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Home , Carl Perkins, Claude Kahn, Elvis Stojko, James DePreist, Larry Adler, Marguerite Piazza

Marian Shaffer, harp, in the music room at Graceland Mansion Photo: Maria Benton

VolumeVOLUME 2 • 2011|20122012|2013 SeaSEASONson

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CLIENT BMW Filename BMWN11KB0393_3SerInnovLHP_2 Job Mgr.# 11182 Last Date 8-1-2012 12:16 PM Fonts Doc. Path Description 4CFP - 3Ser Innovation Prod. Mgr. Deirdre McMurray BMW Type Global Pro (Light, Bold, Regular), Helvetica (Bold) StudioMechanicals2:Volumes:S Bleed 6.5” x 9.5” Art Director - tudioMechanicals2:BMW: Final Mechanicals:BMWN11KB0393 South Trim 6” x 9” Acct. Mgr. Danielle Skeen x4024 Region Print Umbrella JM 11182:BM- WQ3SRP1 3Ser INNOVATION LHP Live 5.5” x 8.5” Copy Writer - Gutter - (Folds: None) Studio Oper. pfrumkin Placed Graphics Inks signoff.eps Cyan Scale None Prev. Oper. Mike Spoagis 2 11_0428_A0141686_3SER_01.tif (933 ppi) A0145167.tif (1250 ppi) Magenta Colors 4 Last Modiﬁ ed 8-1-2012 12:16 PM 11_0428_A0140793_3SER_01.tif (2222 ppi) Yellow BMW_UDM_Module.ai Ln. Screen 133 Proof # 2 FINAL pf 8/1 Black Deadline 8/1 MEMPHIS SYMPHONY ORCHESTRA via e-mail: denise.borton@MemphisSymphony. Pub List org (NO proof) Contents Volume 2 • 2012|2013 Season

Concert Experience • MSO Board of Directors, Staff, League Board • Shostakovich 5 & Chorus Board...... 68 November 17 & 18...... 23 • Memphis Symphony League...... 70 • Home for the Holidays • Sponsors & Foundations...... 72 December 8...... 30 • Membership Benefits...... 74 • Aloha Elvis®! January 5...... 41 • Contributors...... 75 • Innovation: Beethoven & Bernstein • Honorariums & Memorials ...... 86 January 12 & 13...... 49 • Patron/Ticket Information ...... 88 • Bach & Mozart January 18...... 57 Symphony Gallery • Mei-Ann Chen, Music Director ...... 64 • Mei-Ann’s Circle of Friends...... 8 • Conner Gray Covington, Assistant Conductor..65 • Meet the Musicians...... 18 • Orchestra Roster...... 66 Community Experience Patron Experience • Symphony Soul Project: • Advertiser Listing...... 59 New Concert Venue...... 12 • Facing History and Ourselves: Music and Human Conflict...... 16

The Memphis Symphony Orchestra, Inc., is a qualified 501(c)(3) deductible organization funded by gifts from you, ticket sales and contracted services. We are recipients of grants from ArtsMemphis and the Tennessee Arts Commission. ©2012|2013 Memphis Symphony Orchestra • 585 S. Mendenhall Rd., Memphis, TN 38117 Your attendance constitutes consent for use of your likeness and/or voice on all video and/or audio recordings and in photographs made during Symphony events. For tickets (901) 537-2525 | MemphisSymphony.org Follow the Memphis Symphony!

For Tickets 901-537-2525 3 2012-2013 SeaSOn IT’S HAPPENING AT GPAC JaZZ Dance chick corea and Gary Burton The Theater of Needless Talents with the Harlem String Quartet Spectrum Dance Theater sunday, september 30 wednesday, november 14 The chucho Valdés Quintet Cinderella sunday, 0ctober 21 Russian national Ballet Theatre Jane Monheit with sunday, january 6 special guest Mark O’connor Savion Glover’s SoLe Sanctuary sunday, february 17 friday, january 25 Monterey Jazz Festival celebrating the 100th anniversary of 55th anniversary Tour The Rite of Spring sunday, april 21 tuesday, april 23 FaMILY SPecIaL eVenTS “Sleeping Beauty” The Secret Sisters with David Gonzalez, storyteller friday, september 7 sunday, october 7 capitol Steps Cirque Chinois friday, september 14 national circus of the Van cliburn Gala People’s Republic of china saturday, march 16 sunday, october 14 Cinderella Russian national Ballet Theatre sunday, january 6 The Black Watch and The Band of the Scots Guards sunday, february 10 The Voca People sunday, march 24 erth’s Dinosaur Petting Zoo™ friday, april 26-28

GERMANTOWN PERFORMING ARTS CENTRE Call 901-751-7500 or visit www.GPACweb.com Scheidt Milton Schaeffer Family Foundation

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For Tickets 901-537-2525 Follow the Memphis Symphony! 5 6 www.MemphisSymphony.org Involved in your community.

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For Tickets 901-537-2525 Follow the Memphis Symphony! 7 Mei-Ann’s Circle of Friends Members of Mei-Ann’s Circle kicked off the season on September 19 with a reception at the home of Ritche Bowden

MACF Leadership with Mei-Ann Chen, Gayle Rose, Ritche Bowden, Becky Wilson, Mary McDaniel

Dale Kelman, Anita McLean, Cynthia Ham, Ritche Bowden

8 www.MemphisSymphony.org Kimmie Vaulx, Nicki Inman, Joyce Blackmon, Deborah Hester Harrison

Jeanne Jemison, Jocie Wurzburg, Tommie Pardue

Saryan Doucette, Louise Barden, Connie Abston, Barbara Perkins

For Tickets 901-537-2525 9 Mei-Ann’s Circle of Friends

Julia Manning, Kathleen Gardner, Dorothy Cleaves, Ann Vining

Joey Beckford, Ellen Rolfes

Lynda Shea, Nancy Hughes Coe, Buzzy Hussey, Julia Manning

10 www.MemphisSymphony.org Mary McDaniel, Sarah Carpenter, Beryl Brown, Buzzy Hussey, Nicki Inman

Sandra Mays, Belinda Anderson

Gloria Nobles, Ellen Klyce, Lillian Brown, Mary Lawrence Flinn

For Tickets 901-537-2525 11 Symphony Soul Project: New Concert Venue

To support community revitalization in historic Soulsville USA, the Memphis Symphony Orchestra is presenting a series of FREE concerts during 2012-2013 at the Memphis Music Magnet facility, located at 879 East McLemore Avenue. The MSO, in partnership with Community LIFT, received generous funding from ArtPlace to support this work.

By now you may have heard the Memphis Symphony Orchestra will perform throughout the season in a vacant grocery store space built by the LeMoyne-Owen College Community Development Corporation. Located across the street from the Stax Museum of American Soul Music, this space is being re-imagined as venue for bringing vibrant music and new activity to Soulsville USA – a first step in creative placemaking. Once the MSO residency is underway, the Memphis Music Magnet will begin hosting additional performances and exchanges from other Memphis cultural organizations at the venue.

Preparing a vacant grocery store space for the Symphony Soul Project has stretched the MSO and its project partners in unexpected ways. Most people think about orchestra performance without ever considering how the venue itself must perform; but for classical music, which has a wide range of dynamics, acoustical quality of the space is very important. The audience gets a full listening experience when music is accurately projected. This happens routinely in acoustically excellent halls like Memphis’ Cannon Center for the Performing Arts.

Unlike the audience, however, orchestra musicians have a different relationship with sound, and for them quality begins with their ability to hear themselves. As individual players, musicians constantly monitor their own sounds and they must precisely hear their own instruments and each other to interact and adjust for good timing and balance. These interactive processes – listening and correcting – are at the heart of classical music. For the professional orchestra, no field of physical dynamics is more important than acoustics.

12 www.MemphisSymphony.org To affect high quality, orchestras tend to favor performance spaces with good acoustics, where random problems can be solved with minor adjustments by the production crew or musicians themselves. Repurposing a vacant grocery store into a space suitable for performing classical music is challenging, but the team is determined to create a venue that provides an excellent musical experience not only for listeners, but for musicians as well. As they experiment with different combinations of carpeting, acoustical draping and other treatments to improve sound retention and projection, the team must also anticipate the sound effect of warm bodies in the space.

From an empty shell, the team hopes to create a performance space that will require only minimal adjusting between the first rehearsal and sound check process. Through collaboration and resource pooling, the MSO, Community LIFT and neighborhood stakeholders are furnishing Soulsville USA with a venue that is ready to welcome the orchestra and a wide range of other performing arts groups and artists.

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14 www.MemphisSymphony.org For Tickets 901-537-2525 Follow the Memphis Symphony! 15 Facing History and Ourselves: Music and Human Conflict

Listen to a piece of music and you feel the sound; it is visceral. Music is powerful. It can be used as propaganda; consider how you feel when you hear the national anthem. It can make you want to move, think about big band music and swing dance. It can inspire and uplift, serve as protest and resistance, alleviate suffering and foster a will to endure. Throughout the first semester of the 2012–2013 school year, students at Overton High School are considering all of these aspects of music as a part of a pilot partnership with the Memphis chapter of Facing History and Ourselves. The program is entitled Music and Human Conflict.

The pilot is being developed as a music component to the nationally respected Facing History curriculum with lessons designed and taught by MSO musicians Barrie Cooper, Heather Trussell and Michelle Pellay-Walker in collaboration with Overton’s Facing His- tory teacher, LeAnne Fryman. During the residency, personal, cultural and political dynamics of the events leading up to, through and following WWII and the Holocaust are seen and understood through the lens of music. Students explore music composed and performed during the Third Reich; they participate in discussions about how music de- fines identity and reinforces membership; how it contributes to a political situation, and how it expresses the stories of people who live through and survive horrific events.

16 www.MemphisSymphony.org One lesson at Overton involves the students being guided by the musicians to identify which works or styles of music were considered forbidden or acceptable by the Nazis and why, asking what is it about Jazz or Swing, or atonal music that the Regime found threatening and degenerate? Another lesson focuses on how music is used to protest or resist authority. Then, yet another finds the students experiencing how music can help the human spirit to transcend oppression. Listening to works created and performed in concentration camps they come away with the awareness, for example, that a pris- oner—in wretched conditions that defy hope—can make hauntingly beautiful music, playing instruments out of tune, or broken, or in disrepair, demonstrating the resiliency of the human spirit. Taking all of these examples, the students examine their own re- sponses to these issues; they also reflect upon the music they listen to now, and apply what they have learned to their own lives. In this way, they grapple with complex ethical and moral questions, learning how to review and assess behavior in construc- tive ways.

Facing History and Ourselves was established in 1976 in Boston and has been a presence in Memphis since 1992; it has grown into an internationally respected organization that serves educators, students and communities by promoting critical thinking and moral decision making and behavior. The belief is that by exploring controversial issues around racism, prejudice and anti-Semitism, students become informed about how to participate as moral entities, and that by studying genocide and the Holocaust, students learn to understand the connection between themselves and history.

For Tickets 901-537-2525 Follow the Memphis Symphony! 17 Meet the Musicians

Name: David Carlisle Instruments: Principal Percussionist

Colleges Attended: Eastman School of Music, University of Toronto, College-Conservatory of Music at the University of Cincinnati Most Influential Musical Teachers: John Beck, Bob Becker, Russell Burge, James Culley, Sean Eisenberg, Robin Engelman, Russell Hartenberger, David Kent, Robert Mee, Allen Otte, Pandit Sharda Sahai, John Von Ohlen First Season with the MSO: 2011-2012 Teaching Positions: Instructor of Music at the University of Mississippi, Instructor of Percussion at the University of California Davis As a Chamber Musician: American Festival of New Music, Berkeley Contemporary Chamber Players, Chamber Music Society of Sacramento, Earplay, El Cimarrón (contemporary opera by Hanz Werner Henze) at the Banff Centre for the Arts, Empyrean Ensemble, Joe Ink Dance, Kokoro Dance, Luna Nova Ensemble, Nexus, PASIC (Percussive Arts Society International Convention) with my group DivaDi, Percussion Group Cincinnati, Queen of Puddings Music Theatre, Steve Reich, San Francisco Contemporary Music Players, Winnipeg New Music Festival with my group SqueezPlay As a Composer: I wrote “Mad Cow,” a percussion duet I performed with Adrienne Park at the Opus One concert with Lucero in 2012. Adrienne and I have a piano-percussion duo called DivaDi—we perform original compositions and new works created on a collaborative basis with current composers MSO Community Involvement: Family Tunes & Tales

FUN FACTS! Favorite Memphis Restaurant: Flying Fish Describe Your Family and Pets: I’m married to Adrienne Park, MSO’s Principal Pianist. We have two beautiful boys, Connor (6) and Dylan (3), who love playing with our cat, Bunny, and Chihuahua-mix dog, Comet, a.k.a. Pups If You Could Travel Anywhere, Where Would You Go: Bali Age You Started Your Instrument: 12 What Inspired You To Make Music Your Career: I saw a drumset in the corner of the room when I walked into my first music class in th7 grade. We had to draw names from a hat to play drums—luckily, mine was the first one drawn Favorite Movie: The Lion in Winter Favorite Drummer: I can list hundreds of truly great drummers, but it’s always so much fun listening to Stewart Copeland from the Police for his originality and explosive energy. Interesting Fact About Yourself: I was a figure skater growing up in Toronto and competed with Elvis Stojko

18 www.MemphisSymphony.org Name: Greg Luscombe Instrument: Principal Trombonist

Colleges Attended: Elmhurst College, University of Akron, Indiana University Most Influential Musical Teachers: Jay Friedman (principal, Chicago Symphony), Per Brevig (former principal with the Metropolitan Opera Orchestra), Art Sares (former NBC staff musician/top freelance (Chicago/Las Vegas), Ed Zadrosny (University Of Akron), Dee Stewart (Indiana University) First Season with the MSO: 1989-1990 As a Composer: Wrote a trombone sonata for a theory class which was performed once. Appeared as a Soloist With: I performed with the Memphis Symphony on two different First Tennessee Masterworks series concerts. Also I have soloed with various community area orchestras and bands. I have soloed with the Germantown Symphony twice (last time-Spring 2011) MSO Community Involvement: I participate as a mentor for the MSO-CAPA Virtuosi program as well the Leading From Every Chair® program. I also am an active private instructor in the region – I did All-West Band and Orchestra Masterclass in January 2011 for band directors in the region

FUN FACTS! Favorite Memphis Restaurant: Perkins is my style and my family makes fun of this. The price is right! Describe Your Family and Pets: Beth Luscombe, violist in the MSO, and two daughters, Sarah and Julia. I wouldn’t trade all the years raising those girls with Beth for anything! We have a dog named Cocoa which a mix of 50% basset hound and 50% golden retriever. What a combination! Cocoa has the body of a bassett hound and the coloring and basic looks of a retriever If You Could Travel Anywhere, Where Would You Go: Some obscure lake with no road access and no computer in Canada for a fishing trip Favorite Hobby: Running. It’s good for health, good for the breathing as a trombonist, good place to center and really see things What Inspired You To Make Music Your Career: I loved the way orchestra sounded, particularly the brass Most Embarrassing Moment On Stage: Two things come to mind and here they are: -When I first played the alto trombone with a professional orchestra I forgot that I was playing the alto and not the tenor. The tenor has the longer slide and you can guess the rest of the story. Another time was at a recital where I put my music off to the side and forgot where I had placed it. I played the first selection and then the next few minutes looking for my music while the audience was sitting there Favorite Piece Of Music: So much of it is great but I love Bruckner Symphony No. 4, any of the Brahms symphonies and Beethoven Symphony No. 6 (Pastoral) Interesting Fact About Yourself: I have performed with the Chicago Symphony, Cleveland Orchestra and the St. Louis Symphony

For Tickets 901-537-2525 19 2012 | 2013 SEASON Student Tickets $5 First Tennessee Masterworks, Pops and Paul & Linnea Bert Classic Accents!*

Beethoven 8 September 14 Rachmaninoff and Mahler September 22 & 23 STAX! The Memphis Sound October 13 GABRIELA MONTERO, PIANO SEPTEMBER 22 & 23 Shostakovich 5 November 17 & 18 Home for the Holidays December 8 – Two performances: 2:30 & 7:30 PM Aloha Elvis®! January 5 Innovation: Beethoven & Bernstein January 12 & 13 STAX! THE MEMPHIS SOUND OCTOBER 13 Bach and Mozart January 18 A Memphis Gospel Celebration February 16 Holst The Planets February 23 & 24 Feelin’ Groovy: The Music of Simon & Garfunkel FEELIN’ GROOVY: THE MUSIC OF SIMON & GARFUNKEL March 9 MARCH 9 Tchaikovsky 5 March 16 & 17 If Bach Were A Beekeeper March 22 From Gandolfi to Memphis April 13 & 14 Porgy & Bess

ANTHONY McGILL, CLARINET May 18 & 19 APRIL 13 & 14 *Subject to availabiity

For tickets (901) 537-2525 or MemphisSymphony.org/studentdiscounts

20 www.MemphisSymphony.org

MSO program ad_student tix_0812.indd 1 8/14/12 4:43 PM Joseph Salvalaggio, principal oboe I’ll take you there! SOULSVILLE, USA

SYMPHONY SOUL PROJECT Join us for the ﬁ rst concerts of the MSO year-long residency

Memphis Music Magnet at Soulsville USA www.memphismusicmagnet.org JANUARY 26 AT 2:00 PM – Opus One with North Mississippi Allstars FEBRUARY 17 AT 4:00 PM – A Memphis Gospel Celebration Free & open to the public! Location – 879 East McLemore

(901) 537-2525 | MemphisSymphony.org

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For Tickets 901-537-2525 Follow the Memphis Symphony! 21

MSO_Soul Project ad_1012.indd 1 10/8/12 4:34 PM Powering your next stage in life At First Tennessee, we love the arts as much as you do. That’s why we support them. And why we make it easier for you to be there for every great performance by providing convenient hours and online banking. Not to mention multiple ATMs and locations that make it easy to find us on the way to the show.

