Centre Orchestra. His debut with the Toronto Symphony, in which he led Beethoven’s Ninth Symphony “captured much of the energy and excitement that its first audience must have felt at its premiere nearly 200 years ago” (Toronto Star). Having served as artistic director of the Oregon Bach Festival for five years, Halls is equally at home conducting baroque and contemporary repertoire.

In 2019-2020, Halls’ North American guest appearances include return appearances with Seattle (Messiah), Kansas City (Haydn, MacMillan, Beethoven), and Jacksonville (Brahms Symphony No. 2) symphonies along with an appearance at the Colburn © Eric Richmond School in Los Angeles. He recently made his New York debut with Lincoln Center’s Mostly Mozart Festival in a performance with violinist Joshua Bell.

In recent seasons, Halls has performed in Australia with the Adelaide Symphony Orchestra, Tasmanian Symphony Orchestra, and with the Auckland Philharmonia. His is a regular with the Iceland Symphony Orchestra recently having presented a series of five performances traversing all of Beethoven’s piano concerti with Paul Lewis. Recent and upcoming European engagements include those with BBC Scottish Symphony Orchestra, South Netherlands Philharmonic, Finnish Radio Symphony, Hong Kong SingFest, Bournemouth Symphony Orchestra, Warsaw Philharmonic, Mozarteum Salzburg, Philharmonie Zuidenderland, and Capriccio Barockorchester.

Visit Matthew Halls on the web at www.schwalbeandpartners.com.

ENCORE 37 this one opens with a stately Adagio (1833-1897) PROGRAM NOTES in triple meter. The Allegro style is Johannes Brahms By Laurie Shulman quasi-concertante, with important solo Symphony No. 2 in D major, Op. 73 lines for virtually all the instruments 43 minutes Franz Joseph Haydn (1732-1809) (solo violin has a significant role), and a chamber-like atmosphere. “So many melodies fly about that one Symphony No. 96 in D major, must be careful not to tread on them.” “The Miracle” So wrote Johannes Brahms to friends in 20 minutes His slow movement is light in tone, sometimes barely suppressing its Vienna during the summer of 1877. His rapturous observation was prompted “I am Salomon from London and I mirth, as if the composer had some by the beautiful mountain village of have come to fetch you. Tomorrow secret practical joke up his sleeve. (In Pörtschach am Wörthersee in the we shall conclude an agreement.” contrast, the third movement Minuet is rather sedate.) The second movement province of Carinthia. His inspiration With these blunt words to Joseph is also distinguished by some cadenza- flowed during that glorious summer, Haydn in December 1790, Johann Peter like passages for small ensemble, yielding this Second Symphony, the Salomon triggered one of the most underscoring the concertante style Violin Concerto, and the first Violin fruitful artistic partnerships in history, introduced in the first movement. Sonata. “It is all rippling streams, and gained for himself a measure of Haydn concludes this joyous symphony blue sky, sunshine and cool green immortality as well. German by birth, with an exuberant rondo of a strong shadows. How beautiful it must be at Salomon had earned a respectable military cast; it is the sole movement Pörtschach!” exclaimed Brahms’s friend reputation as a violinist, but he made in the Miracle in duple rather than Theodor Billroth, upon hearing the new his career as a concert producer in triple meter. symphony played through at the piano. London, a sort of Sol Hurok of the late Often called ‘Brahms’ Pastoral,’ Op.73 eighteenth century. He was not a man (1840-1893) Peter Ilych Tchaikovsky overflows with the dappled sunlight and to bypass a promising opportunity. Suite No. 4 in G major, exquisite natural beauty of the Austrian Upon learning of the death of Prince Op. 61, “Mozartiana” alps. It is nearly devoid of the tension Nikolaus Esterházy, he hastened to 25 minutes and tragic struggle that permeate the Vienna to approach Haydn, realizing First Symphony. Eduard Hanslick, the that the Prince’s passing would Tchaikovsky composed four orchestral powerful Viennese critic, spoke of its likely mean a major shift in Haydn’s suites between 1878 and 1887. They “untroubled charm.” Yet the symphony responsibilities to the noble Austro- have neither the musical weight nor is not without urban sophistication. Hungarian family. the dramatic import of his symphonies, Michael Musgrave has written: “The yet the suites bear the unmistakable Second Symphony opens in the world And so proved to be the case. Events imprint of Tchaikovsky’s genius for transpired rapidly: the composer arrived of the symphonic waltz, as made familiar orchestration. Each glitters with in Vienna by Johann Strauss, Jr.” in London for the first time on 2 January unexpectedly bright coloristic details 1791, barely three months after Prince that reward the listener. The first movement is in gentle, swaying Nikolaus had died. Salomon did well by triple time. While not unprecedented Haydn, who produced six symphonies Tchaikovsky was on holiday in the in a symphonic first movement during that first London trip alone. Caucasus with his brothers Modest (Mozart’s No. 39, Haydn’s Miracle The Symphony No. 96 in D-major was and Anatoly when he composed the and Beethoven’s Eroica are the most the first of the series to be composed, Fourth Suite. Each movement adapts famous examples), triple time was and was almost certainly the first to a lesser-known Mozart composition. still somewhat unusual in Brahms’ be performed. The first two are largely straightforward day. Far from apologizing for it, he transcriptions of piano pieces: the emphasized it with a frankly waltz-like The work takes its nickname from an Gigue, K.574 and Minuet, K.355. The apocryphal story about a chandelier second subject, closely related to his third movement “Preghiera” [Prayer] beloved Lullaby. Though it has dramatic dropping from the ceiling of the is a free arrangement of Franz Liszt’s concert hall, immediately after the moments, notably a fugal development transcription of the Ave Verum Corpus, section, the first movement firmly audience, moved and thrilled by the K.618. As such, it is twice removed from performance, had rushed forward to establishes an aura of benign geniality Mozart, a distance emphasized by the that prevails for most of the symphony. the stage to congratulate the composer inclusion of harp in the orchestration. and the musicians. Because of their The coda includes a dreamy horn solo, forward surge, no one was injured by one of those delicious scoring details The Suite concludes with variations that rewards careful listening. the accident, a fortuitous circumstance loosely based on Mozart’s own piano regarded as a miracle at the time. variations, K.455 on a theme from The rich key of B major provides the According to Haydn’s biographer Gluck’s opera La rencontre imprévu. backdrop for a rare hint of darkness in Vernon Gotwals, the chandelier actually Here the scoring incorporates cymbals this predominantly sunny symphony. fell during the finale of Symphony and glockenspiel, lending a whimsical Brahms’ slow movement, Adagio No.102, introduced during the 1794/95 —and decidedly un-Mozartean—flavor non troppo, begins with a luscious, season; thus, the legend has been to the music. As a curiosity piece, expressive cello melody. Though the proved incorrect. Still, the sobriquet has Mozartiana has value simply because of celli relinquish the melody at its second stuck to this symphony. its authorship. Thanks to Tchaikovsky’s statement, they reclaim it several times, innate gift for instrumental color, the By the 1790s, Haydn’s habit of and retain a high profile throughout arrangements rise above the level of the movement. Surprisingly, Brahms beginning his symphonies with a mere salon music. slow introduction was standardized; emphasizes the darker sound of the lower instruments by retaining timpani, trombones and bass tuba in his scoring; frequently they remain silent in slow movements.

38 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 A transitional passage switches meter from 4/4 to 12/8, ushering in a contrasting middle section in B minor. Clouds temporarily obliterate the sunshine before a poignant oboe solo reintroduces the cello melody of the beginning.

Timpani and low brass disappear in the Allegretto grazioso. More an intermezzo than a scherzo, this gentle movement rocks gracefully between major and minor modes, recalling similar ambivalence in Schubert. Its two intervening trio sections (one in 2/4, the other in 3/8), have a sprightlier character, but still draw their melodic motives from the Allegretto. Both trios include some fine woodwind passages.

Brahms the contrapuntalist is in rare form in the finale, applying virtually every technique in the imitative book. After a bright start for strings alone, he takes maximum advantage of the episodes in this sonata-rondo for ingenious contrapuntal feats. Canon and inversion, augmentation and diminution, fugato: all are incorporated with consummate skill. The sunshine of the first movement is definitively restored, with a healthy dash of Haydnesque exuberance thrown in for good measure.

ENCORE 39 SPECIAL PRESENTATION

Friday, May 1, 2020 | 8 pm

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

MUSIC OF THE KNIGHTS

Gonzalo Farias, conductor Scott Coulter, vocalist Kelli Rabke, vocalist Lorinda Lisitza, vocalist

Selections to be announced from the stage.

This program runs approximately 2 hours.

Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. AVL Productions is the official production partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony. Scott Coulter, Guest Vocalist Scott Coulter is one of New York’s Sir Andrew Lloyd Webber most honored vocalists. For his work is the composer of some of the world’s best-known musicals. in cabaret, he has received five MAC When Sunset Boulevard joined School Of Rock, Cats and The Phantom Of The Awards (Manhattan Association Opera on Broadway in 2017, Andrew became the only person to equal the record of Cabarets & Clubs), five Bistro set in 1953 by Rodgers and Hammerstein with four Broadway shows running Awards and two Nightlife Awards for concurrently. Other musicals he has composed include Aspects Of Love, Joseph Outstanding Vocalist and has performed and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Evita and Love at most of NYC’s top rooms including Never Dies. Birdland, 54 Below, The Oak Room at the Algonquin, and Feinstein’s at The Regency where he spent a record- setting eight months performing the Sir Elton Hercules John, CBE revue 11 O’clock Numbers At 11 O’clock is one of the most highly acclaimed and successful solo artists of all time. which he also co-created, directed Elton has sold more than 300 million records worldwide. He holds the record and musically arranged. His self-titled debut CD won the 2003 MAC Award for the biggest selling single of all time, Candle In The Wind (1997), which sold over 33 million copies. Since launching his first tour in 1970, Elton has over 4,000 for Outstanding Recording and was performances in more than 80 countries to his credit. chosen as the best recording of the year by TheatreMania and Cabaret Scenes Elton is the most successful solo male in the history of the American charts and the magazines. Coulter was director and star third most successful artist overall, behind only Madonna and the Beatles. of A Christmas Carol: The Symphonic Concert in its world premiere with the Baltimore Symphony and reprised his performance in the Emmy-nominated Sir Paul McCartney PBS production which premiered in was born June 18, 1942, in Liverpool, England. His work as a singer/songwriter December 2013. He was an Emmy with The Beatles in the 1960s helped transform popular music into a creative, nominee himself for his performance highly commercial art form, with an uncanny ability to blend the two. He is also in American Song at NJPAC. Coulter one of the most popular solo performers of all time, in terms of both sales of his regularly performs in concert both recordings and attendance at his concerts. as a solo artist and with a variety of legendary performers including Stephen Schwartz, Tony-winner Ben Vereen and Grammy-winner Sheena Easton and has performed with symphonies all over the world including San Francisco, Baltimore, Seattle, Phoenix, Detroit, Winnipeg, St. Louis and Calgary.