Proud suPPorter of the MeMPhis syMPhony orchestra

©2011 First Tennessee22 Bank National Association. Member FDIC. www.firsttennessee.com www.MemphisSymphony.org Shostakovich 5 Saturday, November 17, 2012 at 7:30 p.m. - Cannon Center Sunday, November 18, 2012 at 2:30 p.m. - GPAC

CARLOS MIGUEL PRIETO, conductor

SILVESTRE REVUELTAS (1899 - 1940) Janitzio

CARLOS CHAVEZ (1899 - 1978) Symphony No. 2 (Sinfonía India)

JOSE PABLO MONCAYO (1912 - 1958) Huapango

INTERMISSION

DMITRI SHOSTAKOVICH (1906 - 1975) Symphony No. 5 in D Minor, Op. 47 Moderato Allegretto Largo Allegro non troppo

FREE Concert Preview… ~ Saturday at 6:45 p.m. in the Morgan Keegan Mezzanine Lobby ~ Sunday at 1:45 p.m. in the Ballet Room

For Tickets 901-537-2525 Follow the Memphis Symphony! 23 Carlos Miguel Prieto conductor

Carlos Miguel Prieto, considered one of the most dynamic young conductors in recent years, has further widened his exposure by accepting a total of four music directorships in his native Mexico and the United States. He was named music director of the Orquesta Sinfonica Nacional de Mexico (National Symphony Orchestra of Mexico), Mexico’s most important orchestra, in July 2007, and remains music director at his other Mexican orchestra, the Orquesta Mineria. In the US, he entered his fifth season as music director of the Louisiana Philharmonic, where he leads the cultural renewal of ravaged New Orleans, while his music directorship of the Huntsville Symphony (Alabama) came to a close in 2011 after eight years. That same year he was appointed music director of YOA Orchestra of the Americas.

During his tenure with the Mexico City Philharmonic from 1998 to 2002, Prieto conducted over 100 concerts ranging from classical subscription to educational and popular concerts. A champion of contemporary music, Prieto has conducted over 50 world premieres of works by Mexican and American composers, many of which were commissioned by him. Exemplifying Prieto’s commitment to education, he has conducted the Youth Orchestra of the Americas since its inception in 2002. He has performed with this enthusiastic ensemble at the United Nations and the Kennedy Center, and has toured throughout South America and Mexico.

He was voted “Conductor of the Year 2002” by the Mexican Union of Music and Theater Critics, and in 1998 he received the Mozart Medal of Honor presented by the Government of Mexico and the Embassy of Austria. He has recently made a series of recordings of Latin American and Mexican music for the Urtext label.

A graduate of Princeton and Harvard Universities (where he was concertmaster of the orchestra), Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo.

24 www.MemphisSymphony.org Sang Kyun Kim guest concertmaster Korean violinist Sang Kyun Kim was born in Seoul, South Korea where he began his violin studies at an early age with HaeEun Hyun at the Seoul National University. In 1998, Kim attended the University of Music and Performing Arts in Vienna where he was a student of Rainer Kuechl, Concertmaster of the Vienna Philharmonic. It was here that he earned his Bachelor and Master degrees in Violin Performance.

Mr. Kim has made numerous international solo appearances including performances at the Salzburg Music Festival, and the Presidential Residence of the Republic of South Korea where Heads of State from China, South Korea, Germany and Denmark were in attendance.

In 2012, Mr. Kim earned his Artist Diploma from the Cleveland Institute of Music where he studied with William Preucil, Concertmaster of the Cleveland Orchestra and former first violinist of the Cleveland Quartet.

Mr. Kim resides in Chicago, Illinois where he is currently a member of the Civic Orchestra of Chicago, a training orchestra affiliated with the Chicago Symphony Orchestra. In addition to his studies in Chicago, Mr. Kim has made guest concertmaster appearances with several orchestras in South Korea as well as the Ohio Philharmonic, and Memphis Symphony Orchestra.

For Tickets 901-537-2525 Follow the Memphis Symphony! 25 program notes

Music has long articulated the voices of nations, from Renaissance courts’ bold assertion of wealth and strength to composers like Béla Barto’k, dedicated to recording and preserving folk music traditions. For Mexican composers Carlos Chávez, Silvestre Revueltas, and José Pablo Moncayo, the urge to reflect and honor their own national identity was profoundly inspiring, leading them to imagine the voice of a uniquely “Mexican” classical music audible in their music. For Dmitri Shostakovich, on the other hand, working around the same time in a very different artistic climate, being a “Soviet composer” in Stalinist Russia was a delicate balancing act—a constant negotiation between political mandate and artistic desire. The overt gestures and subterranean messaging evident in his epic Fifth Symphony poignantly illustrate the flip side of musical nationalism.

REVUELTAS Janitzio Duration: 7 minutes Like Jose Pablo Moncayo, Silvestre Revueltas flourished under Carlos Chávez’s tutelage. Born in Mexico in the northern state of Durango, Revueltas went to Mexico City to study performance and composition at the age of thirteen. After dividing his time between the United States and Mexico for nearly a decade, working both as a violinist and conductor, in 1929 Chávez invited Revueltas to Mexico to assist with the newly formed Orquesta Sinfónica de México. With Chávez’s encouragement, Revueltas launched his composition career in earnest, and quickly became one of the most popular Mexican composers. Sadly, Revueltas died at the age of 40 on October 5, 1940, as a result of a long-term battle with alcoholism. While both Moncayo and Chávez drew on Mexican songs and dances in their compositions, Revueltas avoided direct quotation in his works, preferring instead to write original music in the spirit of Mexican folk music. As he once explained, “Why should I put on boots and climb mountains for Mexican folklore, if I have the spirit deep within me?” Janitzio is an excellent example of the way he realized this philosophy in his compositions. Completed in July 1933 (Revueltas revised the work in 1936) and premiered the following December, Janitzio takes as its inspiration an island of the same name in Lake Patzcuaro, west of Mexico City. Originally a fishing community, Janitzio gradually became a favorite tourist destination. As Revueltas’s own comments suggest, however, the work is far more than a musical postcard. “Lake Patzcuaro is filthy,” he said at the work’s premiere. “Romantic travelers have dressed it up with post-card style verses and music. Not to be outdone, I added my grain of sand. Posterity will undoubtedly reward me for this contribution to our tourist industry.” From the start of Janitzio, Revueltas’s discordant juxtaposition of themes evokes the contrast between the “filthy” reality and “romantic travelers’” fantasies. The work begins with a joyful waltz, one that is constantly interrupted by opposing melodic fragments and harsh-sounding harmonies. This chaotic thematic layering eventually gives way to a slow, wistful lyrical section. The reverie comes to an abrupt close, however, as the distorted waltz returns to close the work in a blaze of cacophony.

26 www.MemphisSymphony.org Janitzio was extremely popular upon its premiere—as one critic suggested, its effective combination of fantasy and reality particularly resonated with Mexican audiences. But the hero of the day was…Silvestre Revueltas….his inspired composition “Janitzio,” which together with “Cuauhnáhuac” and “Colorines,” should be a reason for him to be proud, we cannot but express our enthusiasm. Besides its sheer aesthetic and aural beauty, “Janitzio” can very well stand as the expression of the most contrasting states that define the Mexican psyche: the romantic and sweet daydreaming, interrupted by the harsh and bitter reality; the joy that is, above all, abandon and a desire to forget, and the sad awakening. Perfect chord and no less perfect dissonance. In combining the pluralities inherent in Mexican society in his music, Revueltas creates a very personal version of musical nationalism—one that clearly spoke to his listeners. At the end of the 1933 season of the Orquesta Sinfónica de México, Janitzio was declared the most popular work of the year, ahead of Respighi’s Pines of Rome and Igor Stravinsky’s Firebird Suite.

CHÁVEZ Sinfonia India Duration: 11 minutes Born in Mexico City in 1899, Carlos Chávez became one of Mexico’s most influential composers, writing many different types of music including ballet, opera, symphonies, and chamber music. He was also a notable writer and teacher, with accomplishments such as the seminal Toward A New Music: Music and Electricity, over 200 articles about music, serving as the director of the National Conservatory in Mexico, and in 1958 holding the Charles Eliot Norton Chair of Poetics at Harvard. And as a conductor, he founded the National Symphony Orchestra of Mexico and made guest appearances with most of the major orchestras in the United States. Chávez’s compositional style shifted and changed over the years, but today he is most associated with the style he adopted after the Mexican Revolution in 1921—a multi-hued blend of Western European traditions and the pungent harmonies and strongly profiled rhythms of indigenous Mexican cultures. Sinfonia India, Chávez’s second symphony, is perhaps the most popular of these works. Consisting of a single movement, Sinfonia India draws much of its musical material from Mexican culture. The cosmopolitan Chávez actually composed Sinfonia India in 1935 while in New York City, and led the CBS Symphony Orchestra in the work’s premiere via radio in January 1936. The score calls for indigenous percussion instruments (if available), such as strings of butterfly cocoons and deer hooves. The Sinfonia India literally bursts on the scene—a solo trumpet cuts through a dense thicket of incisive rhythms, woodwinds trailing close behind. This extroverted opening theme, taken from a Huichole Indian song, suddenly gives way to a pensive, lyrical Yaqui Indian melody articulated first by the clarinet, and gradually taken up by other instruments. A third melody—a Sonoran Indian tune—emerges in the horn, somber and slightly ominous. As the orchestra increases in intensity, the tranquil theme suddenly reappears. The opening music returns but is quickly

For Tickets 901-537-2525 Follow the Memphis Symphony! 27 program notes subsumed within the raucous full orchestra and a Seri Indian melody, its driving, frenetic energy propelling the piece toward its blazing finish.

MONCAYO Huapango Duration: 10 minutes During a government-sponsored trip to Latin America in 1941, Aaron Copland became re- acquainted with José Pablo Moncayo, a Guadalajara native and student of Carlos Chávez. (Copland first met Moncayo during a 1932 trip to Mexico, when he came at Chávez’s behest to participate in a chamber music festival.) Copland thought highly of Moncayo, and the following summer invited the young composer to study with him at Tanglewood, where his fellow students included Lukas Foss and Leonard Bernstein. Moncayo already enjoyed some notoriety as a member of the “Group of Four.” One of Chávez’s composition students at the National Conservatory of Mexico, he was outraged when a series of political events in 1934 led to the firing of his mentor. In protest, he and three other students, formed the avant-garde group that eventually became synonymous with the push to re- awaken a true and authentic “Mexican music.” Moncayo wrote Huapango 1941 after meeting Copland again—and although he was just embarking upon his compositional career, the piece was destined to become his most popular work. At Chavez’s suggestion, Moncayo and another student went to Alvarado, in Veracruz, to study popular and folk music. Moncayo acted as an ethnomusicologist, writing down melodies and rhythms and taking notes about instrumentation. According to Moncayo, Blas Galindo [another member of the “Group of Four”] and I went to Alvarado, one of the places where folkloric music is preserved in its most pure form; we were collecting melodies, rhythms and instrumentations during several days. The transcription of it was very difficult because the huapangueros(musicians) never sang the same melody twice in the same way. When I came back to Mexico, I showed the collected material to Candelario Huízar; Huízar gave me a piece of advice that I will always be grateful for: “Expose the material first in the same way you heard it and develop it later according to your own thought.” And I did it, and the result is almost satisfactory for me. One of the dances the pair encountered was the “huapango,” a corruption of a Náhuatl word meaning “the site where the wood is placed” (wooden planks for dancing). Moncayo uses three of these dances in Huapango, which was first performed on August 15, 1941 by the Symphony Orchestra of Mexico under Chávez’s baton. The piece juxtaposes lively rhythms with a lyrical center section, closing with a musical duel for trumpet and trombone.

28 www.MemphisSymphony.org SHOSTAKOVICH Symphony No. 5 Duration: 46 minutes

Along with forever altering Russian’s political landscape, Joseph Stalin and his supporters had a lasting impact on culture as well—a fact made plain by Dmitri Shostakovich’s career. For Shostakovich, the turning point was perhaps his 1934 opera Lady Macbeth of the Mtsensk District. The story of a nineteenth-century woman who is driven to adultery— and finally murder—by the boredom of her life, the gritty and realistic drama is brought to life with music that is modernist and highly original. The work was a huge success upon its debut in Leningrad and Moscow, and was subsequently performed more than 100 times over the next two years. Less than a month after Stalin first saw the opera in 1936, however, the newspaper Pravda issued a scathing criticism of his music, ultimately warning that if the composer didn’t change his approach, “things will turn out badly for him”—a particularly menacing warning at a time when thousands were being sent to labor camps. Shostakovich reportedly kept a packed suitcase next to his front door. It was in this artistic climate that Shostakovich created his Symphony No. 5. While the symphony deviates from the music that Stalin was encouraging—straightforward, folk- like works that overtly encouraged the state’s agenda—it is an audible reversal on the musical path down which Shostakovich had been heading. The Fifth was an immediate success, reportedly receiving a standing ovation that lasted for 40 minutes. One critic declared the work “a Soviet artist’s reply to just criticism”—a phrase that quickly became the symphony’s unofficial subtitle—and an unofficial biography detailing Shostakovich’s transformation into a Communist artist was appended. Although he seemingly accepted these viewpoints, exactly how much Shostakovich ever embraced Stalinist doctrine has been hotly contested. As his controversial collection of memoirs—Testimony, as recounted by Solomon Volkov—notes, “I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat...you have to be a complete oaf not to hear that.” Tension is present in the Fifth Symphony from the start, emanating in part from the sharp musical contrasts that abound in the work. In the opening Moderato, a nervous, fretting melody in the violins eventually cedes control to a menacing, driving march. The ensuing Allegretto recalls the scherzos of earlier symphonists—and its pastiche-like combination of melodic fragments and use of solo instruments strongly recalls the music of Mahler as well. Raw emotion and lyrical melody propel the slow movement, prompting comparisons to a threnody, or song of mourning. Shostakovich called the finale “the optimistic resolution of the tragically tense moments of the first movement.” He later said that there was “no rejoicing” in the final movement. As one of his contemporaries wrote after hearing the work’s premiere, the last movement is nothing short of “irreparable tragedy.” — Jennifer Glagov

For Tickets 901-537-2525 Follow the Memphis Symphony! 29 Home for the Holidays Saturday, December 8, 2012 at 2:30 p.m. & 7:30 p.m. – Cannon Center

STILIAN KIROV, conductor Alexis Grace, vocalist U Dig Dance Academy Memphis Symphony Chorus Lawrence Edwards, artistic director

JOHN WILLIAMS Merry Christmas, Merry Christmas

JOHN RUTTER Star Carol

LEROY ANDERSON Sleighride

AFANASIEFF/CAREY Arr. BISBANO All I Want for Christmas is You Alexis Grace

DAVIS, SIMEONE, ONORATI/ FRASER, GROSSMAN, KOHAN Peace on Earth - Little Drummer Boy Alexis Grace

PIOTR ILYICH TCHAIKOVSKY Selections from The Nutcracker, Op. 71a Miniature Overture Dance of the Sugar Plum Fairy Russian Dance U Dig Dance Academy

MORTEN LAURIDSEN O Magnum Mysterium

Arr. SAM SHOUP A Soulful Christmas Suite

30 www.MemphisSymphony.org Arr. JAMES RICHENS Christmas Medley (SING-ALONG) Rudolph the Red-Nosed Reindeer Santa Claus is Coming to Town Jingle Bells Lyrics on page 32

GEORGE FRIDERIC HANDEL Hallelujah Chorus from Messiah

INTERMISSION Sponsored by:

LEROY ANDERSON Christmas Festival

MCKINNOR/HATHAWAY Arr. SHOUP This Christmas Alexis Grace

POLA/WYLE Arr. MARSH It’s the Most Wonderful Time of the Year Alexis Grace

SERGEI PROKOFIEV Troika from Lt. Kijé

HUMPERDINK/LEONTOVYCH Arr. RICHENS Evening Prayer - Carol of the Bells

GEORGES BIZET Farandole from L’Arlésienne, Suite No. 2

RANDOL BASS A Feast of Carols

For Tickets 901-537-2525 Follow the Memphis Symphony! 31 Audience Sing-Along

Rudolph the Red Nosed Reindeer: Santa Claus is Coming to Town: You know Dasher and Dancer and You better watch out Prancer and Vixen, You better not cry Comet and Cupid and Donner and Better not pout Blitzen, I’m telling you why But do you recall? Santa Claus is coming to town The most famous reindeer of all? He’s making a list And checking it twice; Rudolph the Red-Nosed Reindeer Gonna find out Who’s naughty and nice Had a very shiny nose, Santa Claus is coming to town And if you ever saw it, He sees you when you’re sleeping You would even say it glows. He knows when you’re awake All of the other reindeer He knows if you’ve been bad or good Used to laugh and call him names; So be good for goodness sake! They never let poor Rudolph O! You better watch out! Join in any reindeer games. You better not cry Better not pout Then one foggy Christmas Eve, I’m telling you why Santa came to say, Santa Claus is coming to town! Rudolph with your nose so bright, Won’t you guide my sleigh tonight? Jingle Bells: Then how the reindeer loved him Dashing through the snow As they shouted out with glee, In a one horse open sleigh Rudolph the Red-Nosed Reindeer, O’er the hills we go You’ll go down in history. Laughing all the way. You’ll go down in history. Bells on bobtail ring You’ll go down in history! Making spirits bright. What fun it is to ride and sing A sleighing song tonight.

Chorus: Jingle bells jingle bells Jingle all the way! Oh what fun it is to ride In a one horse open sleigh Jingle bells jingle bells Jingle all the way! Oh what fun it is to ride (slower) In a one horse open sleigh!

32 www.MemphisSymphony.org Alexis Grace vocalist Alexis Grace wowed the judges on season eight of American Idol with a big, soulful voice that belied her petite stature, just shy of five feet. “The dark horse of the competition,” as Simon Cowell called her, sung the music she grew up listening to as the daughter of a Beale Street musician. This year, Alexis is hard at work writing and recording her first solo album to be released in 2013.

At her childhood home, Alexis studied the masters of soul and R&B such as Aretha Franklin, Ann Peebles and Whitney Houston. On Sundays, she learned gospel harmonies in her church’s youth choir. At Overton High School, she performed in plays and musicals as part of its nationally recognized Creative and Performing Arts Program. Her formal music education continued at the University of Memphis’ Rudi E. Scheidt School of Music. From jazz to opera, Alexis’ enthusiasm for a wide variety of styles makes her a uniquely qualified cultural ambassador for the Memphis Music Founda- tion.

It was the music of her soul, however, that inspired the trip to her first American Idol audition, at age 16, in Orlando. She tried again, at 19, in Memphis, and once more the following year in Louisville, Kentucky, where producers finally sent her to Hollywood and she became a popular finalist. Her positive attitude and fierce determination still propel her career as an entertainer. She currently co-hosts the No. 1 rated morning radio show in Memphis on top-40 station Q107.5 WHBQ-FM. During Idol season, she is a regular commentator on the local Fox 13 news program “Good Morning Memphis.” She appears often with other Idol alums in concerts across the country, and all over Memphis -- from playing jazzy sets in nightclubs to singing the National Anthem for the Memphis Grizzlies NBA team.

She continues to expand her skills and share her talent with others. Her Ostrander Award- nominated appearance as Roxie Hart in Theatre Memphis’ “Chicago” drew rave reviews, nightly standing ovations and sold-out houses. She was also seen in Playhouse on the Square’s memorable production of “Legally Blonde.” Alexis still finds the time to write and record music, play guitar, and sing showtunes to her daughter, Ryan Elizabeth.

For Tickets 901-537-2525 Follow the Memphis Symphony! 33 U Dig Dance Academy

Since launching in 2006, Universal Dance Interdisciplinary Guild Dance Company, U-DIG, has touched the hearts of millions through its show-stopping, gritty & cutting-edge dance style “Memphis Jookin”. In just 6 short years, this dance company has graced the big stage & still kept a humility that keeps it rooted in the communities where it first started to blossom. U-DIG thrives primarily because of its tenacious ability to meet the needs of popular celebrity clients and also, the youth within the Greater Memphis communities.

Through multi-dimensional interdisciplinary endeavors, U-DIG Dance has forged a respected reputation for providing youth & young adults a plethora of opportunities to develop physically & socially. With the motto, “this is more than dance”, U-DIG reinforces education through dance productions such as: The Civil War Experience and A Chance 2 Dance Experience.

To date, U-DIG has provided professional dance instruction to over 3,500 youth and young adults in the south via the Memphis City School System, the Boys & Girls Club of Memphis, St. Francis Catholic School, Hutchison School & KIPP Collegiate Schools. With appearance on So You Think You Can Dance, The Ellen Show & Dancing With The Stars, U-DIG gained national attention that garnered celebrity video choreographic appearances with stars including Janelle Monae, Big Boi of OutKast, FreeSol and Justin Timberlake.

34 www.MemphisSymphony.org Stilian Kirov conductor Seattle Symphony Assistant Conductor Stilian Kirov recently finished his tenure as Associate Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program. He has conducted orchestras around the world, including the Orchestre Colonne (France), Orchestra of Colours (Greece), Philharmonic Chamber Orchestra “Leopolis” (Ukraine), Sofia Festival Orchestra, State Hermitage Orchestra (Russia), Thüringen Philharmonic Orchestra (Germany), Amarillo Symphony, Lansing Symphony Orchestra, National Repertory Orchestra (Breckenridge, Colorado), Juilliard Orchestra and New World Symphony, among others. In 2012, Kirov was awarded a Conducting Fellowship at the Aspen Music Festival and in 2010 he was the Chautauqua Music Festival’s David Effron Conducting Fellow. Earlier this year, he returned in Chautauqua as a guest conductor at the festival. In 2011 Kirov made his debut at the Musical Olympus International Festival in St. Petersburg, Russia and a year later conducted the Festival’s Annual Gala Concert at Carnegie Hall. The members of the Festival’s honorary committee include distinguished artists Claudio Abbado, Daniel Barenboim, Placido Domingo, Montserrat Caballe, Zubin Mehta, Yuri Temirkanov, Mariss Jansons and Yo-Yo Ma. During the 2012-2013 season, Kirov will also appear twice with the Amarillo Symphony as a Music Director candidate. Among Kirov’s numerous awards and prizes are the Orchestra Preference Award and Third Prize at the 2010 Mitropoulos Conducting Competition, the Bruno Walter Memorial Scholarship and Charles Schiff Conducting Award for outstanding achievement at The Juilliard School, as well as France’s 2010 ADAMI Conducting Prize, which culminated in a showcase concert at the Salle Gaveau with Orchestre Colonne in October 2010. Following this successful performance, Kirov was re-invited to conduct the orchestra’s 2011-2012 season opening concert in Paris. Kirov earned a degree in Orchestral Conducting from The Juilliard School, where he was a student of James DePreist. He also holds a master’s degree from the Ecole Normale de Musique in Paris, where he studied with Dominique Rouits. Kirov has participated in master classes with such distinguished conductors as Robert Spano, Kurt Masur, Michael Tilson Thomas, Gianluigi Gelmetti, George Manahan and Asher Fisch. A gifted pianist, Kirov is the 2001 gold medalist of the Claude Kahn International Piano Competition in Paris.

For Tickets 901-537-2525 Follow the Memphis Symphony! 35 Memphis Symphony Chorus Lawrence Edwards, artistic director The Memphis Symphony Chorus is an integral part of the Memphis Symphony Orchestra family. Begun in 1965, the chorus is now 130 members strong, performing under the direction of Dr. Lawrence Edwards. This group of dedicated volunteer vocalists celebrated their 45th anniversary during the 2010-2011 season.

In a perfect collaboration of orchestral and vocal musicians, the chorus has performed major works across the entire spectrum of classical choral music, opera choruses, and concert pops repertoire. The Memphis Symphony Orchestra’s Masterworks concerts have included the chorus recently in performances of Handel’s The Creation, the Berlioz Requiem, Mendelssohn’s Elijah, J.S. Bach’s Mass in B Minor, Beethoven’s Ninth Symphony, Missa Solemnis, Bernstein’s Chichester Psalms, Handel’s Messiah, Mahler’s Second and Eighth Symphonies, Orff’s Carmina Burana, and the Requiems of Mozart, Verdi, and Brahms. The chorus also performs each year with the orchestra in the Holiday Pops concert and other swingin’ and rockin’ Pops Concerts, including the music of John Williams, Disney tunes, and other popular composers.

36 www.MemphisSymphony.org The orchestra and chorus perform in the Cannon Center for the Performing Arts in downtown Memphis. This hall has been created with acoustical excellence and features the choral sound to perfection.

Chorus membership grows through a twice-yearly audition process supervised by Dr. Edwards. Being a professional vocalist is not a prerequisite for acceptance; however, one must have in equal proportion vocal skill, a love for great choral music, and the time and energy to devote to a weekly rehearsal schedule. Each new season for the chorus begins in the late summer and lasts through their final performance, usually in May.

For more information about the Memphis Symphony Chorus, visit our website at www. MemphisSymphonyChorus.org or email [email protected].

For Tickets 901-537-2525 Follow the Memphis Symphony! 37 Memphis Symphony Chorus Lawrence A. Edwards, artistic director Liz Parsons, accompanist

Soprano 1 Deb Dallas Walker Tenor 1 Linda Brittingham Paula L. Wallace Johnpaul R. Abbott Marcia Buster Linda H. Waltz Larry Denman Alicia Butler Russell W. Hardeman Tiffany Cadenhead Alto 1 Rick W. Johnson Janet Carnall * Dena Brown Shane Rasner* Kimberly Cox Laura J. Crane Matthew T. Williams Becky R. Darnell Annabelle Dawidow Harmony Duke Pamela Gold * Tenor 2 Claire E. Fox Deborah K. Goodman * John T. Killmar Sandra J. Hunt Anita Hester * Adam Lasalle Irene Mcnamara Anita I. Lotz David Spear Rhea Reuter Cindy Mccool Jaime Yanes Hannah Smith Lisa Lucks Mendel * Shelley C. Stolz Kelley Muller-Smith Bass 1 Virginia L. Vann * Rebecca Naro Stephen Alsobrook Rae L. Williams * Patti Nelson Steve D. Broome Rosemary Winters Martha Pearson Wesson Irvine Cherry Tina Dawn Womack Terron K. Perk * James Mcclanahan Katherine Elizabeth Womack Katie Roper Eugene M. Reyneke Keeley Winfield Sandeford J. Schaeffer, Iii Soprano 2 William G. Weppner Ruth K. Allen Alto 2 Barry F. White Elizabeth H. Buls * Cindy Armistead Herb Zeman Delia C Carias Gretchen Carstens Beth Chenault Kathie Fox Bass 2 Dianne Curtiss Barbara Frederick Bob Brittingham Mathilda D. Doorley Andrea Goughnour Boyd R. Highfield, Iii Jeannine Edwards Vicki C. Hornsby Edward M. Holt, Jr. Theresa A. Hayes Leisa B. Kinnin Ryan Johnson Liz Hoffmaster Jean Matthews Steven R. Larson Beth Hoople Vivian H. Norman David M. Patterson Emily Huseth Marsha Rider Jack Seubert Rosalyn M. Lake Patricia D. Rogoski Lewis R. Wright Molly K. Rice Mary Seratt * Chris Yanes Katrina Maria Skefos Jamie L. Walker Alisa M. Smallwood Jackie B. White * *Denotes Current Board Oma R. Strickland Member

38 www.MemphisSymphony.org Lawrence Edwards Artistic Director of the Memphis Symphony Chorus Lawrence Edwards has been Artistic Director of the Memphis Symphony Chorus since the 1987-1988 season. He has also been the Director of Choral Activities for the University of Memphis’ Rudi E. Scheidt School of Music since 1987; his responsibilities there include directing the vocal ensemble Sound Fuzion, the Uni- versity Singers and the University Chamber Choir. He also coordinates the graduate program in conducting mentoring both masters and doctoral students purs- ing degrees Choral Conducting. During summers, Dr. Edwards also teaches graduate classes at Villanova University in Philadelphia, PA. He is active as a choral clinician, working with junior and senior high school honor choirs throughout the nation.

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

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For Tickets 901-537-2525 Follow the Memphis Symphony! 39

Aloha, Elvis®! Saturday, January 5, 2013 at 7:30 p.m. – Cannon Center

JAMES LOWE, conductor Terry Mike Jeffrey & Band ALOHA, ELVIS! Celebrating the 40th Anniversary of the historic concert and broadcast Program to be announced from the stage and will include an intermission.

Concert Sponsored by:

For Tickets 901-537-2525 Follow the Memphis Symphony! 41 Terry Mike Jeffrey & Band Fronting his own band since the 1970s, Terry has performed all over the world including England, France, Belgium, Holland, Canada, Hawaii, the Bahamas, and the Caribbean. His career highlights include have included 1997 Emmy Award nomination to his songwriting for TV’s “Sesame Street,” and featured vocalist with symphony orchestra “pops” series concerts. His guitar work is spotlighted on a Warner Brothers symphonic album. He was the musical director and had the starring role in “Elvis - An American Musical,” a New York-produced multi-media show organized by the producers of “Grease” and “Beatlemania.”

He toured the US and Canada, with stops at the Fox Theatres and a Broadway run in the late 1980s, and Ryman Auditorium in 2000-2001 performing in “Stand By Your Man - The Tammy Wynette Story” at Nashville. Terry’s other musical theater adventures have included regional productions of “Beehive” and “You’re A Good Man, Charlie Brown,” with fifty-seven guest appearances on TNN’s “Music City Tonight with Crook & Chase” in the mid-nineties. A regular as a solo vocalist and musician on the show, Terry Mike shared the stage with the likes of Shania Twain and Eddy Arnold. He has performed in shows with such stars as Jewel, Los Lobos, Dixie Chicks, Fats Domino, Mavericks, Steve Wariner, Ricky Skaggs, Leon Russell, Chet Atkins, Jerry Lee Lewis, Carl Perkins, Travis Tritt. James Lowe conductor

A leading conductor of Opera and Musical Theater, James Lowe will make his Lyric Opera of Chicago debut this season conducting a new production of Rodgers and Hammerstein’s Oklahoma! Most recently Mr. Lowe served as the Music Director and Conductor of the Tony Award- winning Broadway revival of Cole Porter’s Anything Goes.

Mr. Lowe has appeared in concert with Sir Elton John, conducting his own orchestrations and choral arrangements of Elton’s classic songs, as well as with singer-songwriter Randy Newman. He accompanied legendary lyricist and writer Betty Comden in a performance featuring his own arrangements of Comden and Green songs, and his arrangements of Gershwin songs have been performed by renowned mezzo-soprano Joyce DiDonato in recitals at Lincoln Center and Wigmore Hall.

Mr. Lowe has played in several rock, jazz, blues and country bands. He was the keyboardist, rhythm guitarist, lead singer and songwriter for the rock band Backwash for five years, recording and touring the Eastern United States. He co-produced the band’s compact disc, Goin’ to the Mall, released in 1995 on Transit Records.

42 www.MemphisSymphony.org Season Launch Party and costume fashion show at the Studios 9/8 The River Project a world premiere at Playhouse 10/20–28 Nutcracker with the Memphis Symphony Orchestra at The Orpheum 11/30–12/2 Family Matters at Playhouse 2/22–24 Wizard of Oz America’s fairytale ballet at The Orpheum 4/20–21 Taking Flight a FedEx Hangar experience 5/11

Season Tickets start at just $30. Visit balletmemphis.org for details.