40 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 Kelli Rabke, Guest Vocalist Kelli Rabke got her “big break” playing the role of Dorothy in Paper Mill Playhouse’s acclaimed production of The Wizard of Oz. Shortly thereafter, she was handpicked by Andrew Lloyd Webber to play the lead role of the Narrator in the Broadway revival of Joseph and The Amazing Technicolor Dreamcoat (U.S. Cast Recording). Following that, she played her dream role: Eponine in Les Misérables on Broadway. She went on to perform in regional theaters across the country in such roles as Mabel in Mack and Mabel, Christine in Phantom, and back to Paper Mill Playhouse in Stephen Schwartz’s Children of Eden as Yonah (American Premiere Recording). She is one of only two Broadway stars to originate a role in both a Stephen Schwartz and an Andrew Lloyd Webber musical—a distinction for which she is incredibly honored.

Rabke left the bright lights of the stage for a few years and turned her attention to her family. Her proudest accomplishments to date are her son, Joseph, and daughter, Abigale. A new chapter in her career began when joining the board of the BergenPAC in Englewood, NJ. There she developed the Kidz Cabaret series, the BeyondMusic program of instrumental lessons, and her personal favorite: MUSIC SPEAKS—an early childhood music education class for infants through 4 years old.

Rabke was thrilled to return to the NYC stage at the beautiful and historic Town Hall where she has been seen in numerous concerts including Broadway Originals and Broadway Unplugged. Recently, she was the headliner for the Broadway On the Boardwalk concert in Ocean City, NJ, performed at Broadway Ballyhoo at the Laurie Beechman Theatre.

Lorinda Lisitza, Guest Vocalist Lorinda Lisitza is an award-winning NYC singer/actress originally from Porcupine Plain, Saskatchewan who has been part of Music of the Knights since its world premiere with the Calgary Philharmonic. In New York she has performed Off- Broadway as a member of the Jean Cocteau Repertory Theatre where she starred as Mother Courage to rave reviews and has appeared in several installments of The York Theatre’s “Musicals in Mufti” series. As a vocalist she has been a part of The Town Hall’s historic “Broadway by the Year” series and is a founding member of the Joe Iconis Family with whom she regularly performs in cabarets and nightclubs throughout NYC for a devoted cult following. She has won three MAC Awards, a Bistro Award and a Nightlife Award for her work in cabaret and received the prestigious Patrick Lee Independent Theater Blogger Award for her one woman show, Triumphant Baby!, written by Joe Iconis and Robert Maddock. As a singer- songwriter she is half of the award-winning duo, The Ted and Lo Show, with Ted Stafford. Lorinda has appeared on “Who Wants to be a Millionaire,” plays a mean harmonica and is an avid Texas Hold’em player.

ENCORE 41 42 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 MEET STEVEN LIBMAN, PRESIDENT & CEO

Steven Libman is a highly successful and respected executive with over 30 years of experience leading major arts organizations with extensive knowledge of producing dance and theatre and presenting multi-disciplinary performing arts series with an emphasis on classical music and jazz. He is nationally recognized for developing an entrepreneurial and creative approach to strategic planning, fundraising, programming, branding, marketing initiatives, institutional growth, and problem solving. He has raised over $150 million throughout his career.

Previously, Libman served as the Chief Advancement Officer for Atlanta Ballet, President/CEO of the Center for the Performing Arts, a three-venue performing arts center and museum (IN), the Managing Director of the Tony Award-winning La Jolla Playhouse, and the Managing Director of the Pittsburgh Ballet.

Libman was the co-creator and co-host of a radio show focused on arts education called, “The Voice of the Performing Arts that appeared weekly on public radio WICR from the University of Indianapolis and was pod cast nationally through iTunes. Since its launch in March 2013 through 2016, over 500 guests appeared through 160 shows for a weekly audience of up to 10,000 listeners.

He is the author of many articles that focus on arts administration and has also taught classes in leadership and fundraising to graduate students at Carnegie Mellon University, University of Pittsburgh, University of California/San Diego and Syracuse University. Libman was a Founding Member of the National Task Force on Dancer Nutrition through Dance/USA.

Libman holds a Bachelor of Arts Degree in Performing Arts Management from Rhode Island College and holds a Certificate in Strategic Perspectives in Non-profit Management from the Harvard University Graduate School of Business Administration, and a Certificate in Strategy from the Stanford University Graduate School of Business.

ENCORE 43 YOUTH ORCHESTRAS SERIES

Monday, May 4, 2020 | 7 pm About the Jacksonville Symphony Youth Orchestras Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts The Jacksonville Symphony Youth Orchestras (JSYO) are Northeast Florida’s JSYO FESTIVAL OF STRINGS premier developmental orchestral ensembles. Last season, the JSYO served more than 300 young musicians Jump Start Strings David Song, conductor ages 7-21, who were admitted through Ludwig van Ode to Joy competitive auditions. Through the in- BEETHOVEN depth study of classical repertoire, each arranged by SONG orchestra improves its musical skills and understanding at both the individual student level and the ensemble level. TRADITIONAL French Folk Song In all, there are six ensembles which arranged by SONG rehearse and perform under the direction of JSYO Principal Conductor and Jean Finlandia Symphony Assistant Conductor, Deanna Tham and her team of music educators. SIBELIUS These professional conductors, along arranged by SONG with Jacksonville Symphony musicians, nationally recognized soloists, and other Communities in Schools Patrice Evans, conductor professional educators in the community, enable the JSYO to serve the needs of John Wieland, conductor each young musician with individualized, Mark First Scale March ability-level specific instruction. WILLIAMS JSYO members are afforded unique TRADITIONAL When the Saints Go Marching In musical experiences, in addition to the exposure to and performance of orchestral masterworks. For example, Foundation Strings Rose Francis, conductor JSYO ensembles perform in the Times- TRADITIONAL De Colores Union Center’s Jacoby Symphony Hall arranged by WAGNER during the season as well as the annual Major/Minor concert, which will be conducted by Jacksonville Symphony TRADITIONAL Golden Slumbers Associate Conductor Gonzalo Farias. At arranged by STROMMEN this concert, finalists in the annual Young Artists Concerto Competition showcase Patrick Flash Point! their exceptional talents by performing ROSZELL with the Jacksonville Symphony. The JSYO also perform free community engagement concerts, both in Jacoby Symphony Hall and at various First Coast locations. In the INTERMISSION summer of 2018, the JSYO Philharmonic participated in their first-ever tour to the Los Angeles International Music Festival where they performed at the Walt Disney Concert Hall. For more information visit jaxsymphony.org/jsyo

Support for the JSYO is provided in part by: THE PLAYERS Rice Family Foundation Publix Super Markets Charities Rowe Charitable Foundation Brady S. Johnston Perpetual Charitable Trust Florida State College at Jacksonville

44 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 YOUTH ORCHESTRAS SERIES

Encore Strings Helen Morin, conductor Thank you for joining us! Ludwig van Bagatelle, Op. 119, No. 1 If you have any questions about your experience with us, please feel free to ask a BEETHOVEN staff member or usher in the lobby. We hope arranged by GRUSELLE to see you again!

Chris Rainfall in Vernazza If you enjoyed tonight’s performance, you THOMAS may also like these upcoming performances!

Soon Hee Blue-Fire Fiddler NEWBOLD

Premier Strings Helen Morin, conductor Sig. Allegro ANDERSSEN arranged by MCCASHIN

Ludwig van Scherzo from Symphony No. 2 in D major, BEETHOVEN Op. 36 arranged by HOFFMAN

Michael Music from Coco GIACCHINO arranged by MOORE

Please see insert for student roster and conductor biographies. This program runs approximately 1 hour 10 minutes.

To read Deanna Tham’s biography, turn to page 48

Presented by

Additional support provided by Rice Family Foundation, Rowe Charitable Foundation, Henry and Lucy Gooding Endowment advised by the Bryan Family,

photos by Tiffany Manning

Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. Tickets: 904.354.5547 AVL Productions is the official production partner of the Jacksonville Symphony. JaxSymphony.org Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.

ENCORE 45 46 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020

YOUTH ORCHESTRAS SERIES

Friday, May 8, 2020 | 7:30 pm

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

MAJOR/MINOR

Deanna Tham, conductor Winston Family Endowed Chair

Repertory Orchestra Richard Prelude to Die Meistersinger WAGNER

Jean Karelia Suite SIBELIUS

Young Artist Please see insert for selections Competition Soloists Deanna Tham, Assistant INTERMISSION Conductor & Principal JSYO Conductor Philharmonic Winston Family Endowed Chair Serge Music from Romeo and Juliet Hailing from Saratoga, California, PROKOFIEV Suites Nos. 1 & 2 Tham has conducted and guest conducted all over the United States, Please see insert for student roster. working with renowned conductors This program runs approximately 1 hour 40 minutes. Marin Alsop and James Ross at the Cabrillo Contemporary Music Festival. Most recently, she served as assistant conductor for the 2019 National Youth Presented by Orchestra – USA (NYO-USA) and NYO2 working with James Ross, Joseph Young and Sir Antonio Pappano. Before Additional support provided by joining the Jacksonville Symphony, Tham was the music director of the Rice Family Foundation, Rowe Charitable Foundation, 350-piece Louisville Youth Orchestra. Henry and Lucy Gooding Endowment advised by the Bryan Family, Tham has also served as the Music Director of the Boise Philharmonic Youth Orchestra and has conducted the Boise Philharmonic, Ballet Idaho and Opera Idaho. Tham worked as the assistant conductor for the Cleveland Orchestra Youth Orchestra where she received a Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. Professional Studies Certificate from AVL Productions is the official production partner of the Jacksonville Symphony. the Cleveland Institute of Music in Jax Black Car Transportation is the official transportation of the Jacksonville Symphony. Orchestral Conducting.

48 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 In 2013, Tham made her debut with the National Music Festival. She was one of two assistant conductors who appeared with Maestro Richard Rosenberg, working with some of the top professional musicians and teachers from around the world. In 2015, she was the recipient of the Wintergreen Summer Music Academy Conductor’s Guild Scholarship where she worked with Master Teacher Victor Yampolsky. Most recently, she was invited to compete in the Cadaques Orchestra International Conducting Competition. Tham has served as the assistant conductor of the Carnegie Mellon All-University Orchestra. While at Carnegie Mellon, she received her Bachelor of Fine Arts degree in horn performance. Tham went on to receive her Master of Music degree, with honors, from Northwestern University studying with Dr. Mallory Thompson. While at Northwestern, she worked with Dr. Robert Harris, Victor Yampolsky and Dr. Robert Hasty, making her equally at home in wind, orchestral and vocal settings. She also completed community outreach projects in the form of concerts in the Pick-Staiger Concert Hall Kid’s Fare series, participating in a movie music themed concert as well as conducting, managing and producing a multicultural themed interactive concert.