For Tickets 901-537-2525 Follow the Memphis Symphony! 43

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For Tickets 901-537-2525 Follow the Memphis Symphony! 45 Classical Concerts POPS SPECIALS OPUS ONE Our concerts are at Cannon Center, Cannon Center performances Messiah, Symphony in the Gardens, Non-traditional concerts in venues like the Germantown Performing Arts Centre, including your favorite holiday Sunset Symphony, Joshua Bell, Yo-Yo Ma. Hi-Tone Cafe, New Daisy Theater, and Lindenwood Christian Church. and Elvis tunes. Memphis Music Magnet.

emphis ymphony rchestra Musicians Serving Others MSO is in the concert hall — and everywhere in Memphis! CAPA Virtuosi & Drum Circle sessions with Soulsville Charter School veterans groups, hearing impaired MSO musicians provide weekly children, and grief program music coaching at schools participants give participants in Memphis. a means to deal with life’s challenges. Leading from Every Chair® Music and Human Conflict A day-long leadership training In partnership with Facing History workshop for corporate managers and Ourselves, MSO musicians help and youth that uses the orchestra students examine social inequities and musical processes to develop through music. leadership skills. Ensembles regularly perform in Family Tunes and Tales at a local schools, airports, assisted living, library near you is a FREE, FUN hospice and skilled care facilities and EXCITING way to get children bringing the joy of music to every MSO Big Band plays historic engaged in reading and music. Symphony Soul Project stage of life. music originally performed and Young People’s Concerts Funded by ArtPlace, this MSO broadcast at the Peabody Hotel A full orchestra concert field trip with residency in Soulsville USA provides during the golden years of thematic and curriculum-based free concerts in the neighborhood big band music. programming that is presented during 2012-2013. annually at the Cannon Center. Classical Concerts POPS SPECIALS OPUS ONE Our concerts are at Cannon Center, Cannon Center performances Messiah, Symphony in the Gardens, Non-traditional concerts in venues like the Germantown Performing Arts Centre, including your favorite holiday Sunset Symphony, Joshua Bell, Yo-Yo Ma. Hi-Tone Cafe, New Daisy Theater, and Lindenwood Christian Church. and Elvis tunes. Memphis Music Magnet.

emphis ymphony rchestra Musicians Serving Others MSO is in the concert hall — and everywhere in Memphis! CAPA Virtuosi & Drum Circle sessions with Soulsville Charter School veterans groups, hearing impaired MSO musicians provide weekly children, and grief program music coaching at schools participants give participants in Memphis. a means to deal with life’s challenges. Leading from Every Chair® Music and Human Conflict A day-long leadership training In partnership with Facing History workshop for corporate managers and Ourselves, MSO musicians help and youth that uses the orchestra students examine social inequities and musical processes to develop through music. leadership skills. Ensembles regularly perform in Family Tunes and Tales at a local schools, airports, assisted living, library near you is a FREE, FUN hospice and skilled care facilities and EXCITING way to get children bringing the joy of music to every MSO Big Band plays historic engaged in reading and music. Symphony Soul Project stage of life. music originally performed and Young People’s Concerts Funded by ArtPlace, this MSO broadcast at the Peabody Hotel A full orchestra concert field trip with residency in Soulsville USA provides during the golden years of thematic and curriculum-based free concerts in the neighborhood big band music. programming that is presented during 2012-2013. annually at the Cannon Center. TFA218.12-Memphis SymphonyAd.indd 2 7/30/12 1:43 PM Innovation: Beethoven & Bernstein Saturday, January 12, 2013 at 7:30 p.m. - Cannon Center Sunday, January 13, 2013 at 2:30 p.m. - GPAC

MEI-ANN CHEN, conductor Ballet Memphis (Saturday performance only) Dorothy Gunther Pugh, Founder and Artistic Director U Dig Dance Academy (Saturday performance only)

LUDWIG VAN BEETHOVEN (1770 - 1827) Twelve Contredanses

FLORENCE PRICE (1887 - 1953) Arranged by WILLIAM GRANT STILL Dances in the Canebrakes Nimble Feet Tropical Moon Silk Hat and Walking Cane

LEONARD BERNSTEIN (1918 - 1990) Three Dance Episodes from On the Town* The Great Lover Lonely Town (Pas de deux) Times Square Ballet Memphis U Dig Dance Academy

INTERMISSION

LUDWIG VAN BEETHOVEN (1770 - 1827) Symphony No. 7 in A Major, Op. 92 Poco sostenuto - Vivace Allegretto Presto Allegro con brio

*By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

FREE Concert Preview… ~ Saturday at 6:45 p.m. in the Morgan Keegan Mezzanine Lobby ~ Sunday at 1:45 p.m. in the Ballet Room

For Tickets 901-537-2525 Follow the Memphis Symphony! 49 Charles Morey guest concertmaster Charles Morey was born in Fayetteville, West Virginia and began playing the violin at the age of two. Leading a diverse musical life as violinist, composer, conductor, and teacher, he frequently performs in the country’s most prestigious halls, including the Kennedy Center, Severance Hall, and New York’s Carnegie Hall. He has performed as soloist with numerous orchestras, including the River Cities Symphony Orchestra, Seneca Chamber Orchestra, Marshall University Symphony Orches- tra, Cleveland Institute of Music (CIM) Orchestra, Lexington Bach Festival Orchestra, and the West Virginia Symphony Orchestra. In the Spring of 2009, Mr. Morey won CIM’s concerto competition, performing Prokofiev’s Violin Concerto no. 2. He was also a prize winner in the 2009 An- nual Milhaud Performance Prize Competition.

As concertmaster, he has performed with orchestras such as the San Antonio Symphony, Omaha Symphony Orchestra, Ashland Symphony, CIM Orchestra, Lexington Bach Festival Orchestra. Also a composer, in February 2011 he made his Kennedy Center debut performing his own composition, “Images,” for violin and piano. He has also performed his own MEI-ANN CHEN, conductor set of variations on the tune “Wondrous Love” with the West Virginia Symphony Orches- Ballet Memphis tra, with an orchestral accompaniment by Artistic Director Grant Cooper. He frequently Dorothy Pugh, Founder and Artistic Director composes pieces for student ensembles, which have been premiered by students from U Dig Dance Academy Cleveland School of the Arts and CODA Mountain Academy of Music. In 2005 he was a recipient of the Andrew and Amy Vaughan Student Symphonic Fellowship, which culminated in a performance with the WVSO as conductor.

Mr. Morey received his Bachelor’s and Master’s degrees in violin performance from the Cleveland Institute of Music where he was a student of William Preucil. A recipient of the Bock scholarship, he was chosen in 2010 to study in an orchestra leadership program at the Music Academy of the West under San Diego Symphony concertmaster Jeffrey Thayer. Mr. Morey is founder of the CODA Mountain Academy of Music, a summer music festival in Appalachia.

He is currently a member of the Rochester Philharmonic and Canton Symphony Orchestra. Previous positions include concertmaster of the Ashland Symphony, Solon Philharmonic, and Suburban Symphony, as well as violin instructor in the Cleveland Institute of Music’s Preparatory Department. Recent honors include a collaboration with composer Augusta Read Thomas, world premiere of “Three Short Pictures for Violin and Piano” by Dolores White, and a solo performance for Bronislaw Komorowski, President of the Republic of Poland.

50 www.MemphisSymphony.org Ballet Memphis

Ballet Memphis, founded in 1986 by artistic director and CEO Dorothy Gunther Pugh, is recognized for its close ties to the region’s rich musical and literary heritage. It has been heralded for its inno- vations as a ballet company committed to creating and commissioning relevant work, nurturing young choreographers, and expanding the roles of dancers within the company and the community.

Choreographers who have created works on Ballet Memphis include Julia Adam (current artistic associate), Trey McIntyre (resident choreographer from 2001-07), Mark Godden, Dana Tai Soon Burgess, Jane Comfort, Matthew Neenan, Robert Battle, Thaddeus Davis, and Emily Coates and Lacina Coulibaly, both of whom worked with Ballet Memphis as part of dance fusion exploration supported in part by the World Performance Project at Yale University. In commissioning new work annually, Ballet Memphis seeks to nurture the talent of young choreographers both within the company and around the world, and create relevant work for today’s populations.

The company has performed to critical acclaim in New York at both the Sylvia and Danny Kaye Playhouse and the Joyce Theater. Its performances as part of the John F. Ken- nedy Center for the Performing Arts’ “Ballet Across America” showcase were heralded in the New York Times and The Washington Post, as well as in national dance media. Bal- let Memphis has performed at Houston’s Dance Salad, Spring to Dance in St. Louis and Canada’s Festival des Arts Saint-Sauveur.

The company has been profiled and reviewed in the New York Times, The Washington Post, Fast Company, The Wall Street Journal, PBS Newshour, Dance magazine, Poin- temagazine, The Huffington Post, and more. Ballet Memphis has garnered national attention through “Creating Work That Matters: Memphis Choreographs to the Soul of a City,” part of The Ford Foundation’s The Business of the Arts monograph series, and What Works: A Dance of Relevance by Jocelyn Dong, Stanford University’s Graduate School of Business Social Innovation Review, Winter 2004.

Ballet Memphis is housed in a national architectural award-winning facility in suburban Memphis. The company performs at the state-of-the-art Playhouse on the Square, the historic Orpheum Theatre and at other nontraditional venues around Memphis. The company also performs for and presents teaching artist sessions to more than 15,000 students annually. The Ballet Memphis School trains more than 700 students annually, with almost 40 percent on merit- or need-based scholarships. Performance and choreographic experience is provided through the Junior Company of Ballet Memphis. A stand-alone Pilates Centre in suburban Memphis, as well as classes at the company’s studios, serves more than 300 clients annually. The combined programs of Ballet Memphis–professional company, school and Pilates Centre–serve more than 75,000 people annually.

U Dig Dance Academy biography on page 34

For Tickets 901-537-2525 Follow the Memphis Symphony! 51 program notes

BEETHOVEN Twelve Contredanses Duration: 13 minutes While we often associate Beethoven with monumental works like his nine symphonies, not all of his compositions sought to make such a lasting impact. In late 1792, Beethoven went to Vienna to study with Haydn, from whom he may have learned what one scholar calls “the art of writing public dance music.” (In a famous quote, Beethoven claimed to have learned nothing at all from the Classical master.) In the latter part of the eighteenth century, Beethoven composed at least three sets of dance music: the 12 Contredanses (WoO 14), 12 German Dances (WoO 6), and 6 Minuets (WoO 9). After the dances were performed at the annual ball in the Redoutensaal in November 1795, the young Beethoven’s name was mentioned in the Wiener Zeitung.

The contredance, which was the most popular French dance in the eighteenth century, derives from a rustic English country dance in which dancers face each other and perform steps in two lines, a circle or a square. Unlike the waltz, which is decidedly in triple meter, contredanses could be in either triple or duple meter; as one nineteenth century source explains, “All that is necessary is that the strains should be in four or eight bar phrases to accompany the several movements, and every need is satisfied.” Of Beethoven’s 12 contredanses, by far the most well known is No. 7, which features a melody Beethoven used in at least three other compositions: the ballet The Creatures of Prometheus, which dates from around the same time; the Eroica Variations, and the Eroica Symphony. Whether Beethoven recycled this music because of its transformative potential or with some sort of deeper meaning in mind is up for debate.

PRICE Dances in the Canebrakes Duration: 9 minutes Born in Arkansas in 1887, Florence Price was the first African-American woman to earn national recognition as a composer. She received her early music education from her mother, a soprano and pianist. At the age of fourteen, she enrolled in the New England Conservatory of Music, studying piano, organ, and composition as well. After teaching music in Arkansas for twenty years, she and her family moved to Chicago in 1927, where she established herself as a leading concert pianist, organ, and prolific composer of over 300 works. In 1932, she won a Wanamaker Foundation Award for her Symphony in E Minor; under the baton of Frederick Stock, the Chicago Symphony Orchestra premiered the work a year later. Other ensembles that played her works include the WPA Symphony Orchestra of Detroit and the Chicago Women’s Symphony performed her orchestral works as well, and many top singers including Marian Anderson and Leontyne Price performed her songs. Composed in 1953, Dances in the Canebrakes was originally written for solo piano, and was later arranged for orchestra by William Grant Still. It is an excellent example both

52 www.MemphisSymphony.org of Price’s relatively conservative harmonic idiom and her deft incorporation of African- American musical traditions. Comprised of three short movements—“Nimble Feet,” “Tropical Noon,” and “Silk Hat and Walking Cane”—Dances in the Canebrakes bears the inscription, “based on authentic Negro rhythms.” One of the most obvious is the cakewalk rhythm, a march that incorporates syncopation and the dotted rhythms of the habanera.

BERNSTEIN Three Dance Episodes from On the Town Duration: 10 minutes With music by Leonard Bernstein and lyrics by Betty Comden and Adolph Green, On the Town is a musical actually based on Jerome Robbins’ Fancy Free, a 1944 ballet set to Bernstein’s music. In the story, three American sailors in New York City during wartime fall in love with the same woman—and along the way, become enamored of the city itself. First produced on Broadway in 1944, On the Town was made into a film in 1949 (with Hollywood-penned substitutes replacing nearly all of the original Broadway songs). Bernstein crafted Three Dance Episodes for orchestra from the full score of On the Town, conducting its premiere in February 1946 with the San Francisco Symphony Orchestra. For the debut of this orchestral version, Bernstein wrote these program notes:

It seems only natural that dance should play a leading role in the show, On the Town, since the idea of writing it arose from the success of the ballet, “Fancy Free.” I believe this is the first Broadway show ever to have as many as seven or eight dance episodes in the space of two acts; and, as a result, the essence of the whole production is contained in these dances. I have selected three of them for use as a concert suite. That these are, in their way, symphonic pieces rarely occurs to the audience actually attending the show, so well integrated are all the elements, thanks to George Abbott’s direction, the choreographic inventiveness of Jerome Robbins, and the adroitness of the book by Betty Comden and Adolph Green.

The story is concerned with three sailors on 24-hours leave in New York, and their adventures with the monstrous city which its inhabitants take so much for granted.

In the Dance of the Great Lover, Gaby, the romantic sailor in search of the glamorous Miss Turnstiles, falls asleep in the subway and dreams of his prowess in sweeping Miss Turnstiles off her feet.

In the Pas de Deux Gaby watches a scene, both tender and sinister, in which a sensitive high-school girl in Central Park is lured and then cast off by a worldly sailor.

The Times Square Ballet is a more panoramic sequence in which all the sailors in New York congregate in Times Square for their night of fun. There is communal dancing, a scene in a souvenir arcade, and a scene in the Roseland Dance Palace.

For Tickets 901-537-2525 Follow the Memphis Symphony! 53 program notes

BEETHOVEN Symphony No. 7 Duration: 36 minutes Completed in April of 1812, Beethoven’s Symphony No. 7 made its debut as one of his most successful concerts. After Napoleon’s occupations of Vienna in 1805 and 1809, the Duke of Wellington changed the war’s direction with his defeat of Napoleon’s younger brother Joseph in June 1813—ultimately leading to the Congress of Vienna. Along with Wellington’s Victory (also known as the “Battle Symphony”), the Seventh Symphony premiered on December 8, 1813, at a benefit concert for soldiers wounded at the Battle of Hanau a few months earlier. With an audience who were well aware of the war’s impending and victorious end, the symphony was extremely well-received. Composer and violinist Louis Spohr, who played in the orchestra, reported that Beethoven conducted the work with particular zeal: “As a sforzando occurred, he tore his arms with a great vehemence asunder ... at the entrance of a forte he jumped in the air.” Others have found the work equally inspiring. In one particularly famous description, Richard Wagner wrote of the symphony, “All tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which carries us away with bacchanalian power through the roomy space of nature, through all the streams and seas of life, shouting in glad self-consciousness as we sound throughout the universe the daring strains of this human sphere-dance. The Symphony is the Apotheosis of the Dance itself: it is Dance in its highest aspect, the loftiest deed of bodily motion, incorporated into an ideal mold of tone.” Wagner’s characterization of the Seventh Symphony—the “Apotheosis of the Dance… incorporated into an ideal mold of tone,” hints at one of the work’s most fascinating contrasts. In some respects, the Seventh Symphony is almost wildly festive: as Maynard Solomon writes in his famous biography of Beethoven, The apparently diverse free-associational images of these critics—of masses of people, of powerful rhythmic energy discharged in action or in dance, of celebrations, weddings, and revelry—may well be variations on a single image: the carnival or festival, which from time immemorial has temporarily lifted the burden of perpetual subjugation to the prevailing social and natural order by periodically suspending all customary privileges, norms, and imperatives. At the same time, Beethoven plays with some of the fundamental concepts—the single pitch, the scale, the chord—in a way that undermines any notion of a complete loss of control. In the first movement, a lengthy introduction dead-ends in one of the most basic musical elements, a single pitch—then repeated an octave lower—that haltingly segues into the movement’s main theme. The ensuing Allegretto, written in A minor, begins and ends with the same unstable chord. The symphony’s dance-like spirit comes to the fore in the third movement Scherzo, marked Presto. The concluding Allegro con brio is full of rhythmic energy which Beethoven seems almost to turn on and off at will, as if playing with listeners’ expectations. At several points, he distills the melody and harmony down to its simplest, most fundamental state before moving off into more complex musical territory. Motivic repetition and brilliant scale motion takes the monumental symphony to its exciting close. — Jennifer Glagov

54 www.MemphisSymphony.org Hot Springs Music Festival Season Eighteen: Coming of Age Hot Springs, Arkansas 2-15 JUNE 2013

For the Hot Springs Music Festival: Danses sacrée et profane by Hugh Dunnahoe after the musical composition by Claude Debussy

Casual, Classical, Fun! The Hot Springs Music Festival brings together over 200 international musicians each June in the 501.623.4763 historic spa resort of Hot Springs National Park to present over 20 concerts and 250 free open rehearsals for music lovers from around the globe. hotmusic.org Visit hotmusic.org for the complete schedule, programs, and other exciting information! purchase tickets: operamemphis.org | 901.257.3100

56 www.MemphisSymphony.org Bach and Mozart Friday, January 18, 2013 at 7:30 p.m. - Lindenwood Christian Church

KEN-DAVID MASUR, conductor

FELIX MENDELSSOHN (1809 - 1847) Sinfonia No. 5 in B-flat Major Allegro Vivace Andante Presto

JOHANN SEBASTIAN BACH (1685 - 1750) Orchestral Suite No. 3 in D Major, BWV 1068 Overture Air Gavotte I Gavotte II Bourrée Gigue

ALFRED SCHNITTKE (1934 - 1998) Arranged by VLADIMIR SPIVAKOV & VLADIMIR MILMAN) Suite in the Old Style Pastorale Ballet Minuet Fugue Pantomime

WOLFGANG AMADEUS MOZART (1756 - 1791) Symphony No. 39 in E-flat Major, K. 543 Adagio - Allegro Andante con moto Menuetto: Allegretto Allegro

Please join the musicians, Board of Directors and staff in the a lobby for a complimentary post-concert reception.

For Tickets 901-537-2525 Follow the Memphis Symphony! 57 Ken-David Masur conductor Ken-David Masur is quickly emerging as “a brilliant and com- manding conductor with unmistakable charisma” [Leipziger Volkzeitung] on both sides of the Atlantic and beyond. His recent and upcoming engagements include the Dresden Phil- harmonic, the Russian National Philharmonic, the Israel Phil- harmonic, the Orchestre National de Toulouse, the Munich Symphony, the Neue Philharmonie Westfalen, the Collegium Musicum Basel, the Rio de Janeiro Symphony Orchestra and the Manhattan Chamber Orchestra.

Before being appointed Resident Conductor of the San Antonio Symphony in 2007, Ken-David Masur was Assistant conductor of the Orchestre National de France in Paris from 2004-2006. Beginning the 2011/12 season, he will serve as Principal Guest Conductor of the Munich Symphony as well as Assistant Conductor of the San Diego Symphony. He conducted the London Symphony Orchestra in 2010 as one of three Finalists in the prestigious Donatella Flick Conducting Competition in London and will conduct the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra as a conducting fellow of the Tanglewood Music Festival in the summer of 2011.

Besides being lauded for his performances of the symphonic repertoire and his work as a sensitive accompanist in solo concertos, Ken-David Masur is a champion of the large symphonic vocal repertoire for which he has been highly praised. His work with the Radio Choir France, the Rheinsberg Festival, the London Philharmonic, the Orchestre National de France and the San Antonio Symphony, among others, have garnered Masur reviews such as: “The marvelous score could simply not have been any better realized” [LVZ]; “fluid, sensuous, energetic, emphatic... the lines were woven into long, coherent para- graphs. Tempi and dynamics were beautifully (not excessively) shaped to support the line. It all seemed to unfold naturally” [Incident Light]; and “of the entire production, it was the choruses who shined and did justice to Bach’s masterwork, ...delivering a penetrat- ing reading of [St. Matthew’s Passion’s] heavenly polyphony and powerful balancing of voices.” [ResMusica]

Masur graduated from Columbia University in New York where he served as the first Music Director of the Bach Society Orchestra and Chorus, with which he toured Germany and released a critically acclaimed recording of music by J.S.Bach, C.P.E.Bach and W.F.Bach. He has studied conducting primarily with his father, Kurt Masur, and his other mentors include Jorma Panula, Larry Rachleff, Christopher Seaman, Jeffrey Milarsky and Helmut Rilling.

Ken-David Masur serves as Artistic Director of the Chelsea Music Festival (www.chelsea- musicfestival.org), an annual summer music festival in New York City, which features the world’s leading musicians and exciting newcomers on the classical and jazz music stage. He also recently received a Grammy nomination from the Latin Recording Academy in the category of “Best Classical Album of the Year” for his work as a producer of the album “Salon Buenos Aires.”

58 www.MemphisSymphony.org Peter Rovit guest concertmaster Peter Rovit (BM with High Distinction, Indiana University; MM, Hartt School; Professional Studies, Juilliard; DMA, SUNY at Stony Brook) was among the last students of Josef Gingold at Indiana University where he also studied Baroque violin with Stanley Ritchie. Other teachers have included Mitchell Stern, Philip Setzer, Cho-Liang Lin, Paul Kantor and Donald Weilerstein. As a chamber musician, recitalist, and soloist he has performed throughout the United States and at music festivals such as Aspen, Taos, Yellow Barn, Hot Springs, and Skaneateles. A concerto competition winner at both the Hartt School and at SUNY Stony Brook, Mr. Rovit has also performed as a soloist with the Montgomery Symphony, the Fort Smith Symphony, the Oklahoma City Philharmonic, and the Tuscaloosa Symphony. He has been a member of the Quartet Oklahoma, Associate Concertmaster of the Oklahoma City Philharmonic, and Concertmaster of the Tuscaloosa Symphony. Mr. Rovit also loves to share his knowledge and experience with young musicians and has been on the string faculty of the University of Oklahoma, the University of Alabama, and Syracuse University.

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For Tickets 901-537-2525 Follow the Memphis Symphony! 59 program notes

MENDELSSOHN Sinfonia No. 5 Duration: 7 minutes Between the ages of twelve and fourteen, Felix Mendelssohn composed twelve symphonies for strings alone—possibly at the request of his teacher, Carl Friedrich Zelter, who may have intended them as composition exercises. Although the sinfonias are sometimes described as works played only at the Mendelssohn home, these were not ordinary domestic music gatherings—as nineteenth century theorists A. B. Marx and Heinrich Dorn reported, the pieces weren’t performed by amateurs, but by members of the elite royal orchestra during Sunday gatherings at the Mendelssohn home. As Mendelssohn biographer R. Larry Todd points out, “The archaic genre of the string symphony, use of the obsolescent continuo, reliance on monothematic sonata form and baroque “spinning out” of the thematic material all reflect Zelter’s conservative guidance. And the eighteenth-century antecedents of the sinfonie— admixtures of C. P. E. and J. S. Bach, Mozart, and Haydn—also betray the teacher’s taste.” While the works were ultimately forgotten until long after Mendelssohn’s death, today they provide a fascinating window into Mendelssohn’s musical training and early influences. One of the most striking features of these early symphonies—very much audible in the very beginning of the Sinfonia No. 5—are the sudden changes known as empfindsam (“ultra- emotional, such as strong, unison beginnings, abrupt changes in dynamics, and unexpected interruptions. All of these reflect the style of C. P. E. Bach, whose sinfonias Mendelssohn learned through Zelter. Also noteworthy are the many gestures toward the J. S. Bach, as in the counterpoint of the last movement.

BACH Orchestral Suite No. 3 Duration: 20 minutes While scholars differ on when and where J.S. Bach composed his four surviving orchestral suites, they do agree on at least one thing: the precise chronology of these works is impossible to determine. Extant source material suggests that Bach wrote them during his tenure in Leipzig, but it is equally plausible that he composed at least some while in Cöthen, a period during which he wrote much of his instrumental music. Regardless of when the suites were created, it seems likely that they were performed by the Collegium musicum in Leipzig, which Bach directed between 1729 and 1737, and again from 1739 until his death in 1750. Founded by Telemann at the beginning of the eighteenth century, the Collegium musicum was a musical society known for its casual concerts at Gottfried Zimmermann’s coffee house on the main street of Leipzig on winter Friday evenings and in his garden on Wednesday afternoons in the summer. As one contemporary described, “the musicians who play for these concerts are, for the most part, students from the town and play very well, to such an extent that, as we know, some famous virtuosos emerged gradually from their ranks. Each musician was able to play in public during these concerts of music, and also found a good number of listeners who knew how to appreciate the value of a skilful musician.” Demand for the events eventually exceeded the confines of the modest performance spaces, and the concerts were moved into a larger hall.

60 www.MemphisSymphony.org Like other examples of the genre, Bach’s Orchestral Suites Nos. 2 and 3 are a series of dances (typically French dances) linked together to form a longer piece. Bach did not intend this music to be recreational, however; while the dances’ standard conventions are audible, Bach transforms them through elaboration and ornamentation. The Orchestral Suite No. 2 offers a good example of this stylization. While it contains several French dances that are pushed past traditional formal bounds (sarabande, bourrée, minuet, and polonaise), the suite ends with a badinerie, a relatively rare dance that Bach essentially makes over into a showpiece for the flute. In the Orchestral Suite No. 3—scored for two oboes, three trumpets, timpani, and strings—Bach arranges the various dance movements to maximize dramatic effect. The slightly melancholy Air, for strings alone, for example, contrasts strikingly with the grand Gavotte that follows.

SCHNITTKE/ARR. SPIVAKOV Suite in the Old Style Duration: 17 minutes Although Alfred Schnittke is arguably one of the most important Russian composers since Shostakovich, he didn’t necessarily identify himself as Russian. Born on November 24, 1934 in Engels, on the Volga River in the Soviet Union, Schnittke’s father was from a Jewish family of Russian origin who lived in Frankfurt, while his mother was a Volga German actually born in Russia. As he once described his family background, I am not a Russian, though Russian is my mother tongue—even if my mother spoke German better than she did Russian. But my real mother tongue was the half-forgotten and half corrupt German of the Volga Germans. And then I had another problem: I am half Jewish, hut never learned to speak Yiddish at all. And so I belong to nobody—not to the Russians, nor to any of the various German offshoots, nor to the Jews. I have no country, I have no place, and that tormented me for years. I at last found peace when I came to understand that there is no real solution; the situation cannot be changed. Wherever I emigrated, I would take all my problems with me. Although Schnittke made peace with his multiculturalism, his German and Jewish background made him slightly suspect in the Soviet Union, despite the fact that he graduated from the Moscow Conservatory and taught at the school for a decade. His music sometimes disappeared inexplicably from concert programs, he wasn’t allowed to publish or leave the country, and he wasn’t awarded state commissions. Composing music for film ultimately proved to be the way around these obstacles, and by 1984 Schnittke had written scores for nearly 60 films. First performed in 1972 in its original scoring for violin and piano, “Suite in the Old Style” is based on music from three of Schnittke’s film scores. (Violist and conductor Vladimir Spivakov asked Schnittke for an orchestrated version of the work, which he later performed with the Moscow Virtuosi). A comedy about a dentist’s amorous adventures is the source for the Pastorale and the Ballet, while the Pantomime and Minuet are derived from children’s animated films. The final Fugue can be traced to “Sport, Sport, Sport,” a documentary about a sportsman’s double life.

For Tickets 901-537-2525 Follow the Memphis Symphony! 61 program notes

MOZART Symphony No. 39 Duration: 25 minutes While Mozart’s final days have been immortalized in fictionalized accounts like Peter Shaffer’s play Amadeus, the facts alone tell a story that needs no added drama. Three years away from his legendary burial in a common grave, Mozart was in desperate financial straits. The family’s extravagant tastes and the need to present a certain image to potential patrons had sunk them deep into debt as the wartime economy severely curtailed cultural activities, including the opportunity for commissions. Don Giovanni had just failed in Vienna, despite its warm reception in Prague, and Mozart seemed to be losing favor with the Viennese public. No longer able to afford city rent, Mozart was forced to find less expensive lodgings in the suburbs—and by June 1788, the composer was actually begging for money. In the midst of this personal chaos, Mozart produced some of his finest work. During the summer of 1788, in the breathtakingly short span of about six weeks, he composed his final three symphonies: No. 39, No. 40, and No. 41, the Jupiter. Mozart’s final symphonic trilogy raises two key questions. First, why did Mozart write these works? He may have intended to revive his subscription concerts, which began shortly after his arrival in Vienna in 1781 and had ended in the spring of 1786. It is also possible, although highly unlikely, that he was simply inspired to create the symphonies. Second, did the works ever debut during Mozart’s lifetime? There were several occasions at which one or more of the symphonies may have been performed. In 1790, Mozart went to Frankfort to attend the festivities surrounding Austrian Emperor Leopold II’s coronation as Holy Roman Emperor, and presented a concert that included an unnamed symphony. And in April 1791, a charity concert benefiting ailing and elderly Viennese musicians, their spouses and children featured “a large new symphony” by Mozart. What the final symphonies show without a doubt, however, is that Mozart had no idea they were to be his last. As Daniel Heartz writes, “By adding three grand symphonies to his portfolio in the summer of 1788, the composer was thinking ahead to future concert seasons, and not just those in Vienna.” Although the G Minor and C Major Symphonies are more frequently performed, Symphony No. 39 is no less deserving. Written in four movements, the work displays many of the attributes for which the others are well known. The symphony begins with a dramatic Adagio introduction, in which driving chords trade places with gently falling scales. The increasing tension gradually dissolves in the ensuing Allegro, which also contrasts vigorous string flourishes with moments of gentle lyricism. In the Andante con moto, a delicate melodic web is spun from the simple opening theme, while stormy interjections occasionally interrupt the texture. The rustic vigor of the Menuetto: Allegro evokes the Ländler, a lively folk dance popular in Austria that featured stomping, hopping, and even yodeling, while the Finale (Allegro) is sometimes said to recall the music of Haydn, with its pervasive use of a single theme. As the motive is varied and developed, the resulting witty optimism nearly eclipses the emotional intensity of the previous movements. — Jennifer Glagov

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One of the most dynamic young conductors in America, Mei- Ann Chen is currently in her third year as Music Director of the Memphis Symphony Orchestra. She is also beginning her second season as Music Director of the Chicago Sinfonietta. During this time, the impact of her energy, enthusiasm and high level of music-making has been felt by both of these orchestras, their audiences and entire communities, as well. The League of American Orchestras recognized this fact by choosing her for the prestigious Helen M. Thompson Award at their 2012 national conference in Dallas. Among Ms. Chen’s upcoming highlights are debuts on the Chicago Symphony subscription series, the San Francisco Symphony Chinese New Year Celebration, North Carolina Symphony, San Diego Symphony, the São Paulo Symphony in Brazil, and the Tampere Philharmonic in Finland. Among last season’s debuts were the Netherlands Philharmonic at the Amsterdam Concertgebouw, the Aspen Music Festival, and the symphonies of Jacksonville, Naples and Sarasota.

In great demand as a guest conductor, Mei-Ann Chen recently stepped in on short notice for her very well-received subscription concert debut with the Cincinnati Symphony. She has been engaged by the Cincinnati Symphony for this season as well. Ms. Chen has also appeared with the Rochester Philharmonic and the symphonies of Alabama, Atlanta, Baltimore, Chicago, Colorado, Columbus, Edmonton (Canada), Florida, Fort Worth, Nashville, National (Washington, DC), Oregon, Pacific, Pasadena, Phoenix, Seattle and Toronto. Worldwide engagements include all the principal Danish orchestras, BBC Scottish Symphony, Bournemouth Symphony, Graz Symphony, National Symphony of Mexico, Norrlands Opera Orchestra, Norwegian Radio Orchestra and the Trondheim Symphony. Festival appearances include Grand Teton, Wintergreen, Chautauqua Institute and the Texas Music Festival in Houston. The first woman to win the Malko Competition (2005), Ms. Chen has served as Assistant Conductor of the Atlanta, Baltimore and Oregon symphonies. The positions in Atlanta and Baltimore were sponsored by the League of American Orchestras. Recipient of the 2007 Taki Concordia Fellowship, she has appeared jointly with Marin Alsop and Stefan Sanderling in highly acclaimed subscription concerts with the Baltimore Symphony, Colorado Symphony and Florida Orchestra. In 2002, Ms. Chen was unanimously selected as Music Director of the Portland Youth Philharmonic in Oregon, the oldest of its kind and the model for many of the youth orchestras in the United States. During her five-year tenure with the orchestra, she led its sold-out debut in Carnegie Hall, received an ASCAP award for innovative programming, and developed new and unique musicianship programs for the orchestra’s members. She was honored with a Sunburst Award from Young Audiences for her contribution to music education. Born in Taiwan, Mei-Ann Chen has lived in the United States since 1989. She holds a Doctor of Musical Arts degree in conducting from the University of Michigan, where she was a student of Kenneth Kiesler. Prior to that, she was the first student in New England Conservatory’s history to receive master’s degrees, simultaneously, in both violin and conducting. Ms. Chen also participated in the National Conducting Institute in Washington, D.C. and the American Academy of Conducting in Aspen. For more information, visit www.meiannchen.com

64 www.MemphisSymphony.org Conner Gray Covington assistant conductor

At 24 years old, Conner Gray Covington was recently appointed Assistant Conductor of the Memphis Symphony Orchestra, a position he began in September of 2012. In Memphis, he will conduct various community and outreach concerts while working closely with Music Director Mei-Ann Chen. Covington will also serve as the Music Director of the Memphis Youth Symphony Program. In May of this year, he received his master’s degree in orchestral conducting from the Eastman School of Music where he studied with Neil Varon and received the Walter Hagen Conducting Prize. Covington recently conducted the Danish National Symphony in the prestigious Malko Competition for a jury headed by Lorin Maazel and was the youngest competitor to advance to the third round.