ENCORE 49

ENCORE 51 SYMPHONY IN 60 SERIES

MASTERWORKS SERIES

Thursday, May 14, 2020 | 6:30 pm

Symphony in 60

THE GREAT SCHUBERT SYMPHONY

Courtney Lewis, conductor Haskell Endowed Chair

Franz Symphony in C major, “The Great” SCHUBERT Andante; Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace

This program runs approximately 1 hour

Friday and Saturday, May 15 & 16, 2020 | 8 pm

“Insight” one hour prior to each Masterworks concert Daniel Hsu, Pianist Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts Characterized by the Philadelphia Inquirer as a “poet…[with] an expressive BEETHOVEN’S EMPEROR CONCERTO edge to his playing that charms, questions, and coaxes,” American Courtney Lewis, conductor pianist Daniel Hsu captured the bronze Haskell Endowed Chair medal and prizes for best performance of both the commissioned work and Daniel Hsu, piano chamber music at the 2017 Van Cliburn International Piano Competition. Also Ludwig van Piano Concerto No. 5 in E-flat major, a 2016 Gilmore Young Artist, first prize BEETHOVEN Op. 73, “Emperor” winner of the 2015 CAG Victor Elmaleh Allegro Competition, and bronze medalist of Adagio un poco mosso the 2015 Hamamatsu International Rondo: Allegro Piano Competition, he is increasingly recognized for his easy virtuosity and bold musicianship. INTERMISSION A native of the San Francisco Bay Area, Hsu began studying piano at age 6, made his concerto debut with Franz Symphony in C major, “The Great” the Fremont Symphony Orchestra at SCHUBERT Andante; Allegro ma non troppo age 8, and gave his recital debut at Andante con moto the Steinway Society of the Bay Area Scherzo: Allegro vivace at age 9, before being accepted into Allegro vivace Curtis at the age of 10. Since then, he has made his debuts with the This program runs approximately 1 hour 50 minutes. Philadelphia Orchestra (2016) and at Carnegie Hall (2017) as part of the CAG This Masterworks performance is presented by Winners Series at Weill Recital Hall, and performed across the United States, China and Japan. A sensitive and keen collaborator, he has worked with the Tokyo, North Carolina, Fort Worth, and Masterworks guest artists are sponsored by Ruth Conley. other orchestras, under the baton of conductors Leonard Slatkin, Nicholas Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. McGegan, Cristian Măcelaru, Ruth AVL Productions is the official production partner of the Jacksonville Symphony. Reinhardt, and Marcelo Lehninger. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony. 52 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 He also regularly tours with the Verona Quartet and in duo piano programs with his brother, Andrew. Now 21 years old, Hsu is the Richard A. Doran Fellow at the Curtis Institute of Music, where he has studied with Gary Graffman, Robert McDonald and Eleanor Sokoloff. He is also a Marvel film buff and enjoys programming. He contributed to the creation of Workflow, a popular productivity app that allows users to automate tasks on iPhone, iPad, and Apple Watch, which received the 2015 Apple Design Award and was acquired by Apple in March 2017.

the orchestra, this time in A-flat. Once (1797-1828) PROGRAM NOTES again unaccompanied piano responds, Franz Peter Schubert By Laurie Shulman this time with more elaborate figuration Symphony No. 9 in C major, for both hands. The piano ushers in the “The Great” Ludwig van Beethoven (1770-1827) third, preparatory orchestral chord — 48 minutes Concerto No.5 in E-flat major, no one in the orchestra has yet played more than a single pitch — and answers From the standpoint of orchestration, Op. 73, “Emperor” rich thematic material, and sheer 38 minutes it with a more melodic, but still virtuosic, passage to the main theme. majesty, the “Great” C major is the undisputed pinnacle of Schubert’s Take a look at the sleek, 9-foot ebony symphonic maturity. Sadly, he never instrument at center stage. Nearly 100 measures of music unfold before we hear the piano again; clearly heard it performed. He began work By 1809, the piano had expanded Beethoven is in no hurry to make his on it in 1825. After he presented the beyond Mozart’s five-octave fortepiano; point. (In fact, this opening Allegro manuscript to Vienna’s Gesellschaft der however, more than another half- is the longest movement he ever Musikifreunde [Society of the Friends century would elapse before that composed.) The soloist re-enters with of Music] the following year, he was development culminated in an another grand flourish: this time an rewarded by a stipend “in recognition instrument the size and scope we hear ascending chromatic scale and a clarion of his achievements and for further this weekend. Beethoven was prescient trill, before a simple, elegant statement encouragement.” In 1827, Schubert in his ambition for the piano, writing of the imperial theme. The piano had the manuscript copied for the music so far ahead of its time that the weaves around the principal melodic Gesellschaft, still vainly seeking a instrument has continued to grow into ideas, etching elaborate figures without performance. The Vienna Philharmonic the music. Surely he would have been obscuring the noble design of each rejected the work, deeming it overly delighted with the modern concert theme. The structure is broad and long and too demanding for the grand, and nowhere more so than in symphonic, the music commanding, players. Even after Schubert’s death the Emperor Concerto. and yes, majestic. in 1828, his brother Ferdinand was unsuccessful in his attempts to sell the Beethoven composed the E-flat The middle movement is comparatively score to a publisher. concerto while Vienna braced for a brief, perhaps because its rich tonality second onslaught from Napoleon’s of B major is so potent. Beethoven’s That changed when Robert Schumann army. Ironically, the French Emperor’s Adagio un poco mosso emphasizes called on Ferdinand Schubert during brother Jerome Bonaparte, King dialogue between soloist and orchestra. the winter of 1838-1839. Schumann of Westphalia, had recently invited He develops his material almost like examined the score and was awed by Beethoven to move to Cassel, Germany variations, with an improvisatory its genius. The discovery prompted his to become Kapellmeister. Beethoven character. Perhaps the most inspired famous letter to Felix Mendelssohn was tempted. Then three of his wealthy moment occurs at the very end, with the that has given musical posterity the Viennese patrons pooled resources to bridge to the glorious finale. The horns phrase “heavenly length.” (Schumann provide him with an annuity, thereby hold a single pitch for what seems like was describing Schubert’s inexpressibly persuading him to decline the offer. an eternity, suspended in midair; then, lovely Andante.) Mendelssohn seemingly out of nowhere, the soloist conducted the premiere of the Vienna had been home to him for so diffidently introduces the triumphant symphony with the Leipzig Gewandhaus long that he was unlikely to leave at chords of the closing Rondo, initially Orchestra on 21 March, 1839. Even that point. Ironically, the premiere posing them as a question. with extensive cuts, it still created a of the “Emperor” did not take place sensation. Publication followed in in Vienna, but in Leipzig, in 1810. With affirmation forthcoming from 1840, and the “Great” C major has Beethoven’s pupil Karl Czerny played the noble horns, the exultant finale been standard symphonic repertoire the first Viennese performance the launches its irrepressible joy ride ever since. following year. for one of the most delightful and positive conclusions in all Beethoven. In his earliest symphonies, Schubert Beethoven tested his boundaries and As in the first movement, the piano relied more heavily on Haydn and elasticity of form in this last concerto. choreographs dazzling figures around Mozart for his inspiration and formal One revolutionary move was placing the principal themes, without obscuring guidelines. In the later ones he took the solo cadenza at the beginning their contour. Our perception of royal a freer approach, exercising more of the first movement, rather than its splendor remains unimpaired. The personal discretion in areas like traditional placement near the end. Full “Emperor” ends with every ounce modulations, formal structure, and orchestra intones a resonant, fortissimo of the magnificent style with which proportion, all of which we have come E-flat major chord. Solo piano replies it opened: virile, spacious, and to associate with the romantic (as with a series of arpeggios that cede to a ever confident. trill, then figuration, passage work and a melodic lead-in to a second chord from

ENCORE 53 opposed to classical) symphony. These factors reach their apogee in Schubert’s Ninth. It is the strongest symphonic link in the continuum from Beethoven to Brahms, Bruckner, and Mahler.

Schubert was clearly emulating the enormous scale of Beethoven’s Ninth. The duality between classic and romantic styles is one of the “Great” C major’s most compelling fascinations. Scoring details such as the use of trombones in all four movements make it unusual. Formal departures from the norm, for example the full sonata form of the scherzo movement, break from tradition and confirm the individuality of the symphony.

Even the slow introduction, brought to such perfection in the late Haydn symphonies, takes on new character in Schubert’s asymmetrical, heroic opening horn theme. Its second measure dotted rhythm provides the impetus for the entire Allegro to follow; his re-integration of that theme into the development section and the coda is one of many felicitous touches in this magnificent work.

The balance of the symphony adheres to classical models. Principal oboe has the main theme in the Andante con moto, which balances march-like elements and brief string outbursts with wistful woodwind writing. In climactic moments, the brasses play with surprising force. Schubert’s writing almost foreshadows Mahler.

Vigorous rhythms drive the Allegro vivace portion of Schubert’s Scherzo. He balances the rambunctious opening gesture with a gentler Austrian Ländler [a slow waltz]. The central Trio transports us to the world of folk song and rural village dancing. Schubert’s sudden key changes and gentle use of the brass add interest throughout.

The grand finale is like a force of nature: as if Schubert had gathered up all world energy and invested it in his orchestra. The glory of Alpine Austria and the great outdoors pulses through this Allegro vivace, bringing Schubert’s glorious symphony to an exuberant close.

54 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 ENCORE 55 POPS SERIES

COFFEE SERIES

Friday, May 22, 2020 | 11 am Thank you for joining us! Friday and Saturday, May 22 & 23, 2020 | 8 pm If you have any questions about your experience with us, please feel free to ask a staff member or usher in the lobby. We hope Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts to see you again! PATRIOTIC POPS Gonzalo Farias, conductor This Memorial Calvin and Ellen Hudson Charitable Trust Endowed Chair Color Guard from Sandalwood High School Day, we John Stafford The Star-Spangled Banner * SMITH arranged by SKROWACZEWSKI remember and

Aaron Fanfare for the Common Man * COPLAND honor all who

Michael Band of Brothers Suite KAMEN have served arranged by PHILLIPE John Phillip Hands Across the Sea * and made SOUSA

John Phillip El Capitan March SOUSA the ultimate

Samuel America the Beautiful * WARD sacrifice for arranged by REED

John Midway March our freedom. WILLIAMS

John Summon the Heroes * WILLIAMS

John Stafford Festival Overture on SMITH The Star-Spangled Banner * arranged by BUCK

INTERMISSION

arranged by BAGLEY National Emblem March

Victor American Fantasia HERBERT

Jay Ashokan Farewell * UNGAR arranged by CUSTER

Bob Armed Forces Salute * LOWDEN

Piotr Ilyich 1812 Overture * TCHAIKOVSKY

* Coffee Concert selection

This program runs approximately 1 hour 50 minutes.

Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. AVL Productions is the official production partner of the Jacksonville Symphony. Jax Black Car Transportation is the official transportation of the Jacksonville Symphony. 56 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020

SYMPHONIC NIGHT AT THE MOVIES

Saturday, May 30, 2020 | 7 pm Welcome to Jurassic Park! Sunday, May 31, 2020 | 3pm In Steven Spielberg’s massive blockbuster, paleontologists Alan Grant (Sam Neill) and Ellie Sattler (Laura Dern) and mathematician Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts Ian Malcolm (Jeff Goldblum) are among A STEVEN SPIELBERG Film a select group chosen to tour an island theme park populated by dinosaurs created from prehistoric DNA. While the park’s mastermind, billionaire John Hammond (Richard Attenborough), assures everyone that the facility is safe, they find out otherwise SAM NEILL when various ferocious predators break free and go on the hunt. LAURA DERN JEFF GOLDBLUM and RICHARD ATTENBOROUGH

BOB PECK MARTIN FERRERO B.D. WONG SAMUEL L. JACKSON WAYNE KNIGHT JOSEPH MAZZELLO ARIANA RICHARDS Live Action Dinosaurs STAN WINSTON Full Motion Dinosaurs by DENNIS MUREN, A.S.C. Dinosaur Supervisor PHIL TIPPETT Special Dinosaur Effects MICHAEL LANTIERI Music by JOHN WILLIAMS Film Edited by MICHAEL KAHN, A.C.E. Production Designer RICK CARTER Director of Photography DEAN CUNDEY, A.S.C. Thank you for joining us! Based on the Novel by If you have any questions about your MICHAEL CRICHTON experience with us, please feel free to ask a staff member or usher in the lobby. We hope Screenplay by to see you again! MICHAEL CRICHTON and DAVID KOEPP

Tickets: 904.354.5547 JaxSymphony.org

58 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 SYMPHONIC NIGHT AT THE MOVIES

Produced by KATHLEEN KENNEDY and GERALD R. MOLEN Directed by STEVEN SPIELBERG A UNIVERSAL PICTURE

Tonight’s program is a presentation of the complete filmJurassic Park with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. Jurassic Park is a trademark and copyright of Universal Studios. Licensed by Universal. All Rights Reserved.

Jurassic Park In Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice

Music Composed by John Williams

Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Jurassic Park has been adapted for live concert performance. With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Kathleen Kennedy, John Williams, Kristin Stark, Carol Nygren, Tamara Woolfork, Patrick Koors, Daniel Posener, Tammy Olsen, Angela Emery, Shayne Mifsud, Lauren Purnell, Darice Murphy, Chris Herzberger, Noah Bergman, Paul Ginsburg, Mike Matessino, Mark Graham and the musicians and staff of the Jacksonville Symphony.

www.filmconcertslive.com

ENCORE 59 MASTERWORKS SERIES

Friday and Saturday, June 5 & 6, 2020 | 8 pm PROGRAM NOTES By Laurie Shulman “Insight” one hour prior to each Masterworks concert Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts Maurice Ravel (1875-1937) La Valse MAHLER 1 12 minutes La Valse began life as a ballet score for Courtney Lewis, conductor the Russian impresario Serge Diaghilev, Haskell Endowed Chair who approached Ravel in 1919 about a new work. Ravel returned to an idea Maurice La valse that had captured his fancy as early as 1906: an homage to Vienna’s Waltz RAVEL King, Johann Strauss II. That early project had never progressed beyond Thomas Tevot sketches, and lay dormant until it was ADÈS rejuvenated by Diaghilev’s commission. Several of Ravel’s earlier compositions INTERMISSION reflect his fascination with waltzes. Among the more intriguing ones are a piano piece from 1913 entitled “A la Gustav Symphony No. 1 in D major, “The Titan” manière de Borodin” that mixes Russian style with the Viennese dance, and the MAHLER Langsam schleppend ever popular, more Schubertian Valses Kräftig bewegt nobles et sentimentales (1912; versions Feierlich und gemessen for piano solo and for orchestra). Stürmisch bewegt Subtitled “choreographic poem,” This program runs approximately 1 hour 55 minutes. La Valse consists of 12 minutes of whirling rhythms and dynamics viewed through a kaleidoscope of orchestral Saturday evening’s performance is dedicated in memory of colors. A note in the score describes Nettie Mae and Kendrick Kelley, longtime subscribers. the scenario: Clouds whirl about. Occasionally Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. they part to allow a glimpse of waltzing couples. As they gradually is the official production partner of the Jacksonville Symphony. AVL Productions lift, one can discern a gigantic Jax Black Car Transportation is the official transportation of the Jacksonville Symphony. hall, filled by a crowd of dancers in motion. The stage gradually brightens. The glow of the chandeliers breaks out fortissimo.

Essentially an elongated giant crescendo, La Valse is dynamically related to Boléro, though its tension builds in an altogether different fashion. Ravel thought of it as a “fatefully inescapable whirlpool,” an essentially tragic work whose frenetic mania is cut off by death.

Ironically, Diaghilev rejected the score when he received Ravel’s manuscript, citing prohibitive production expense. The ensuing rift between the two was never mended. Ravel secured an orchestral premiere in December 1920, and La Valse has enjoyed great popularity since.

60 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 (b.1971) (1860-1911) The festive atmosphere continues in Thomas Adès Gustav Mahler the second movement, which functions Tevot (2007) Symphony No.1 in D major, “The Titan” as a scherzo. Mahler borrows both 22 minutes 53 minutes from elegant Viennese ballrooms and country villages; their shared quality Thomas Adès had a meteoric rise Bruckner and Mahler are so often is the sheer pleasure of the dance. in the world of new music before he mentioned in the same breath that Ultimately, the Austrian peasant Ländler turned 30, by which time he already had music-lovers who probe a little deeper prevails over the waltz in this compound four commercial recordings devoted are startled to discover how remarkably gesture of homage to Haydn, Schubert to his music. A pianist, organist, and different they really were. One similarity and Bruckner. conductor, Adès gravitated toward holds, however: both composers composition at King’s College, revised their symphonies, frequently The third movement opens with what Cambridge. His breakthrough work was and extensively. The stories and reasons is arguably the best-known string Powder Her Face, a chamber opera vary, of course, for each man and each bass solo in the orchestral repertoire. commissioned by Almedia Opera of his works. Only rarely was Bruckner or Accompanied by timpani, the bass for the 1995 Cheltenham Festival. A Mahler satisfied with a first effort. solo becomes a funeral march crossed dozen subsequent productions and a with a nursery song, followed by recording have made Powder Her Face Mahler established that pattern even a Jewish street tune. With searing a modern classic. before composing his First Symphony. irony and bitter humor, Mahler casts His early song cycle, Lieder eines a spell, drawing the listener into a Adès has fulfilled the promise that fahrenden Gesellen [Songs of a hypnotic, singsong parody by means others identified in him a quarter Wayfarer], occupied him on and off for of a mocking oboe. In the process, he century ago. He has been showered almost 13 years, from 1883 to 1896. makes the ridiculous sublime: Frère with prizes, and juggles a dizzying The First Symphony took even longer Jacques consorting with a vulgar street schedule as guest conductor, piano to bring to final form. His first sketches fiddler in a bizarre contrapuntal duet. soloist, and chamber music coach. From date from 1884, but Mahler did not 1999 to 2008 he was Artistic Director of publish it until 1899. The finale is monumental, nearly as the Aldeburgh Festival. In 2000 he won long as the three prior movements the Grawemeyer Award—the largest In Mahler’s original conception, combined. Mahler likened its opening purse in classical music—for his large- the work was a symphonic poem to the cry of a wounded heart. He scale orchestral Asyla. in two parts and five movements. makes the listener suffer—as he Mahler discarded his original second presumably did—before he yields Adès’ title has multiple meanings in movement. Jean-Paul Richter’s novel to the victorious strains of D-major Hebrew. It means vessel and it can refer “Titan,” a personal favorite of Mahler’s, in which the symphony resolves. to bars of music. According to a note was the source of the symphony’s His emphasis on the last movement in the score, it also connotes the ark of subtitle. In this context, it was intended completely altered the symphony’s Noah, and the cradle in which the baby to connote a “vigorous, heroic man.” emotional impact and psychological Moses is carried on the river. “I found Mahler later abjured the subtitle weight. This is where we hear most the concept irresistible,” Adès has altogether. In 1896, he told a friend clearly the passionate, personal voice said. He describes the work as a one- that his First Symphony had been that was to ripen into the rich harvest of movement symphony about voyaging inspired by “a passionate love.” Most the symphonies that lay ahead. and getting somewhere safe, a concept scholars believe he drafted the work that has recurred in subsequent works. while embroiled in an affair with Marion “The idea in Tevot was of a flood, in von Weber, wife of Carl Maria von which you could almost see individuals Weber’s grandson. waving for help.” Mahler’s First overflows with the “Watching the orchestra play Tevot excitement and anticipation of youth. feels a bit like watching people on a In spite of its sardonic slow movement, boat,” he told The Guardian. “The it is resolutely optimistic, triumphant, music is being thrown from one side and spiritually uplifting. The symphony of the orchestra and smashing into the is cosmic in nature, addressing weighty other side, almost as if it’s going to topics such as love and life itself. capsize — but I don’t think it does.” To deliver this concept — the idea of the A pregnant slow introduction to the ship of the world — Adès expanded first movement pulsates with the his orchestra to quintuple woodwind. pastoral sounds of a glorious alpine Listeners will hear agitation and the summer morning. Mahler wants us undulation of rough seas. Ultimately, to feel light breezes ruffling our hair, tender strains mitigate the chaos, to hear the chirp of birds, the call of leading to the transcendent beauty of shepherds. The famous D major theme Adès’ close. of the first movement comes from the second song in Lieder eines fahrenden The Carnegie Hall Corporation and Gesellen. In this symphonic movement, Stiftung Berliner Philharmoniker it dances with untrammeled joy. commissioned Tevot in 2006. Simon Rattle led the Berlin Philharmonic in the premiere in February 2007.

ENCORE 61

ENCORE 63 SPECIAL PRESENTATION

Friday, June 12, 2020 | 8 pm Saturday, June 13, 2020 | 8 pm

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

BEETHOVEN’S NINTH

Courtney Lewis, conductor Haskell Endowed Chair Elaine Alvarez, soprano Renée Tatum, mezzo-soprano Cooper Nolan, tenor Soloman Howard, bass Jacksonville Symphony Chorus

Ludwig van Symphony No. 1 in C major, Op. 21 BEETHOVEN Adagio molto - Allegro con brio Andante cantabile con moto Menuetto: Allegro moto e vivace Elaine Alvarez, Soprano Finale: Adagio - Allegro moto e vivace Cuban-American soprano Elaine Alvarez burst onto the international opera scene INTERMISSION in 2007, making a break-out company debut with her soulful portrayal of Mimi in Puccini’s La bohème at the Ludwig van Symphony No. 9 in D minor, Lyric Opera of Chicago. Conducted BEETHOVEN Op. 125, “Choral” by Sir Andrew Davis and directed by Allegro ma non troppo; un poco maestoso Renata Scotto, critics were unanimous Molto vivace with praise: “Conveying lyric pathos Adagio molto e cantabile seems to come as naturally to Alvarez as Presto - Allegro assai - Allegro assai vivace breathing” (Chicago Tribune). Recent engagements have featured This program runs approximately 2 hours. Alvarez in numerous role and house debuts of iconic leading ladies including Tosca on tour with Choregies d’Orange, Friday’s performance is dedicated by Charlie and Anne Joseph in honor Kat’a Kabanova with Boston Lyric Opera, of the 69th wedding anniversary of Charlie’s parents, a return to Mimi for Opera National Ed and Wini Joseph. de Bordeaux, major Verdi debuts as Elvira in Ernani and Hélène in the rarely Saturday’s performance is dedicated to Trevor Lee. produced Jerusalem for Opera Royal de Wallonie, and a much anticipated role Masterworks guest artists are sponsored by Ruth Conley. and house debut for San Diego Opera as Florencia en el Amazonas. Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony. The 2018-2019 season included a AVL Productions is the official production partner of the Jacksonville Symphony. return to the Metropolitan Opera for Jax Black Car Transportation is the official transportation of the Jacksonville Symphony. La bohème as well as a house debut as Mimi for Finger Lakes Opera, a house debut as Tosca for Opera de Oviedo, and a return to Opera Royal de Wallonie in back to back debuts of Verdi’s doomed princess Aïda and Donizetti’s infamous Tudor Queen, Anna Bolena, marking her first appearance in this bel canto masterpiece.

64 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 Renée Tatum, Mezzo-soprano Noted for her “commanding and dramatic presence” (Opera News), mezzo- soprano Renée Tatum is rapidly gaining critical acclaim on the most prestigious opera stages in the United States. Tatum begins the 2019-2020 season as Flosshilde in Wagner’s Götterdämmerung with The National Theater in Taiwan, followed by her role debut as Kundry in Parsifal for Indiana University Opera Theatre. She also returns to The Metropolitan Opera as the Third Lady in The Magic Flute, makes her role debut as Amneris in Aida with Pensacola Opera, and joins Boston Lyric Opera for Giulio Cesare. On the concert stage, she joins the South Bend Symphony Orchestra for Mahler Symphony No. 2 and The Masterworks Chorale for Beethoven’s Missa Solemnis.

In the 2018-2019 season Tatum returned to The Metropolitan Opera for Nico Muhly’s Marnie, for the Waltraute and Flosshilde in Robert LePage’s famed Der Ring des Nibelungen, with the Savannah Philharmonic for Mahler’s Resurrection Symphony and The Ceclia Chorus of New York City in Brahms’ Alto Rhapsody.

She has recently been heard as Flosshilde and Waltraute in San Francisco Opera’s Der Ring des Nibelungen, Flosshilde in Das Rheingold at The Tanglewood Festival, Francisca in West Side Story at Grand Tetons Music Festival with Donald Runnicles, Jenny in Threepenny Opera for Boston Lyric Opera, and as a Flower Maiden in Parsifal at The Metropolitan Opera. Concert performances included Penderecki’s Credo with Indianapolis Symphony, Durufle’s Requiem with Back Bay Chorale, and in a concert presentation of Das Rheingold with New York Philharmonic.

Previously she was heard as Flosshilde in Gotterdammerung in her return to Houston Grand Opera and at National Taichung Theatre; Olga in Eugene Onegin with Boston Youth Symphony; Handel’s Messiah with Pacific Symphony; Beethoven’s Missa solemnis with Pacific Chorale; Mozart’s Requiem with Omaha Symphony and Rochester Philharmonic; and Beethoven’s Symphony No. 9 with San Diego Symphony.

Cooper Nolan, Tenor Tenor Cooper Nolan begins the 2019-2020 season making his Carnegie Hall debut in Elgar’s The Kingdom with the American Symphony Orchestra, Leo Botstein conducting followed by debuts with the Quad Cities Symphony Orchestra in the Verdi Requiem and the Jacksonville Symphony in Beethoven’s Symphony No. 9. He will also return to Theater Aachen for Hermann in a new production of Pique Dame.

Last season, he made his role/house debut as Canio in I pagliacci with Opera San Jose. Concert appearances included the Verdi Requiem with Lexington Philharmonic conducted by Scott Terrell and TŌN (The Orchestra Now), Act III of Lohengrin with the Victoria Symphony conducted by Christian Kluxen, Act I of Die Walküre with the Harvard-Radcliffe Orchestra conducted by Federico Cortese, and was a feature soloist in Charlottesville Opera’s Encore: Opera Favorites conducted by Steven Jarvi. Nolan made his Oper Frankfurt debut as the title role in Verdi’s Stiffelio and made his role debut as Cavaradossi in Tosca with the Fort Wayne Philharmonic. He returned to Santa Fe Opera, singing Tybalt in Roméo and Juliette under Harry Bicket, while covering Dick Johnson in La fanciulla del West under Emmanuel Villaume.

Nolan was a resident artist at Minnesota Opera performing Don José in Carmen and Trin in La fanciulla del West, in addition to covering Nemorino (L’elisir d’amore) and taking part in the world premiere of Kevin Puts’ The Manchurian Candidate. In Summer 2015, he joined the Apprentice Program at Santa Fe Opera, covering both Narraboth (Salome) and Teague in the world premiere of Jennifer Higdon’s Cold Mountain.

ENCORE 65 Soloman Howard, Bass Winner of the Kennedy Center’s 2019 Marian Anderson Vocal Award, Soloman Howard is a graduate of Washington National Opera’s Domingo-Cafritz Young Artist Program and garners high praise from the press for his vivid performances on the great opera and concert stages of the world. Soloman Howard’s voice is described as “sonorous” by The New York Times, “superhuman” by The Denver Post, and “a triumph” by The Guardian.

Soloman Howard’s 2019-2020 season features debuts at the Lyric Opera of Chicago in the company’s new production by Francesca Zambello of Luisa Miller conducted by Enrique Mazzola, at English National Opera in the same title in a new production by Barbora Horáková Joly conducted by Alexander Joel, and at the Gran Theatre del Liceu as Basilio in Il barbiere di Siviglia.

Additional credits of the season include a return to the Metropolitan Opera as Sarastro in The Magic Flute and Fafner in the Lyric Opera of Chicago’s presentation of a new production of Der Ring des Nibelungen.

Last season Howard appeared at the Metropolitan Opera in Aida conducted by Nicola Luisotti, Los Angeles Opera in Don Carlo under the baton of James Conlon, © Jon-Adjahoe Santa Fe Opera in La bohème conducted by Jader Bignamini, and at Washington National Opera reprising the title role he created for the company in The Lion, The Unicorn, and Me by Jeanine Tesori and J.D. McClatchy.

Highlights of the recent past include performances of Jacopo Fiesco in a new production of Simon Boccanegra at the Opéra national de Bordeaux conducted by Paul Daniel, Timur in Turandot at San Francisco Opera for his debut led by Music Director Nicola Luisotti, Commendatore in Don Giovanni at Santa Fe Opera, and Il Re in Aida for his debut at the Teatro Real. On the concert stage, he has given performances of Beethoven’s Ninth Symphony with Gustavo Dudamel and the Los Angeles Philharmonic on a European tour and with Christian Arming and the Vienna Chamber Orchestra on tour in Asia.

The Anti-Defamation League presented Howard with their “Making a Difference Award” in the summer of 2016 for raising awareness of voting rights though his performances of Appomattox at the Kennedy Center; and for bringing opera into the larger community. Howard is a proud graduate of the Manhattan School of Music and of Morgan State University.

66 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 Donald McCullough, Director, Jacksonville Symphony Chorus Tom Zimmerman Endowed Chair

Hailed by the Washington Post for his “dazzling expertise” on the podium, Donald McCullough is considered one of America’s pre-eminent choral conductors. He became the director of the Jacksonville Symphony Chorus in 2012. In November 2014 he led the Jacksonville Symphony Chorus on its first appearance in Carnegie Hall.

Previously, he was the director of the Master Chorale of Washington in the John F. Kennedy Center Concert Hall for more than a decade, developing a reputation for creating choruses that sang “with an innate sense of lyricism and musical poise” and “sensitive, scrupulous and heartfelt” (Washington Post).

During his tenure with the Master Chorale, the 120-member symphonic chorus performed 16 world premieres, produced three nationally distributed CDs, and toured twice throughout Central Europe. The Chorale earned The Margaret Hillis Achievement Award for Choral Excellence in North America.

McCullough is also a composer whose works have been critically acclaimed throughout North America and Europe. Routinely sought after for commissions, his works have been described as “powerful and heart-wrenching,” “mystically beautiful” and “remarkably inspirational.”

Previously, McCullough was the founder and music director of two Norfolk-based choruses: the Virginia Chorale and the Virginia Symphony Orchestra Chorus. He holds bachelor’s degrees in organ and vocal performance from Stetson University and master’s degrees in sacred music and vocal performance from Southern Methodist University. A native of Jacksonville, FL, he recently moved to Atlantic Beach, FL, to focus on his expanding composing career.

Jacksonville Symphony Chorus The Jacksonville Symphony Chorus, under the direction of Donald McCullough, is an all-volunteer group of over 120 rigorously auditioned individuals from all walks of life who share a love of singing choral music.

When choosing voices, McCullough said, “I look for focused voices with enough ring to project over the orchestra and into the hall. They must also be sizeable enough to make a contribution to the huge sound required for symphonic choral music.”

During an audition, other considerations include the singer’s ability to sing in tune, which must be impeccable; their flexibility; range; diction; vocal color and innate sense of musicality.

The Chorus is celebrating its 34th season this year and was founded by past Music Director Roger Nierenberg. In 2014, the Chorus traveled to New York City for perform under McCullough’s direction in the Lincoln Center premiere of his cantata In the Shadow of the Holocaust.

This season the chorus will participate in several performances including Handel’s Messiah, Holiday Pops and the highly anticipated performance of Beethoven’s Ninth Symphony.

Choral singing is the most popular form of participation in the performing arts according to a recent study by Chorus America. Over 18% of American households report one or more adults participate in a chorus.