In the summer of 2011, Covington attended the Aspen Music Festival as a fellowship recipient in the American Academy of Conducting at Aspen. There he worked with Robert Spano, Larry Rachleff, and Hugh Wolff as well as other guest conductors throughout the summer. Covington was invited to return to Aspen for the 2012 festival. He has also attended the Pierre Monteux School for Conductors where he studied with Michael Jinbo.

Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He completed high school at the renowned High School for the Performing and Visual Arts in Houston, Texas. He went on to study violin at the Moores School of Music at the University of Houston with distinguished soloist and pedagogue Kyung Sun Lee. Covington then transferred to the University of Texas at Arlington where he studied violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans. At UTA, he served as both concertmaster and assistant conductor of the UTA Symphony, and in May of 2010 he graduated summa cum laude with a degree in violin performance.

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

For Tickets 901-537-2525 Follow the Memphis Symphony! 65 Memphis Symphony Orchestra mei-ann chen, music director conner gray covington, assistant conductor

Violin I Griffin Browne Guest Concertmaster Jeffery Jurcuikonis The Joy Brown Wiener Chair Hannah Schmidt Paul Turnbow, Assistant Concertmaster Mark Wallace The Maxine Morse Chair Marisa Polesky, Assistant Principal Bass Barrie Cooper, Assistant Principal Scott Best, Principal Diane Zelickman Christopher Butler, Assistant Principal Laurie Pyatt* Sean O’Hara Wen-Yih Yu Andrew Palmer Jessica Munson Timothy Weddle Greg Morris David Troupe* Long Long Kang Jeremy Upton Sara Chiego Violin II Gaylon Patterson, Acting Principal Flute The Dunbar and Constance Abston Chair Karen Busler, Principal Heather Trussell, Acting Assistant Principal The Marion Dugdale McClure Chair Erin Kaste Todd Skitch Christine Palmer Chris James Ann Spurbeck Sarah Beth Hanson* Lenore McIntyre Michael O’Gieblyn Piccolo Chris James Viola Sarah Beth Hanson* Jennifer Puckett, Principal The Corinne Falls Murrah Chair Oboe Michelle Pellay-Walker, Assistant Principal Joseph Salvalaggio, Principal Marshall Fine, Assistant Principal Saundra D’Amato Irene Wade Shelly Sublett, Assistant Principal Michael Barar Karen Casey English Horn Kent Overturf Shelly Sublett Beth Luscombe Clarinet Cello Andre Dyachenko, Principal Ruth Valente Burgess, Principal Rena Feller The Vincent de Frank Chair Nobuko Igarashi Iren Zombor, Assistant Principal Milena Albrecht, Assistant Principal Bass Clarinet Phyllis Long Nobuko Igarashi Jonathan Kirkscey

66 www.MemphisSymphony.org Bassoon Bass Trombone Susanna Whitney, Acting Principal Mark Vail Jennifer Rhodes* Michael Scott Tuba Christopher Piecuch Charles Schulz, Principal

Contrabassoon Timpani Christopher Piecuch Frank Shaffer, Principal

Horn Percussion Samuel Compton, Principal David Carlisle, Principal The Morrie A. Moss Chair Ed Murray, Assistant Principal Robert Patterson Caroline Kinsey Harp Pamela Kiesling Marian Shaffer, Principal The Ruth Marie Moore Cobb Chair Trumpet Scott Moore, Principal Piano/Celeste The Smith & Nephew Chair Adrienne Park, Principal Susan Enger The Buzzy Hussey and Hal Brunt Chair J. Michael McKenzie * Currently on leave. Trombone Greg Luscombe, Principal James Albrecht Mark Vail

For Tickets 901-537-2525 Follow the Memphis Symphony! 67 Memphis governanceSymphony & staff Orchestra

Board of Directors Mark Crosby Janet Seessel Crosby & Higgins LLP Arts Advocate Officers Mike Edwards Michael J. Douglass Charles Shipp Chair Gerber/Taylor Capital Architect Paragon Bank Advisors, Inc. John Speer Arthur N. Seessel III Mary Lawrence Flinn Bass, Berry & Sims, PLC Interim Executive Director Memphis Symphony League Memphis Symphony Jim Vining Orchestra Pam Guinn Vining Sparks St. Mary’s Episcopal School Louis Jehl Anneliese Watts Chair Elect Larry J. Hardy Morgan Keegan Diversified Trust Retired Corporate Executive Russ Wigginton Louise Barden Scott Heppel Rhodes College Secretary Retired Corporate Executive First Tennessee Bank Board Emeritus Buzzy Hussey Gloria Nobles Lowry Howell Babcock Gifts Treasurer Past Chairs Southeastern Asset Bryan Jordan Dunbar Abston, Jr. Management First Horizon National Corp. Newton P. Allen, Esq.* Walter P. Armstrong, Jr.* Paul A. Bert Natalie C. Kerr, MD Leo Bearman, Jr., Esq. Immediate Past Chair Hamilton Eye Institute Troy Beatty* Retired Corporate Executive Paul A. Bert Joanna Lipman Jack R. Blair Board Arts Advocate Robert L. Booth, Jr. Paul Berz Judge Bailey Brown* Retired Corporate Executive Hon. Mark Luttrell Robert E. Cannon* Shelby County Government George E. Cates Ritche Manley Bowden Charles P. Cobb, Esq.* Arts Advocate Alec McLean Nancy R. Crosby* New South Capital George E. Falls, Jr. Dr. Karen Bowyer Management David B. Ferraro Dyersburg State Community Lewis E. Holland College Lisa Mendel William F. Kirsh* Memphis Symphony Chorus Martha Ellen Maxwell Austin Byrd Dr. Joseph Parker* Scott Moore G. Dan Poag Darrell Cobbins Memphis Symphony Thomas M. Roberts* Universal Commercial Real Orchestra Jeff Sanford Estate P.K. Seidman* Carol W. Prentiss Michael Uiberall Nancy Hughes Coe River Oaks Investments Joseph Weller Dominion Partners Private Dr. Russel L. Wiener Wealth Management Robert Quinn (*deceased) FedEx

68 www.MemphisSymphony.org Administrative Staff Artistic Engagement Development Brandon Knisley Nicki Inman Accountability Vice President of Vice President of Anita McLean Artistic Engagement Patron Engagement Chief Financial Officer Jenny Compton Erica Eason Grace McAlister, PHR Music Librarian Patron Engagement Assistant Finance Manager Molly Mangialardi Ellen Montgomery Rodney Gilchrist Artist Coordinator Corporate Engagement Technical Support Assistant Susan Miville Grants Director of Musician Ellen Rolfes Rhonda Causie Engagement Advancement Specialist Director of Grants & Innovation Operations Marketing & Public Douglas Whitaker Relations Ricardo Callender Director of Operations Denise Borton Grants & Accountability Director of Patron Specialist Laura Mirahver Engagement & Marketing Orchestra Personnel Manager Joseph Nelson Nicole Davis Soulsville Project Manager Patron Engagement Manager Mandy Porch Box Office Manager

Memphis Symphony League Board of Directors Mary Lawrence Flinn, Billie Jean Graham Amy Meadows President Eula Horrell Laurie Monypeny Lura Turner, Mindy Johnson Charlotte Neal President-Elect Nancy Lou Jones Gloria Nobles Priscilla Alexander Florence Leffler Tommie Pardue Honey Cannon Sissy Long Marilyn Powell Scottie Cobb Babbie Lovett Shelly Sublett Jeanette Cooley Carol Martin Sharon Turner Jean de Frank Mabel McNeill Joy Wiener

Memphis Symphony Chorus Board of Directors Lisa Mendel, President Pamela Gold Mary Seratt Steve Alsobrook Deborah Goodman Jack Seubert Cindy Armistead Anita Hester Ginny Vann Elizabeth Buls David Patterson Jackie White Janet Carnall Terron Perk Matthew Williams Larry Edwards Shane Rasner Rae Williams

For Tickets 901-537-2525 Follow the Memphis Symphony! 69 Letter from the League President

The Memphis Symphony League is celebrating this wonderful 2012-2013 season and the 60th anniversary of the orchestra with exciting events that you could enjoy too! On November 1 we began our season with a fun luncheon featuring all sorts of “gems,” from diamonds to beautiful music provided by the MSO Woodwind Quartet to memories shared by our own Jean de Frank and pictures from her collection prepared for us by MSO musician, Shelly Sublett. Many thanks to the wonderful group of ladies who worked very hard to make all this happen. Thanks also to our sponsors and contributors to the auction for helping make this a successful event.

On February 14, our Valentine Luncheon will feature a Special Sweetheart Guest, Mei-Ann Chen, and will be filled with hearts, flowers, and special music.

Take time to complete the form below and join us in the League as we support our orchestra by fund-raising and volunteering. We have grown in number this year, but there is always room for you!

Mary Lawrence Flinn President Memphis Symphony League

2012-2013 Memphis Symphony League Membership Form (PLEASE PRINT)

Name ______Spouse’s Name ______

Address ______

City ______State ______Zip ______

Home Phone ______Work Phone ______Cell Phone ______

Fax ______E-mail Address ______

PAYMENT _____ I have enclosed a total of $______(Single $40; Couple $50; President’s Circle $100)

_____Check Check# ______

_____Credit Card AMEX/Visa/Mastercard CC#______Exp. ______

Signature ______Date______

Memphis Symphony Orchestra • 585 S. Mendenhall, Memphis, TN 38117 • (901) 537-2500

70 www.MemphisSymphony.org Memphis’ First LEED-Certified Office Building Built by the NAIOP 2009 Developer of the Year © 2010 Highwoods Properties Triad Centre III at 6070 Poplar Avenue features earth-friendly materials, water-saving systems, improved lighting, and remarkably lower utility bills. For more details on how greener offices can benefit your business environment, call (901) 683-2444.

Baker Donelson proudly supports the

2012-2013 Memphis Symphony League Membership Form Memphis (PLEASE PRINT) Name ______Spouse’s Name ______Symphony Address ______City ______State ______Zip ______Orchestra Home Phone ______Work Phone ______Cell Phone ______Fax ______E-mail Address ______ALABAMA

PAYMENT _____ I have enclosed a total of $______(Single $40; Couple $50; President’s Circle $100) FLORIDA GEORGIA _____Check Check# ______LOUISIANA _____Credit Card AMEX/Visa/Mastercard CC#______Exp. ______MISSISSIPPI

TENNESSEE Signature ______Date______TEXAS WASHINGTON, DC www.bakerdonelson.com Memphis Symphony Orchestra • 585 S. Mendenhall, Memphis, TN 38117 • (901) 537-2500

The Rules of Professional Conduct of the various states where our offices are located require the following language: THIS IS AN ADVERTISEMENT. Ben Adams is Chairman and CEO of Baker Donelson and is located in our Memphis office, 165 Madison Avenue, Suite 2000, Memphis, TN 38103. Phone 901.526.2000. No representation is made that the quality of the legal services to be performed is greater than the quality of legal For Ticketsservices 901-537-2525 performed by other lawyers. FREE BACKGROUND Follow INFORMATION the Memphis AVAILABLE UPON REQUEST.Symphony! © 2012 Baker, Donelson, Bearman, Caldwell & Berkowitz, PC 71 Thank You Memphis Business!

The Memphis Symphony Orchestra is fortunate to have many generous companies whose commitment to the arts in Memphis enables us to present the quality concerts and community programs our patrons have come to expect. At this printing of Experience, the following corporations have joined us for the 2012-2013 season. $100,000+ Locally owned. Internationally respected. Experience. Integrity. Independence. $50,000-$99,999 As an independent investment company headquartered in Memphis, Tennessee, Dominion Partners private

wealth management offers a full range of financial services to clients across the United States and abroad. With

more than 60 years of comprehensive investment advisory experience among our team members, we have the

maturity and intelligence to deliver premier financial planning and portfolio management. What continues

to set us apart is a unique mix of investment solutions designed by a dedicated team of professionals working

to preserve and grow your hard-earned money. To learn more about the Dominion difference, give us a call. $25,000-$49,999

www.dominion-partners.com · 901-969-2182 · 888-589-5188

$15,000-$24,999 Dominion Partners is a branch office of and securities offered through WFG Investments Inc., member FINRA & SIPC.

$10,000-$14,999

Robert Coe, CFP® Brian Kinney, CFP® Nancy Hughes Coe Senior Vice President, President, Senior Vice President, Portfolio Manager Financial Advisor Financial Advisor

$5,000-$9,999

72 www.MemphisSymphony.org $2,500-$4,999

$1,500-$2,499

Up to $1,500 Commercial Bank & Trust Company Diamond International of Memphis Kelman-Lazarov, Inc. Legacy Wealth Management Wunderlich Securities Lipscomb & Pitts Insurance

In Kind Interim RESTAURANT & BAR 5040 Sanderlin Avenue Suite 105 Memphis, Tennessee 38117

Foundations The Memphis Symphony Orchestra is fortunate to have many generous foundations whose commitment to the arts in Memphis enables us to present community programs. At this printing of Experience, the following institutions have joined us for the 2012-2013 season.

The Andrew W. Mellon Thomas W. Briggs The Jeniam Foundation Foundation Foundation

For Tickets 901-537-2525 Follow the Memphis Symphony! 73 Symphony Fund 2012-2013

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

Maestro’s Partners $10,000 and above (Fair Market Value is $350) Maestro’s Partners welcomes annual donors of $10,000 and above. In recognition of their support, donors receive unprecedented opportunity to engage with the MSO through personalized events. For more information, please call Nicki Inman, Vice President of Patron Engagement at 537-2519.

Benefactor $5,000 - $9,999 (Fair Market Value is $295) Invitation to join Maestro Mei-Ann Chen and the orchestra on-stage for a First Tennessee Masterworks or Paul & Linnea Bert Classic Accents rehearsal Personalized concierge ticket services (with waiver of service fees) Plus all below

Patron $2,500 - $4,999 (Fair Market Value is $220) Invitation to MSO Annual Review meeting Invitation to the annual Season Preview Party Plus all below

Golden Circle $1,000 - $2,499 (Fair Market Value is $200) Admission to the donors-only Golden Circle Room, during intermission, at First Tennessee Masterworks and Pops concerts Seven passes for free parking at the Cook Convention Center, good for First Tennessee Masterworks or Pops concerts Plus all below

MSO Associates Associate $600 - $999 (Fair Market Value is $80) Opportunity to purchase tickets in advance Plus all below

Member $300 - $599 (Fair Market Value is $60) Invitation to MSO open rehearsals Plus all below

Friend $100 - $299 (Fair Market Value is $40) Backstage tour of the Cannon Center for the Performing Arts Two tickets to Contributor Recognition Night Acknowledgment in Experience, the MSO concert magazine, in all volumes published during the season

Supporter Up to $99 (Full Market Value) Acknowledgment in Experience, the MSO concert magazine, in one volume published during the season

Consider a gift to the Symphony Fund today! To donate, visit the MSO office, go online to www.MemphisSymphony.org, call (901) 537-2525 or mail to 585 S. Mendenhall Road, Memphis, TN 38117

74 www.MemphisSymphony.org ContributionsSymphony Fund 2011-2012 Thank you! Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission and others make annual contributions to support our Symphony. Because the Memphis Symphony Orchestra, like orchestras throughout the country, obtains less than 30% of our income from ticket sales, these gifts and grants are crucial to our ability to provide music of the highest quality. The following community members have expressed their support for the Memphis Symphony Orchestra between July 1, 2011 and October 15, 2012. We are most appreciative.