ENCORE 67 Jacksonville Symphony Chorus

William Adams Claudia Guanes Laura Jane Pittman David Avery Michele Hale Jessica Poole Deborah Baker Deborrah Hoag Caroline Price Jerrye Baker Dennis Holt Vickie Prince Susan Baker Kathy Hunt John Pugh Carole Banks Kiki Karpen Nancy Purcell Ann Barrow George Kawaley Amy Quinn Alla Bartosh Grear Kimmel Eric Quinn Samantha Basso Ken Kutch Paulina Ragunas Noah Battle Sr. Alwynne Lamp Janine Ransom El Battle Robert Lappa Mark Reasoner Jessica Bergstol Wayne Letizia Nancy Redfern Paula Boyd Ginger Lindberg Wynn Redmon Hilary Brooks Annette Littlefield Caitlin Regan Louise Brooks Bryan Logue Patti Robertson Dorothy Jean Bush Leyse Lowry Mark Robinson Rita Cannon Mark Macco Kim Rowland Gloria Cardona Linda MacLeod Anne Julie Ruvane Chuck Carroll Jim Maher Jose Sastre Robb Cates Walter Mattingly Jen Schlechte Kenneth Chin Liz McAlhany Jeffrey Schroer Estelle Chisholm Marianne McAlhany Keith Schroyer Melody Choate Donald McCullough Amy Shealy Sandy Clarke James McGuffin Deborah Shelton Ellen Clayton Kate Medill Chloe Smith Susan Connors Ozzie Medina Janet Snell Bradley Corner Pat Medlock Sharon Snow Nancy Crookshank Bill Meisel Robbie Sumner Julie Cross Janet Metcalf Richard Sykes Katherine Crowell Barbara Miller Hugh Tobias Marley Curtis Molly Miller Sheri Van Orden Jane Daugherty Stephanie Miller Anna Vrabel Julie Davis Libby Montgomery Mark Walter Tracy Davis John Morrow Nadiya Wan Alyce Decker Joseph Murray Eileen Ward Stephanie Doerr Christina Ng Jerri Lea Ware Jeff Elledge Tyler Osborne Emily Wasek Ileana Fernandez Vanessa Pagan Jill Weisblatt Robert Fernandez Jane Palmer John Weitzel Gregory Fisher Jr. Anne Petersen Linda Werring Jennifer Flagge John Petersen Austen Wilson Kate Flint David Pierson Cindy Wohl Veronica Gibson Deborah Pierson Peter Wynkoop Bonnie Goldsmith Paepaeala Pimienta Sam Young

68 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 it is reiterated. Finally the full octave Finally, in 1822, his thoughts germinated PROGRAM NOTES is achieved, and the slow tempo in the finale to the Ninth Symphony. By Laurie Shulman abandoned in favor of a high-spirited Selecting about half of Schiller’s 18 frolic. Audiences in Beethoven’s time sections, Beethoven rearranged and Ludwig van Beethoven (1770-1827) were moved to laughter by this sly repeated stanzas to suit his musical Symphony No. 1 in C major, Op. 21 musical joke. It is easy to understand needs. The result is a very personal 26 minutes why the First Symphony was among interpretation of the poem, emphasizing the most popular of Beethoven’s works the call to universal brotherhood. Beethoven’s first symphony was during his lifetime. completed and premiered on 2 April, The Ninth is inextricably identified 1800, on a program that also included Ludwig van Beethoven with its choral finale. But to overlook the massive impact of the first three the Septet, Op. 20 and, historians Symphony No. 9 in D minor, believe, the Viennese premiere of movements is impossible. Each Op. 125, “Choral” segment of this enormous symphony his First Piano Concerto. The young 65 minutes German had initially established his broke musical ground in a striking way. reputation as a pianist in the 1790s. What makes Beethoven’s Ninth This concert was a turning point in Symphony so memorable? Entire About the music his career, decisively shifting Vienna’s books have been written to answer that At the outset, the strings outline a perception of him to that of a question, and many more will doubtless groundswell of open fifths, stark and composer. Beethoven found himself in follow. But the immediacy of a live rumbling, before the main theme the enviable position of being the most performance enhances the symphony’s erupts in a decisive D minor downward prominent composer in Vienna apart impact. The Ninth always provides unison swoop. The battle has begun from Haydn—and Haydn, at the age of a revelation, whether to a first time in this longest of all Beethoven’s 68, was an exceedingly old man by the listener or the veteran concert-goer. opening movements. He takes time for standard of the day. sweeping, majestic music, culminating According to Richard Wagner, in the spine-chilling coda. At the very It is apparent from Beethoven’s sketches Beethoven’s Ninth Symphony signaled point of emotional exhaustion, when we that he had worked on this First the death knell of the symphony. are certain that the power and drama of Symphony for several years beforehand. Fortunately for modern orchestras and this movement is played out, Beethoven No doubt he recognized that his work audiences, Wagner’s dire prophecy hammers home the darkness of D minor would be compared to the symphonies proved inaccurate. He was correct, with thunderous finality. of his famous contemporaries, who had however, in his prediction that their advocates in the Austrian capital. symphonic music was forever changed. Only in this symphony did Beethoven The eminent British writer Donald The Ninth is enormous even without its place his scherzo second rather than Francis Tovey called this work “a fitting splendid finale, a setting of Friedrich third. Listeners of a certain age still farewell to the eighteenth century,” von Schiller’s “Ode to Joy.” Each of its associate this movement with NBC-TV’s and Beethoven certainly drew upon movements is written on an extremely Huntley/Brinkley Report (1956-1970). the lessons he had learned from the large scale. So different are Beethoven’s The Molto vivace concentrates the symphonies of Mozart, Haydn four movements in mood and musical storm of the first movement into sheer and others. content that their philosophical breadth nervous energy. A virtuoso showpiece, seems to encompass the universe. it is both a brilliant five-voicefugato and To a listener who knows the Eroica, Beethoven was revolutionary in a fully developed sonata form. Timpani Pastorale, and Choral symphonies, incorporating the Schiller poem. tuned in octaves underlines its principal Beethoven’s First sounds traditional, His pacific message, as expressed in rhythmic motive, with electrifying effect. almost conservative. In fact, it was choral finale with the “Ode to Joy,” Some relief from the rhythmic and regarded as innovative, even daring, is as appropriate to end our harmonic tension occurs in the D-major when it was first performed. Both the subscription season as it is to close his trio section. first and last movements have slow magnificent symphony. introductions that sound as if they All volcanic rumblings and dark clouds are in another key in their opening A poem with a punch dissipate in the slow movement. measures. Especially for the opening Beethoven’s architecture starts to of a symphony, this was adventurous Schiller wrote his poem “An die Freude” become clear. He transcends the earthly indeed. Another startling innovation [“To Joy”] in 1785. Beethoven read it struggle of the symphony’s first half in was Beethoven’s use of timpani in the as a youth and felt a strong affinity with an Adagio of ineffable, heavenly beauty. slow movement. Contemporaries also Schiller’s philosophy of the joy that After the thunderclaps of the scherzo, noted the extensive use of woodwinds unites all humankind in brotherhood. the tranquil woodwind chord that opens throughout the symphony. As early as 1793 he considered setting the Adagio is an oasis of beauty and the text. By 1818, he had come up with calm. The music that follows is deeply The third movement, though entitled the revolutionary idea of incorporating tender and emotionally intense: this Menuetto, races along with the sparkle voices into a symphony. is Beethoven at his most human and momentum of a scherzo. It is the and loving. minuet of the Haydn symphonies in name only. Papa Haydn’s influence is more discernible in the country dance finale. The first violins tease us with a tentative ascending scale, inching up one step further each time

ENCORE 69 Famous finale: a call to brotherhood A cacophonous shriek opens the finale, shattering the celestial calm. The music leaves no doubt that what will follow is of major importance. Beethoven briefly alludes to the three previous movements before presenting the Ode melody. This bold gesture makes his Ninth one of the first cyclic symphonies and heightens the dramatic effect of the Ode. By the time the orchestra delivers the simple, step-wise melody, it has the effect of a rainbow. From there, Beethoven declaims several orchestral variations on the theme before introducing the bass recitative and the chorus.

After the buildup to a climactic pause, Beethoven’s sense of humor surfaces in a march for German military band. The double fugue that ensues is the last section for orchestra alone. Fiendishly difficult, it serves as a brilliant transition. When the chorus re-enters, it sings forth with the most exuberant declamation yet of praise and thanksgiving. Through his four heroic movements, Beethoven wages a struggle between minor and major, with an ultimate victory by major mode. The emergence of triumph out of tragedy—the triumph of universal brotherhood—is the essential message of this miraculous symphony.

70 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 ENCORE 71

An invitation to play your part CADENZA SOCIETY in the future of our Symphony

Cadenza Society members are a group of dedicated supporters who have made a future financial commitment to ensure that the orchestra you love will be able to keep making vibrant music for generations to come. Membership is easy. No immediate donation is necessary. You simply need to name Jacksonville Symphony as a beneficiary in your will, trust, insurance policy, donor advised fund or foundation.

Cadenza Society Members receive recognition in Encore as well as invitations to: • An exclusive Cadenza Society gathering with Music Director Courtney Lewis • Onstage Open Rehearsals • Annual Donor Appreciation Night

Jennifer Barton, 904.354.2767 Annual Cadenza Society Luncheon JaxSymphony.org/legacy

The Jacksonville Symphony gratefully acknowledges these members for including the Symphony in their estate planning.

Mark and Rita Allen Rabbi Robert and Marilyn Goodman Sherry Murray* Mr. and Mrs. Bruce Anderson Sue Gover Mr. and Mrs. E. William Nash, Jr.* Sandra Sue Ashby Mary T. Grant* Mr. and Mrs. Russell B. Newton, Jr. Ms. Laura Bailey Camille Clement Gregg Charitable Christine Ng and Herbert Wolfsen Rick E. Bendel Remainder Trust in memory of Janet and Joseph Nicosia Jacob F. Bryan IV Ruthwood Craven Samek Lloyd Hamilton Oakes Charitable Elizabeth I. Byrne, Ed.D. Dr. Dan W. Hadwin and Remainder Trust in memory of Dr. Alice Rietman-Hadwin Carl and Rita Cannon Ruthwood Craven Samek Suna Hall Clarissa and Warren Chandler Mr. Val Palmer Preston H. Haskell Estelle and Terry Chisholm Mr. and Mrs. Joe Peters Mr. and Mrs. Bill Hetzel Col. and Mrs. Robert B. Clarke Ruth (Rusty) Pierce Richard Hickok and Andrea Ashley Patrick and Linda Clyne Richard and Leslie Pierpont Bev and Bill Hiller Mike and Naomi Coffey William Ptak Calvin and Ellen Hudson JoAnne Reilly Luther and Blanche Coggin Charitable Trust Elizabeth Lough Colledge, P.H.D. J. William Ross Wes and Beth Jennison Ruthwood C. Samek* Elizabeth Schell Colyer Virginia Johnsen Ruth P. Conley Carol and Bob* Shircliff Rebecca and Randolph Johnson Mrs. Sally Simpson* Caroline S. Covin Mrs. Rita H. Joost* Mr. and Mrs. Robert A. Cowden Ann H. Sims* Robert and Cynthia Kastner Mr. and Mrs. Al Sinclair* Dr. Amy Crowder in memory of Elizabeth Kerr Carole V. Ewart Helen Morse and Fritz Skeen Frances Bartlett Kinne, Ph.D. Sara Alice Bradley Darby* Ana and Hal Skinner Norman and Dolores Kramer Stephen and Suzanne Day Virginia Smith* Dr. and Mrs. Ross T. Krueger Ann Derby David and Linda Stein E. Michael and Heidja Kruse Chris and Stephanie Doerr Mary Love Strum Mrs. Edward W. Lane, Jr. Mr. and Ms. Pete Doolittle Mary Virginia Terry Mr. and Mrs. Ronald Lindsey Jeff Driggers* Gwynne* and Bob Tonsfeldt Dr. D’Anne and Mr. Daniel Lombardo Julian Farris and James A. Chip and Phyllis Tousey Montgomery, MD. Leyse Lowry Rev. W. Glenn Turner Brock Fazzini Jean Lumpkin* Mary Jane and Jack Uible Josephine Flaherty Dr. Joseph Marasco Tom Vickery and Elizabeth McAlhany Mr. and Mrs. David Foerster Doug and Laura* Mathewson Mark O. and Cheryl A. Walter Friend of the Symphony (8) Ambassador Marilyn McAfee Stephen R. Wickersham Mr. and Mrs. George D. Gabel, Jr. Allison McCallum Stephen Williams Mr. and Mrs. Allan Geiger Frances Watts McCurry Renee Winkler John L. Georgas* Lee and Bobbie Mercier Quentin E. Wood Linda Barton Gillis Roxie Merrill* Thomas C. Zimmermann* Robert A. and Fay Mills* Margaret Gomez *Designates deceased