Virtuoso - ($100,000 + ) Craig Simrell & Mark Greganti Anonymous (2) Bonnie and Chapman Smith ArtPlace Mr. & Mrs. John C. Speer ArtsMemphis The Sparks Foundation First Tennessee Bank Lynne & Henry Turley Mr. & Mrs. Joseph C. Weller Impresario - ($50,000 - $99,999) Paul & Linnea Bert Benefactor - ($5,000 - $9,999) The Estate of Billy J. Christian Anonymous (1) Jeniam Foundation William & Mary Louise Barden The Estate of Jean C. Mosow David & Betty Blaylock Mr. & Mrs. Marion S. Boyd, Jr. Visionary - ($25,000 - $49,999) Mrs. Phyllis Brannon Mr. & Mrs. George E. Cates Charles & Nancy Coe Scott & Carolyn Heppel Mike and Carolyn Edwards Wil & Sally Hergenrader Robin Lauren & Peter Hale Susan & Robert J. Quinn Formanek Advised Fund Gayle S. Rose Robin Formanek Mr. & Mrs. Arthur N. Seessel III Dr. Suzanne Gronemeyer & Mr. Ellis Delin Mr. & Mrs. Frederick W. Smith Larry J. Hardy Joy & Russel Wiener Buzzy Hussey and Hal Brunt Lisa & Louis Jehl Pacesetter - ($15,000 - $24,999) Dorothy O. Kirsch The Day Foundation Mr. Edwin Koshland III Scheidt & Hohenberg Charity Trust Families J. W. & Emily McAllister Kim & Bryan Jordan Mr. & Mrs. Joseph H. Powell Marion & James McClure Carol W. Prentiss Mrs. Thomas N. Stern Mrs. Alice J. Rawlins Ann & Jim Vining Schadt Foundation, Inc. Andie & Michael Uiberall Sustainer - ($10,000 - $14,999) Watkins Uiberall, PLLC Anonymous (1) Ann and Gordon Getty Foundation Patron - ($2,500 - $4,999) Phyllis and Paul Berz Jack & Kathleen Blair Mr. & Mrs. Michael J. Bruns Scott E. Bohon Kitty Cannon & Jim Waller Ms. Mei-Ann Chen Children’s Foundation of Memphis Harriett & Hilliard Crews Mr. & Mrs. Robert E. Craddock Liz & Glenn Crosby Michael & Maria Douglass Mark Crosby Mr. & Mrs. Jeffrey Engelberg Mr. & Mrs. John S. Evans Peter & Mary Lee Formanek Ryan Fleur & Laura Banchero Laura & Lowry Howell Fred & Mary Lawrence Flinn Sylvia G. Marks Martha & Robert Fogelman and Andrew R. & Anne H. McCarroll Bradley and Robert Fogelman Phillip & Mabel McNeill Kathy & J. W. Gibson Estelle & John Sheahan Mr. & Mrs. Robert A. Goodman

For Tickets 901-537-2525 Follow the Memphis Symphony! 75 Contributions

Mr. Sigmund F. Hiller Mikki & Darrell Cobbins Dr. & Mrs. Masanori Igarashi Colonial Middle School Dr. Natalie Kerr Ms. Jeanette S. Cooley Joanna & Josh Lipman Bill and Foy Coolidge Dr. & Mrs. Dan Meadows Robert & Kim Cox Mark & Suzanne Medford Mr. & Mrs. David Crippen Morgan Stanley Jill & Joe Crocker Ron & Jessica Morris Elaine & Loren Crown Ms. Brooke Morrow Dr. & Mrs. Ray E. Curle Dr. Frank and Mrs. Sarah Ognibene Saryn Doucette M.D. Robert G. Patterson, Jr. & Patricia Gray Mrs. Bryan M. Eagle Sadie & C.J. Pickering Susan & David Ellison Capt. & Mrs. Robert R. Proctor, USN (Ret.) Mr. & Mrs. David B. Ferraro Dr. Eugene A. Vaccaro Family Ms. Kathy Fish Mrs. Charles E. Walker Barbara & Hiram Fry Jack & Cristina Ward Kathleen C. Gardner Dr. and Mrs. Otis S. Warr III Allison Garrott Mr. & Mrs. Jeff Weintraub Dr. Phillip George Mr. & Mrs. Charles L. Wurtzburger Mr. & Mrs. James S. Gilliland Ms. Kathie Smyth Gould Golden Circle - ($1,000 - $2,499) Martha & Jerrold Graber Anonymous (2) Billie Jean Graham Rev. Dr. Jane Abraham Pam and Steve Guinn Connie & Dunbar Abston Sarah Haizlip Ben & Kathy Adams Judith & John Hansen Peter & Fran Addicott Ann & O. Mason Hawkins Ms. Anita Allison Emil Henry Pamela & Esmond Arrindell Paul & Marisa Hess Charles S. & Stephanie Baer David O. Hill & Elisabeth Hills Mr. Ion Balu Lunida & Lewis Holland Richard W. Barnes & Peter R. Pauciello Mr. & Mrs. Walter B. Howell, Jr. Sharon Barnett-Myers Greg & Trina Huelsman Neal & Joey Beckford Hyde Family Foundations Mr. & Mrs. Richard H. Bodine, Jr. Barbara Hyde The Honorable Joseph Boeckmann, Jr. Nicki & Brian Inman Carmen C. Bond Janas L. Jackson Phillip Bowden & Ritche Manley Bowden Dr. & Mrs. Eric E. Johnson Dr. Karen A. Bowyer Dr. Rose M. Johnston Martha & James Boyd Dr. Edward S. & Linda S. Kaplan Charles R. & Ronell C. Brindell Sue Kaplan Lillian Hammond Brown Edith Kelly-Green Austin Byrd Dale Kelman Canale Foundation Delores Kinsolving Mr. & Mrs. Henry Cannon Knapp Foundation Karen M. Carlisle Dr. & Mrs. Sheldon Korones Jeanne Gray Carr Bruce & Susanne Landau Robert & Jenny Carter Mr. & Mrs. George Lapides Rhonda & Dan Causie Dr. Peter G. & Susan J. Law Dr. Fenwick W. Chappell LeMay+Lang Dr. Nancy A. Chase, M.D. Daniel Lewis Gloria & Irvine Cherry Mr. & Mrs. Lester F. Lit

76 www.MemphisSymphony.org Aron Livnah & Rose Merry Brown Susan L. Springfield Babbie Lovett Nancye Starnes Al & Janet Lyons Bruce & Gillian Steinhauer Mr. & Mrs. Jerome B. Makowsky Eugene & Helga Stengel B. Lee & Susan Mallory Anne & John Stokes Jerry and Elizabeth Marshall Owen & Margaret Tabor William D. & Marcia B. Mathis III Mary E. Tate-Smith Ashley Mayfield The Rose & Walter Montgomery Foundation Sandra H. Mays Dr. Paul G. Thomas Mary McDaniel Ashley & Todd Tobias Mr. & Mrs. Michael McDonnell Keith & Anne Townsend Mr. & Mrs. Alexander D. McLean Mr. & Mrs. Philip H. Trenary Linda McNeil Mr. & Mrs. Corey B. Trotz Anita & Don McLean Steve & Lura Turner Jean & Michael McSwain Ms. Susan K. van Dyck & Dr. James Newcomb Memphis Symphony Chorus Mr. & Mrs. William M. Vaughan, Jr. Dr. Lisa & Dr. Maurice I. Mendel Mr. & Mrs. David S. Waddell Nancy & Rodgers Menzies Patricia & Charles Walker Henry Morgan James L. Waller Christine B. Munson Dr. Jane Walters Zoe & Alan Nadel Graham Warr Gloria P. Nobles Frank & Houston Watson Max B. Ostner, Jr. Anneliese & William Watts Sally Pace Mrs. Cassandra H. Webster Tommie Pardue Martha & Lee Wesson Marianne Parrs Becky West Clint and Esther Pearson Barry White & Dr. Janice Garrison Mrs. Barbara J. Perkins Julia G. Williams Manning Arnold & Mary Lynn Perl Ms. Tracey Williams Elisabeth & Lewis Perry Dr. Ethelyn Williams-Neal Chloee & Dan Poag Barbara Williamson Dr. Anca Pop Becky Webb Wilson Mary Alice Quinn Oneida Wittichen Mr. & Mrs. Bryson Randolph Jocelyn Wurzburg Dr. Sandra Reed Jan Young Dr. & Mrs. Brown Robertson Carol Lee & Joe Royer Associate - ($600 - $999) Diane Rudner Ms. Carol Beachey & Mr. Donald Voth Dr. Craig & Mrs. Andrea Sander Stanley & Dorothy Bilsky Jeff Sanford & Cynthia Ham Joanne & George Buzard Lila Saunders Gary Carlson Mary & Joe Scheuner Sara G. Folis Dr. Charles A. & Mrs. Sharen Schulz Dot and Luther Gause Mary M. Seratt Diane Greenhill Patricia & John Seubert Phyllis Guenter Dr. John J. & Mrs. Linda Shea Mrs. June Hildebrand William W. Siler Susan Kingston Ron & Linda Sklar Father Albert Kirk Alisa & Arwin Smallwood Mr. & Mrs. Lloyd C. Kirkland, Jr. Bruce R. & Jane Scharding Smedley Barry Kuhn Mrs. Rita Sparks Mr. & Mrs. J. A. O’Neill, Jr.

For Tickets 901-537-2525 Follow the Memphis Symphony! 77 Contributions

Emily Ruch Marcia Schlesinger Mrs. Emily Ruch Bonnie and Bill Siler John Pickens & Suzanne Satterfield Charles & Mary Stagg Robert Vidulich & Diane Sachs Fred & Joan Stephenson Don Vollman Ryals & Gwendolyn Thomas Julia Wilkins United Way of the Mid-South Joan & James Vogel Member - ($300 + $599) Dr. William W. Walker & Ms. Mary L. Belenchia Anonymous (4) Lee & Mary Wardlaw Dot Arata Jules & Betty Weiss Mary L. Belenchia Dr. & Mrs. Benton Wheeler Mr. & Mrs. Jack A. Belz Dr. Russell Wigginton Nancy E. Bogatin Mary Jane and Herman Wolfe, AIA Denise & Scott Borton Mr. Winston Wolfe Jerry Bowman Dr. George R. Woodbury & Dr. Cathy M. Chapman Walter Brown Nick and Charlotte Woodward Gregory Buckley & Susan Berry-Buckley Berje & Kathy Wade-Yacoubian Dale & Gina Cunningham Lewis Donelson Friend - ($100 - $299) Dr. Michael R. Drompp Anonymous (12) Fredrika & Joel Felt Doug & Meg Adams Joseph & Anne Fisher Larry Adler Emily & Jerry Gay Gwendolyn & John Ahlemann Mr. Charles K. Gilder Harriet Alperin Jim & Harriett Gillis Frank Anthony John Gilmer & Catherine Willner Mrs. Eleanor Appling Guardsmark, Inc. Genni Arledge Robert Hanusovsky Dr. & Mrs. Philip Aronoff Judith & Howard Hicks Sue & Wesley Atwood Bill & Marian Himmelreich Clayton Baker Dr. G. Leon Howell Mr. & Mrs. William E. Baker Jr. Joanna Hwang Sue & A.E. Balkin Susan & Frank Inman Mary Nell & Pervis Ballew Paul Tudor Jones David & Debbie Balling William B. Keiser, Jr. Rosemary Banta Ms. Yoriko Kitai Robert Bartolotta & Ellen Hutchinson-Bartolotta Mr. & Mrs. Brandon Knisley Mrs. Frank Barton, Jr. Janie & Martin Kocman Patricia Barton Marti & Mike Laslavic John & Wanda Barzizza Lucy Lee Mary & Allen Battle Jennifer Lyons Becky Bayless Ramona & Harry Mahood Dr. & Mrs. Tom Beasley Martha Ellen Maxwell Ernest & Georgia Bell Shirley W. McRae Eugene Bernstein Richard McStay Dr. & Mrs. Michael P. Berry Pam & Fred Montesi Dr. Harry Berryman Ed & Anne Motley Mr. & Mrs. James C. Blackburn Cecile & Frederick Nowak Allen & Mary Blair Nancy M. Penisten Sam Blair Johnny & Kim Pitts Emilie Blanchard Marco & Cynthia Ross Clark & Yolanda Blatteis

78 www.MemphisSymphony.org Dr. & Mrs. Gene Boeckman James & Sue Ferguson Lois E. Bohon Donna Fisher Scott Bojko Tanya Fitts Modine & Lee Bolen Molitor Ford Jan & John Boudreaux Turner Foster Dr. & Mrs. Allen Street Boyd Ms. Kathie Fox Reggi and Sharon Burch Desi Franklin Dr. & Mrs. Paul Burgar Ms. Barbara A. Frederick Judy & Charles Burkett Dr. Jerre Freeman Raymond Butts Mrs. Caroline Fruchtman Eleanor & Gerald Byrne Juan Fuentes Mr. & Mrs. Irvin Califf Ana & Mark Gardner Mr. Ricardo Callender Joseph Garrone Larry Campbell Bill and Jeannine Gaudet Mrs. Ruby Chittenden Frank & Anne Gianotti Carol & David Ciscel Mr. & Mrs. James D. Gibson Dorothy Cleaves John Gibson Brian Clement Marsh & Ann Gibson Mr. & Mrs. Charles P. Cobb, Jr. Mary Gill Allen E. Cohen Joan Gips Alan K. Cole Paul & Mary Evelyn Goodwin James P. Cole Capt. & Mrs. James P. Googe, Jr. Samuel & Jenny Compton Arthur Graesser Anne Connell Betty Tully Graves Tim & Mary Cook Rita Mercille Green Alice & Jack J. Craddock Gerard & Alessandra Grosveld Mr. & Mrs. William S. Craddock Phil Guichelaar Ms. Laura J. Crane Hemant Gupta Brad Crawford Bela & Nan Hackman Leslie Daniel Mr. Reb Haizlip Fred Davis Clarence & Harriett Halmon Diane & Joe Davis Doug Hamik Steve Davis Robert Hamilton Jean M. de Frank Dr. & Mrs. O. Brewster Harrington Phili & Terry Deboo Jeffery & Cathy Harris Jeanne Decker Thomas Harrison III Kathryn Deshpande & Jon Katze Albert C. Harvey, Jr. Drs. Robert & Heather Donato Geraldine Haspel Joe & Martha Dooley Diane Hawks Jed Dreifus Dr. Jean S. Hayden Regina Duberstein Nikki Haynes John & Alice Dudas Janet D. Held Gerry and Charles Duff Kathleen Helton Betty Jo & William P. Dulaney Mr. & Mrs. James R. Hillis Delories Duncan Sara M. Holmes Mrs. Ruth Edmonds Dr. & Mrs. Horace K. Houston, Jr. Patti & Lew Ellis Mr. & Mrs. Antonino Incardona Karen English Ann Indingaro Lillian & Thomas Ernst Bertha Means & Michael Jacewicz Edward & Gloria Felsenthal Larry & Diane Jackson Helen Ferguson Mr. & Mrs. James B. Jalenak

For Tickets 901-537-2525 Follow the Memphis Symphony! 79 Contributions

Anita James Mary Allie & Denton McLellan David & Ann James Sylvia & Ron McSwain Dr. & Mrs. Russell James Gale Medley Harriette Jenkins T. Medlin Mr. David Jennings Simone & Logan Meeks Mr. Mickey Johnson Dr. & Mrs. Lee Milford, Jr. Mr. Jeff Johnston Dr. & Mrs. David M. Mirvis Nancy Lou & Mott Jones Mrs. Houston Niller Moore Mr. & Mrs. Robert K. Jones Ms. Patricia T. Moran Warren and Betty Lu Jones Gregory Morrell Kathy Junkin George Morris Tom and Anne Marie Kadien Dr. R. J. & Susan Moskop, Jr. Beulah Kasselberg Mrs. Sue Myers Helen & J.D. Kelly Stephen & Mary Nelson John Kelyman Drs. Thomas J. & Monika Nenon Charlotte King Julie & William Nicholson Mr. & Mrs. Jerry D. Kirkscey Mr. & Mrs. Greg Nomland Jon Knight Adrienne Oeding Nancy & Brian Kuhn David Ogdon Michael & Diane Kuhn Norma Davis Owen & Penn Owen Jr. Ms. Patsy Lane Mr. Christopher Owens Frank M. Langford, Jr. Mr. Ernest Owens Ms. Demetra Lawrence Bob Owens Gumersindo & Marianne Leal Mr. & Mrs. Keith M. Parker Suzanne Lease & Michael Watts Roylyn and Bill Parks Mr. Shelby R. Lee III Eugene Pearlman Sandra Leftwich Dana Sue Percer Tom & Celesta Letchworth Ms. Peggy Perkins Dr. & Mrs. Michael J. Levinson Dr. William S. Phillips Jean & Melvyn Levitch Paula Posey-Destefanis Pamela & Robert Levy Ms. Prak Leticia Lindsey Peter A. Pranica Mrs. Esther K. Lubin Mr. & Mrs. Julian Prewitt William Payson & Melissa Luck Brenda & Robert Rachor Jose & Nancy Magallanes Karen & James Ralston Mr. & Mrs. Hugh Mallory Nancy Reed Charles & May Lynn Mansbach Betsy Reeder Mr. & Mrs. Jack H. Marks Mrs. & Mr. Geraldine Rhodes Frank & Mary Markus Mr. & Mrs. Neil Ringel Nancy Masterson Mr. & Mrs. Curtis E. Ringold Shannon G. Matta, Ph.D. Mr. Luther L. Robinson III Richard & Nancy Mattox Dr. & Mrs. E. William Rosenberg Ethel T. Maxwell Tom & Elena Ross John Maxwell Dr. & Mrs. Richard T. Ross Mrs. Eloise Mays Barbara Rubenstein Michael McCanless Thelma Rudd Peggy & Don McClure, Jr. Melanie Runyon Mr. & Mrs. James W. McDonnell, Jr. Amy & William Ryan Mary Ellen & Phillip McDow Bev and Ken Sakauye Robert McEniry Barbara J. Sax Anthony McGregor Sandy & Beth Schaeffer