74 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 The Jacksonville Symphony Association gratefully acknowledges the generosity of the following individuals: Gifts to the Annual Fund between July 1, 2018 and February 14, 2020 Δ Designates a gift in-kind * Designates deceased

CONDUCTOR’S CLUB FORTE Annette and Bill Boling CONDUCTOR’S CLUB ANDANTE $10,000 - $24,999 Mr. and Mrs. William Blume $2,500 - $4,999 Anonymous (2) Borkowski Family Foundation Anonymous Sandra Sue Ashby Paul and Kathy Bosland Mr. Thomas Argyris Joanne and Doug Booher Mr. and Mrs. David B. Boyer David and Beth Arnold The Richard and Barbara Borzilleri Nancy and Ted Burfeind Teri and Jim Babcock Family Foundation Mary Ann Burns and Stephen E. and Phyllis C. Bachand Sandra and Phillip Burnaman Suzanne Burns Dalton Mr. and Mrs. Don Baldwin Carl and Rita Cannon Dr. John D. and Mrs. Chung-Hae Casler Sally and Jim* Baldwin Mr. and Mrs. A. R. “Pete” Carpenter Linda L. and Patrick W. Clyne Claudette and Richard Barker Dr. Elizabeth Lovett Colledge Meade and Alvin Coplan Ms. Jennifer Barton Sally and Tyler Dann Cornehl Family Foundation Dr. and Mrs. Dwight S. Bayley Susan P. Davis Mr. John P. Cranston Rebecca Black Dr. Sandra Every Dean and In Memory of Larry Karasic, M.D. Joyce R. Blackburn Mr. Michael Dean Tom and Jesse Dattilo Mr. and Mrs. James C. Blanton Jane and Jack Dickison Susan P. Davis Sandy and Jack Borntraeger Driver, McAfee, Peek & Hawthorne, P.L. Ms. Virginia A. Deroy Mr. and Mrs. Raymond W. Boushie Jon A. Ebacher and Jill T. Wannemacher Mrs. Susan Doherty The Honorable and Mrs. Bowman Andrew Farkas Mr. and Mrs. Walter H. Drew John and Cletia Bowron Mrs. Josephine Flaherty Mr. and Mrs. George W. Gibbs III Rod and Pat Brock Margaret Gomez Mr. William G. Gingrich Mark and Beth Brockelman Paul and Nina Goodwin Cynthia and Walter Graham, Jr. Mr. Daniel Broderick Cheryl Grabenstein Becky and Tommy Grimes Cecilia Bryant and Richard Lipsey Betty Lu Grune Bill and Nancy Hetzel Mr. & Mrs. Ronald T. Buckingham Dr. Anne H. Hopkins Ira and Eva Jackler Mr. Stanley W. Cairns Calvin and Ellen Hudson Lillian and Bunky Johnson Mrs. Diane Cannon Michael and Maryann Imbriani Lawrence and Kathy Kanter Jack and Dorothy Cernik Rebecca and Randolph Johnson Philanthropic Fund of the JCF Warren and Clarissa Chandler Malcolm* and Mary Virginia Jones Peter and Kiki Karpen Sandra and Andrew Clarke Charlie and Anne Joseph David and Sally Ketcham Sharon and Martin Connor Bob and Cindy Kastner Patty and Jim Kleck Caroline Covin in Memory of Mr. Alfred G. Kelley Mr. and Mrs. Eugene J. Kovarik Robert Covin Michel and Heidja Kruse Dr. and Mrs. Ross T. Krueger Ms. Jean Cox Mrs. Anne Kufeldt Dave and Mary Pat Kulik Peter Dalmares Mrs. Edward W. Lane, Jr. Judy and Scott McCue and the Harvey and Lois Dann Foundation Trevor Lee Elizabeth F. Cheney Foundation Mr. and Mrs. Bruce R. Darnall Margaret Leu Means Magnolia Foundation Ms. Emily J. Davis Lee and Darlene Nutter Bill and Barbara Maletz Mr. and Mrs. Thomas P. Davis Mary Carr Patton Mrs. Frances W. McCurry Ms. Trace Duryea Riverplace Capital Management Julie and Michael McKenny Greg and Helen Euston Mr. and Mrs. John Ryzewic Sheila McLenaghan and Duke Butler Mr. Mark R. Evans Carol and Bob* Shircliff* Janet and Joseph Nicosia Mike and Renee Favo Samuel Shorstein Robert and Flo Anne O’Brien Mrs. Betty Fipp Mr. and Mrs. Ross Singletary Deborah and David Pierson Mr. and Mrs. David Foerster Kent and Marie Smith Mr. and Mrs. Thomas Pippin Dr. Daniel Fulmer and Kim Vermillion David and Linda Stein Ann Saunders Roberts and H.B. Roberts Mr. Stephen M. Gahan David and Elaine Strickland Mr. and Mrs. Raymond A. Ross, Jr. Dr. John Gallo John and Kristen Surface Sheila and Louis Russo Clark and Lauretta Gaylord Gwynne* and Bob Tonsfeldt Ed and Whitney Selover Lawrence and Phyllis Goldberg Chip and Phyllis Tousey Shorstein Family Foundation Rabbi Robert and Marilyn Goodman Jim and Joan Van Vleck Stephen and Joan Shewbrooks Mel and Debbie Gottlieb Tom Vickery and Sarah McAlhany Mr. and Mrs. Richard L. Sisisky Helen I. Graham Foundation Warner and Sherrie Calvert Webb Helen Morse and Fritz Skeen Mr. Wayne Greenberg and Dr. and Mrs. Scott Wiedenmann Ms. Debbie J. Snyder Mrs. Elizabeth Shahan The Winston Family Foundation Dr. Mark A. Spatola and Dr. Dan Hadwin and Dr. Eugene and Brenda Wolchok Dr. Mihaela Ionescu Dr. Alice Rietman-Hadwin Joseph and Anna Spiak Suna Hall CONDUCTOR’S CLUB VIVACE Robert and Patricia Stichweh Mr. and Mrs. Victor A. Hughes, Jr. $5,000 - $9,999 Ms. Barbara W. Webster Mr. and Mrs. Burton V. Kagen Anonymous Dr. and Mrs. Charles N. Winton Andrew and Gurmeet Keaveny Drs. Julie R. and James D. Baker, III Tim and Evelyn Woodward Mr. and Mrs. Charles Keller Byron and Cynthia Bergren Mrs. Martha Yohe Don and Donna Kinlin John and Cherie Billings Carleton and Barbara Zacheis Dr. Annette Laubscher

ENCORE 75 Janine Leland and Thomas Larson CONCERTMASTER’S CIRCLE Mr. Ronald Koblitz Norman and Mary Ellen Ledwin $1,000 - $2,499 Mr. Henry C. Kocmond Harriet LeMaster Mark and Rita Allen David Lakari Mr. Courtney Lewis Dr. and Mrs. Pierre Allaire Mr. and Mrs. Jim Langer Dr. Lawrence A. and Emily Lisska Anonymous (2) James and Karen Larsen Richard Lombardi Dr. and Mrs. George F. Armstrong, Jr. Dr. Charis Lau Mrs. John R. Mackroth Dr. William and Linda Ann Bainbridge Alison R. Leonard Tony and Gayle Manning Barbara H. Arnold Carolyn Marsh Lindsay Ms. Carol J. Neville Mr. and Mrs. Robert W. Beers, Jr. Eleanor L. Lotz Robert Massey and Lisa Ponton Mr. and Mrs. William Bennett Hal and Frances Lynch Ann and Bob Maxwell Berman Family Foundation Mr. and Mrs. Donald W. Maley Alison McCallum Mr. and Mrs. Charles Berman Judith and Ray Mantle Rosemary and Allan* McCorkle Peter T. and Hollis J. Boyd Mr. and Mrs. Ron M. Masucci Davis and Sandra McCarty Mr. and Mrs. Peter Bragan Mr. Patrick Mayhew and James McGuffin and Kathleen Mullen Teresa Brewer Ms. Helen Kirkpatrick Marcia Mederos Karen and Mark Brown Mrs. Rose C. McCall Lee and Bobbie Mercier Ms. Sandra Bryant Dr. J. Mark McKinney Mrs. Jeanne Moomaw Mrs. Lynn Cabrera Mr. and Mrs. Frederick W. McNabb, Jr. Mrs. Laurel New Dr. and Mrs. William H. Caldwell P. L. McWhorter Newman Family Foundation Ron Clark and Karrie Haesele Lydia Saris, M.D. and John* and Dorothy Nutant Jeff and Lee Ann Clements Daniel Mechenbier Capt. John and Mrs. Carol O’Neil, Jr. Tom and Pat Conway Mr. and Mrs. George Medill (USN Ret.) Ms. Mary Ann Carroll Mr. and Mrs. Harold Medina Marie and Joel Pangborn Jonathan Coles Mr. and Mrs. Francis Monaco The Honorable Mayor John Peyton & Mrs. Sandra Corbett Dr. Lesley Morgan Dr. Kathryn P. Peyton Mr. and Mrs. Robert A. Cowden Linda Crank Moseley Susanne and Lee Reineke Mr. Richard Cullen and Robert and Monica Mylod Bruce Rosborough and Judy Ham Mr. Robert Finnerty, Jr. Tom and Harriet Nesbitt Mr. Harry Ruhsam Harriett L. Dame Ms. Carol J. Neville Dr. and Mrs. Wilbur C. Rust Noel and Mildred Dana David and Kathryn Olson Peter Ryan in Memory of Sandra J. Ryan Mr. and Mrs. Bernard S. Datz Dr. and Mrs. Matthew C. Patterson Dr. and Mrs. Ralph A. Sawyer Mr. and Ms. Robert Derr Mr. and Mrs. Lawrence Pereira Mrs. Miyuki Scheidel Cathy Driscoll Charles Peter Mrs. Lorraine Scruby Dr. Jeff and Mrs. Sharon Dunlap Richard G. Pohlig Mr. and Mrs. Joseph E. Sherin Mr. and Mrs. Thomas A. Fernley III Mrs. Jane Preston Mr. Benjamin Shorstein and Mr. and Mrs. Andrew Fogarty Heather Puckett Ms. Nicole Nissim Bill and Judy Franson Michael Ranne and Mr. and Mrs. Mark J. Shorstein Mr. and Mrs. Michael S. French Julia Suddath-Ranne Steve and Judy Silverman Dr. John Gallo Giles Renaud and Dr. Edward and Mary Ellen Smith Mr. and Mrs. James Giblin Gladys Draper-Renaud Dr. Mandell and Pat and Fred Gieg Rev. and Mrs. John S. Rogers Rita Diamond Stearman Mr. and Mrs. Roland and Claudia and Steve Russey Mr. and Mrs. Benson I. Stein Sara-Ann Gomez Anne and John Ruvane Marianne and Ben Stein Mr. and Mrs. Otis C. Gregg, Jr. Jeff and Chelly Schembera Mrs. C. G. Strum Gisela Haemmerle Faith Schonfeld Mr. and Mrs. John Tancredi Janice Hall Tom and Jane Schmidt Mireille and Robert Threlkel Bill and Kent Hamb Ms. Ruth Schwarzmann Mr. and Ms. James M. Tilley Jack and Grace Hand Mr. and Mrs. Chris Seubert Rolf and Neely Towe Harriet Hart Mr. and Mrs. Wheaton Simis Ron and Maureen Townsend Mr. and Mrs. Coleman Hawk Dr. Richard G. Skinner, Jr. Mr. and Mrs. Richard Tufaro Mr. and Mrs. Keith Hayes Townsend Smith Dr. William H. Haas and Bill and Helen Hendrich Dr. Suzanne Spanier Mrs. Brenda B. Verback Dr. Hazem Herbly and Mr. and Mrs. Benson I. Stein Mrs. Georgia Wahl Sahar Aboudan, MD Prof. and Mrs. G. J. Rod Sullivan Carol and Manuel* Wallace Dorothy M. Hill Mr. Ralph Talbott and Mary V. and Frank C. Watson David and Carole Holt Ms. Suzanne Plaine Drs. Lowell and Leslie Weiner Paula and Kenneth Horn Mr. and Mrs. Michael Tierney Ms. Barbara C. West Mr. Robert L. Hunter Mr. Hugh Tobias Drs. Thomas Gonwa and Ms. Jo Carol S. Hutchins Susan and James Towler Dr. Mary Alice Westrick Dr. Diane DeMell Jacobsen Mr. Rudolf E. Urban Arlene and Phil Wiesner Jacksonville Symphony Gabriele Van Zon Stephen Williams Players Association Susan Vanhoeij Linda F. Wilkinson Martha Jones John Tobias and Rebecca Wells Mr. and Mrs. Chester Witczak Luke and Sandy Karlovec Mr. and Mrs. Thomas Whittemore Mr. and Mrs. A. Daniel Wolff III Ruth and Jack Kelly Dr. and Mrs. Daniel Wohl Hon. Gwen Yates and Richard and Nancy Kennedy Dr. Mary Ellen Young Lt. Col. Alton W. Yates, USAF (Ret.) Mrs. Elaine Weistock and Zimmerman Family Foundation Carolyn and Elliot Zisser Mr. Ronald Keysor Mary Jean Zimmerman Dr. Frances B. Kinne

76 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020 PLAYER’S CIRCLE Dr. and Mrs. Richard Glock Audrey B. Patterson $500 - $999 Susan Goldring and Horton Hickerson Suzanne C. Perritt A-B Distributors, Incorporated Drs. Thomas Gonwa and Mr. and Mrs. Rickie Petersen Richard Abdullah Mary Alice Westrick Joseph and Phyllis Power Mr. and Mrs. Bruce Anderson Ms. Elinor M. Gregory Dr. George B. Pruden, Jr. Glenda Anthony Richard Habres Mr. and Mrs. Eric Puestow Mr. B. David Avery Howard Haims and Mr. and Mrs. Robert Quinby Janean C. Baker Carole Cooper-Haims Mrs. Judith J. Ratcliffe Rita Banhunyadi Mr. Glenn and Mrs. Denise Hansen Ms. Valerie W. Redmon Mr. and Mrs. George Banks Drs. Alfred D. and Katherine A. Harding Wynn Redmon Ms. Martha E. Barrett Helen Hause Ina W. Richter Mrs. Beatrice Beckenbach Ms. Barbara A. Haws Mr. and Mrs. Thomas J. Rodell Robert Bell Mr. and Mrs. Lemuel H. Hawver Dr. Daniel S. Yip and Mr. Timothy B. Bell Mrs. Elizabeth Head Teresa Rodriguez-Yip Mr. and Mrs. Joseph P. Bender, Jr. Ruth and Ron Hedge Mr. Neil Rose and Dr. Jeannie Rose Dr. and Mrs. James P. Bolling Drs. Richard and Maryanne Helffrich R. E. Rosemund, Jr. Mr. and Mrs. Francesco Borghese Mr. and Mrs. Philip R. Henrici Mr. and Mrs. George E. Ross Mr. and Mrs. William Braddock Ms. Carol L. Hicks Colleen Andrea Sanchez Mr. and Mrs. Charles Bray Mr. and Mrs. Hal Higdon Trish and Ric Seiter Mr. Thomas Bray Mr. and Mrs. H.C. Holderfield Dr. Ralph W. Sevelius Ms. Crystal Broughan Ms. Evelyn Howard Brittany and Nathan Sheffield Shepard Bryan, Jr. Mrs. Martha Huntley-Robertson Mrs. Betty J. Shepard Jim and Carol Bryce Mr. and Mrs. Michael Huskey Aaron Sigall Caren and Dennis Buchman Barbara Johnson Mr. and Mrs. Harry Skilton Dr. and Mrs. William Bullock Ms. Gloria E. Johnson Robin Smathers Michael Byrd Mr. and Mrs. Terrence D. Jones Dr. Carolyn H. Smith David and Lynne Campbell Gary and Patricia Josephson Tracy Smith Ian M. Charlton Stanley and Sharon Kantor Raul Soto-Acosta, MD Mr. Kevin J. Chase and Mr. and Mrs. Peter E. Kaplan George and Shirley Spaniel Ms. Ileana Fernandez Mr. and Mrs. Emery J. Kapples Dr. David A. Spring Gary and Barbara Christensen William Kastelz, Jr. Dewitt Storm and Kathy Storm Mr. and Mrs. Joe Clare In Memory of Sandra Keith Kimball Dr. Richard and Gina Stromberg Mrs. Linda Cliff Mr. and Mrs. Frank C. Killackey Mr. James Stronski Dr. and Mrs. Yank D. Coble, Jr. William M. Killen William J. Struck Elizabeth Schell Colyer Mr. and Mrs. Thomas F. Kirk Mr. and Mrs. Mark A. Sur Mrs. Lucille Conrad Sunny and Harold Krivan Linda and Jim Sylvester Linda J. Cooper Ruth and Richard Klein Dorcas G. Tanner Mr. and Mrs. John D. Corse Karen and Fred Koch Sharon Howard Tanner Bill and Kathy Cosnotti Mr. and Mrs. Ronald E. Kolar Bernadette E. Tasher Mrs. Alice M. Coughlin Mrs. Sylvia Kraemer Mr. and Mrs. Bruce Teerlink Mr. and Mrs. Mort Crim Mr. and Mrs. Harold Krivan Ms. Carol C. Todd Dr. and Mrs. Julius Dean Mr. Ted Larson Donald and Gwendolyn Todd Mr. and Mrs. Bruce Dempsey Ms. Catherine H. Lemme Jacqueline Tomassetti Mr. Walter DeReu Mark and Mary Lemmenes Mrs. Diana R. Tope Mr. Robert J. Devers Wayne Letizia Mr. and Mrs. Thomas Torres Mr. and Mrs. Henry D’Hulst Dr. Leonard J. Lipkin Alice and John Trainer Marian Dickson in Memory of Dr. and Mrs. Dean C. Lohse Sherilyn Van Orden Steve Dickson Mr. Clifford P. Loveland Mr. Gerald Veldman Mr. and Mrs. William G. Dietrich Mr. and Mrs. David Lovett Mr. and Mrs. James Verbeck Donald Dinwiddie Leyse Lowry Mr. and Mrs. William R. Vineyard Mr. and Mrs. Patrick R. Doran Mr. and Mrs. William MacLeod Ms. Grace L. Voyles and Margie and George Dorsey Jim Maher and Richard Sykes Ms. Mary E. Voyles Ms. Barbara J. Drake Kenneth M. Manning Cornelia and Olin Watts Mr. and Mrs. James F. Duffy Faith Martin Endowment Fund Dr. Kathleen M. Dully Mr. and Mrs. Joseph Martin Ms. Cynthia Wahl Charles and Virginia Dunn Dr. Mike and Marilyn Mass Billy J. and Nettie T.* Walker Dr. and Mrs. A. R. Eckels Capt. Carl M. Mayer USN Ret Dr. and Mrs. Robert S. Walton Catherine Edge Mr. and Mrs. Joseph E. McCauley Ms. Eileen Ward Julia M. Edgerton Ms. Carole L. McManus Mr. and Mrs. David Weisblatt Mr. George and Dr. Anne Egan Mr. and Mrs. Charles E. McTiernan, Jr. William and Elizabeth Weitzel Mr. David Eismont Rich Midkiff Mr. and Mrs. Neil J. Wickersty Virginia M. Elliott Lisa Miller Mr. and Mrs. John P. Wilchek Mr. and Mrs. Richard Ezequelle Mr. and Mrs. Michael A. Miller Sue Williams Julian Farris and Mr. and Mrs. David Miron Christa Wilson James A. Montgomery, MD Mr. and Mrs. Gary Moore Robert and Dianne Wilson Sharon Feingold John and Kathie Nevin Mary Emma Wilson Mrs. Patricia Flock Mr. and Mrs. J. Kenneth E. Noon Jamie Woodward and Max Chmura Mr. Jaime A. Frias Mr. and Mrs. Wayne Novak Ms. Mary Wysong and Mr. and Mrs. Ben Frisch Thomas Orr Ms. Sylvia G. Cotner Yves Genre Mr. Parker and Ms. Diane Hale Drs. Steven G. and Linda Younkin Mr. and Mrs. Pete Gibbons Mr. and Mrs. Charles Parliment Mr. and Mrs. Sergei Zelenkov

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ENCORE 79