80 www.MemphisSymphony.org Christopher Scholik Mariet & Sam Rogers Doug Schrank Mike Vaughn Mike Schwartz Drs. Anni B. Walker and William S. Walker J. Allen Scoggin Sonia Walker Michael & Kelly Scott Mr. Edward Wallace Phil & Fran Shannon Evelyn Walpole Roy and Cyndy Shepherd Gerald & Julie Walton Kenneth & Mary Sipley Shihung & Chingfun Wang John H. Sligh Matilda Washington Mr. & Mrs. Richard W. Smith Patrick & Vicki Washington Cecil Smith Susan S. Webb Ritchie and Patti Smith Diane & Walker Wellford Marshall and Maida Smith Stuart Wilkinson John Snowden Elsa & David Williams Trish & Richard R. Spore III Tige Williams Sheri L. Spunt, M.D. Mrs. Barbara H. Wilson Shirley St. Hilaire Carol Wilson Terry Starr Major & Donna Wilson Jill & Kenneth Steinberg Stewart Wingate Fred & Shirley Stinson Jerry Wolfe Leslie Stratton Josephine M. Wood Ms. Harriett Surprise Gary Woodard Denise Taylor Mary & Lucius Wright Mr. & Mrs. Parrish Taylor Mr. Paul Yacoubian Doris Thomas Hill Mr. & Mrs. William M. Yandell III Dr. & Mrs. Steve Tower Dr. Herbert D. Zeman Patricia Wilson Tripp Qihong Zhou Alison Turner

Matching Gifts Corporate matching gifts are a great way for MSO patrons and donors to maximize personal contributions to the Symphony and increase the impact of their gift. By taking advantage of your company’s matching gift benefit, you may be able to double or triple your contribution. Thank you to those companies below who match current and retired employees’ contributions to the Memphis Symphony Orchestra, and thank you to our donors who apply for these matching gifts. For more information on matching gifts, please call (901) 537-2523. AT&T Foundation Home Depot Foundation Bank of America Johnson & Johnson Chevron Corporation Kraft, Inc. Citigroup Foundation Lucite International Digital Equipment Corporation Merrill Lynch Ernst & Young, PLLC New York Times Company Foundation Federated Department Stores Nissan Motor Corporation First Horizon National Corporation Phillip Morris Companies, Inc. First Tennessee Foundation Quaker Oats Foundation Gap Foundation Regions Financial Corporation General Electric Security Pacific Foundation General Mills Foundation United Technologies – Carrier Corporation GlaxoSmithKline Foundation

For Tickets 901-537-2525 Follow the Memphis Symphony! 81 MEI-ANN’S CIRCLE OF FRIENDS

A women’s philanthropic giving circle honoring the Memphis Symphony Orchestra’s Music Director, Mei-Ann Chen, whose artistic vision is reshaping the city’s cultural center. This critical group of diverse community investors is called to be stakeholders who support and steward her vision as a creative catalyst for innovation through the performing arts. Most importantly, Mei-Ann’s Circle of Friends welcomes new members, as its ultimate mission is to be an instrument of inclusion.

Ritche Bowden, Kim Cox Babbie Lovett Alisa Smallwood co-chair Deborah Craddock Gretchen McLennon Bonnie Smith Mary McDaniel, Jill Crocker Bickie McDonnell Maxine Smith co-chair Elaine Crown Linda McNeil Rita Sparks Becky Wilson, Dr. Saryn Doucette Mabel McNeill Susan Springfield co-chair Joy Doss Lisa Chow Mallory Nancye Starnes Rev. Dr. Jane Abraham Mary Ann Eagle Suzy Mallory Helga Stengel Connie Abston Marsha Evans Julia Manning Susan Stephenson Anita Allison Kathy Fish Ashley Mayfield Anne Stokes Belinda Anderson Mary Lawrence Flinn Sandra Mays Margaret Tabor Pam Arrindell Mary Lee Formanek Suzanne Medford Mary Tate-Smith Louise Barden Kathleen Gardner Nancy Menzies Ashley Tobias Sharon Barnett-Myers Allison Garrott Snow Morgan Anne Townsend Joey Beckford Kate Gooch Brooke Morrow Bridget Trenary Phyllis Berz Billie Jean Graham Christine Munson Lynne Turley Joyce Blackmon Sarah Haizlip Jenny Nevels Lura Turner Kathy Blair Cynthia Ham Gloria Nobles Meg Turner Peggy Bodine Deborah Hester Sarah Carpenter Andie Uiberall Carmen Crane Bond Harrison Ognibene Jeanne Varnell Dr. Marcia Bowden Ann Hawkins Sally Pace Anita Vaughn Martha Boyd Carolyn Heppel Tommie Pardue Kimmie Vaulx Sonji Branch Frances Hooks Barbara Perkins Ann Vining Ronell Brindell Trina Huelsman Carol Prentiss Stacie Waddell Ruby Bright Buzzy Hussey Mary Alice Quinn Ann Marie Wallace Lillian Brown Barbara Hyde Susan Quinn Jane Walters Rose Merry Brown Nicki Inman Dr. Sandra Reed Cassandra Webster Marian Bruns Janas Jackson Beverly Robertson Becky West Alice Burnett Jeanne Jemison Ellen Rolfes Monica Wharton Kitty Cannon Rose Johnston Gayle Rose, former Sharon Wheeler Karen Carlisle Dale Kelman co-chair Joy Wiener Jeanne Gray Carr Edith Kelly-Green Diane Rudner Dr. Ethelyn Williams- Jenny Carter Delores Kinsolving Beverly Sakauye Neal Dr. Nancy Chase Dorothy Kirsch Lila Saunders Tracey Williams Dorothy Cleaves Ellen Klyce Honey Scheidt Barbara Williamson Mikki Cobbins Suzanne Landau Janet Seessel Oneida Wittichen Seandria Cobbins Florence Leffler Rachel Shankman Jocelyn Wurzburg Nancy Hughes Coe Suzana Lightman Lucy Shaw Jan Young Jeanette Cooley Joanna Lipman Lynda Mead Shea

Sponsorships Gerber/Taylor Phyllis Berz Sarah Carpenter Baptist Mem Health Hyde Foundation Ritche Bowden Ognibene Care Fd. Independent Bank Deborah Craddock Gayle Rose Blue Cross Blue Shield New South Capital Ellen Klyce TN Paragon Bank Brooke Morrow

For more information please contact Ellen Rolfes at the Memphis Symphony: 901-537-2526

82 www.MemphisSymphony.org Memphis Youth Symphony Program

Conner Gray Covington, Music Director |Musical Leaders Since 1966

Youth Symphony, Conner Gray Covington, Conductor Fall Concert | Sunday, November 18, 7:30 Winter Concert | Sunday, February 24, 7:30 Spring Concert | Sunday, April 28, 7:30 *venues TBD

String Orchestra, Ray Pak Chung Cheng, Conductor Fall Concert | Sunday, May 5, 4:30 Winter Concert | Sunday, February 24, 4:30 Spring Concert | Sunday, November 11, 4:30 *venues TBD

String Sinfonia, Karla Philipp, Conductor Fall Concert |Tuesday, November 6, 7:30 pm Winter Concert | Tuesday, February 26, 7:30 pm *venues TBD

String Ensemble, Karla Philipp, Conductor Fall Concert |Tuesday, November 6, 7:30 pm Winter Concert |Tuesday, February 26, 7:30 pm *venues TBD

Visit us and become a supporter! Sponsor a child, a concert, name a chair or a scholarship! Contact Todd Skitch, MYSP Board President, and help us keep Memphis talent growing.

66 South Cooper Street, Suite 509 | Memphis, TN 38104 | 901-722-4004 | www.mysp-music.org Find us on Facebook!

For Tickets 901-537-2525 Follow the Memphis Symphony! 83 60th Season ... the Memphis Story

Photo: Justin Fox Burks 2012 | 2013 SeaSon September Sun 9 Lemoyne-Owen College Fri 14 beethoven 8 Sat 22–Sun 23 rachmaninoff & mahler Sun 30 Symphony in the Gardens OCtOber Sat 13 StAX! the memphis Sound mon 22 Yo-Yo ma NOvember Sat 17–Sun 18 Shostakovich 5 DeCember Sat 8 Home for the Holidays (2:30 pm & 7:30 pm) Fri 14 memphis messiah JANuArY Sat 5 Aloha elvis®! Sat 12–Sun 13 Innovation: beethoven & bernstein Fri 18 bach and mozart thurs 24 North mississippi Allstars FebruArY Sat 16 A memphis Gospel Celebration Sat 23–Sun 24 Holst The Planets mArCH Sat 9 Feelin’ Groovy: the music of Simon & Garfunkel Sat 16–Sun 17 tchaikovsky 5 Fri 22 If bach Were a beekeeper AprIL Sat 13–Sun 14 From Gandolfi to memphis thurs 18 Hope Clayburn mAY Sat 4 Symphony in the Gardens Sat 18–Sun 19 Porgy & Bess Programs, prices, dates, times, venues and artists are subject to change. n First tennessee Masterworks – n saturday PoPs saturday 7:30 p.m. at Cannon Center 7:30 p.m. at Cannon Center n Friday ClassiC aCCents First tennessee Masterworks – 7:30 p.m. at Lindenwood Christian Church sunday n oPus one At published venues 2:30 p.m. at GPAC n sPeCial Tickets (901) 537-2525 | MemphisSymphony.org

MSO program ad_schedule_0812.indd 1 8/14/12 4:20 PM ,

Fall Schedule Worship Service at Mississippi Boulevard Christian Church Sunday, November 18, 2012 at 10 a.m. Memphis Boychoir & Memphis Girlchoir 25th Annual Service of Lessons and Carols Sunday, December 16, 2012 at 4:00 and 7:00 p.m. Memphis Boychoir & Memphis Chamber Choir

Ongoing Auditions for the Memphis Boychoir and Memphis Girlchoir Please contact Dr. Geoffrey Harris Ward for more information (901) 351-8540

Saint John’s Episcopal Church | Central at Greer | 901-323-8597 | memphisboychoir.org

MBC-MGC Experience ad_1012.indd 1 10/1/12 3:15 PM Honor/Memorial Contributors List Honor/Memorial Overture 11-12 Honorariums and Memorials The following Honorarium and Memorial contributions were made to the Symphony Fund between July 1, 2011 and October 15, 2012.

In Honor of Gifts received In Memory of In Memory of Kathy and Ben Adams Charles P. Cobb, Sr. Mrs. Barbara Ramsey Harris Camille & William Mueller Dr. & Mrs. Horace K. Houston, Jr. Lisa & Louis Jehl

In Honor of In Honor of the Birthday of In Memory of Peter & Fran Addicott Charles “Chuck” Coe Mrs. Evelyn Foote Horrell Rosemary Banta Dr. & Mrs. Dan Meadows Jean Lewis Robert McEniry In Honor of Jim Albrecht In Memory of Kathryn A. King Ms. Marguerite Piazza In Honor of Buzzy Hussey Jean M. de Frank Marilyn & Franklin Allen In Honor of Michael Barar Mr. & Mrs. David B. Ferraro Ms. Jeanette S. Cooley Anonymous Buzzy Hussey and Hal Brunt Bill and Foy Coolidge Mr. & Mrs. James S. Gilliland In Honor of In Memory of Billie Crenshaw Bobby and Eva Hussey Paul & Linnea Bert Mr. & Mrs. David B. Ferraro Tom & Garnett Hutton Ms. Mei-Ann Chen Bill Jones Jennifer Lyons In Memory of Ms. Jean Lewis Coors Mrs. Eleanor Dean Nancy & Rodgers Menzies In Memory of Florence Bohon Ron & Linda Sklar Adrienne Oeding Dorothy S. Atkinson Mr. & Mrs. Arthur N. Seessel III Mr. & Mrs. James C. Blackburn In Honor of Mrs. Jane Dutcher Bonnie and Chapman Smith Lois E. Bohon Norma Rogers Anne & John Stokes Marti & Mike Laslavic Patricia Williams Myron & Gail Lewis In Honor of Nancy M. Penisten Dr. Lawrence A. Edwards In Memory of Barbara Van Ness Memphis Symphony Chorus Dr. Bernard B. Beard Dr. Jerre Freeman In Memory of Tandy Brannon In Honor of Rena Feller Phyllis Brannon Helen Ferguson In Memory of Dr. Abraham D. Kriegel In Honor of Linda Brittingham In Honor of Laura, Ryan, Dr. & Mrs. H. Delano Black Memphis Symphony Chorus Robert and Anna Fleur Walter Brown Mr. & Mrs. Henry Cannon Thomas & Marcia Collins In Honor of the Marriage Dr. & Mrs. Dan Meadows Jed Dreifus of Kitty Cannon Mrs. Lyda Parker Gail Murray and Jim Waller Leslie Stratton Nancy & Rodgers Menzies In Honor of Sara G. Folis Major & Donna Wilson Helen Ferguson In Honor of Rhonda Causie In Memory of Marian & Frank Shaffer In Honor of George Krupicka James “Jim” Gholson nexAir In Honor of Mei-Ann Chen Ron & Linda Sklar Stanley & Dorothy Bilsky In Honor of Florence Leffler Joseph & Anne Fisher In Memory of Dr. & Mrs. William E. Long Mr. & Mrs. Lester F. Lit Elaine and Louis Gompertz Mary Alice Quinn Louise Stern In Honor of Mrs. Ruth Cobb In Honor of Sissy Long Mr. & Mrs. Charles P. Cobb, Jr. In Memory of Mr. & Mrs. James Alexander Dr. & Mrs. Horace K. Houston, Jr. Michael Gompertz Dr. & Mrs. O. Brewster Joan Gips Harrington In Honor of Mrs. Scottie Cobb Dr. Edward S. & Linda S. Kaplan The Womans Exchange of In Honor of Mrs. Van Pritchartt Memphis, Inc Billie Jean Graham Anne and Jack Roane Mr. & Mrs. James Alexander Jane Williams Samuel Graham 86 www.MemphisSymphony.org Honor/Memorial Contributors List Honor/Memorial Overture 11-12

In Memory of Jeff Manis In Honor of In Memory of Peter Spurbeck Dr. Suzanne Gronemeyer Susanna Perry Gilmore Jean M. de Frank & Mr. Ellis Delin Mr. & Mrs. John S. Evans Mr. & Mrs. John S. Evans Diane Greenhill Dr. & Mrs. Horace K. Houston, Jr. In Honor of Lynn Jones Shirley W. McRae Barbara H. Marshall Sandra Leftwich Shirley St. Hilaire Doris Thomas Hill Lyda Parker Jane & Reede Taylor Robert Vidulich & Diane Sachs In Honor of In Memory Martha Ellen Maxwell of Mr. William “Bill” Prest In Memory of Kathleen C. Gardner Virginia Gandy Robert Spurbeck Susan S. Webb In Memory of In Honor of Perry Redfearn Dorothy McDonald The Chancel Choir of Christ United In Memory of Jean Tuttle Mr. & Mrs. David B. Ferraro Methodist Church Anneliese & William Watts

In Honor of the Marriage of In Memory In Memory of Don and Anita McLean of Thomas M. Roberts Mrs. Cele Carolyn Lubin Lisa & Louis Jehl Mr. & Mrs. John S. Evans Lisa & Louis Jehl Meg Jones Lucy Lee Dale & Eugene McDermott In Honor of Irene Wade In Honor of Diane Greenhill Dr. and Mrs. Lee Milford In Memory of Dr. Max E. Johns Martha & James Boyd Mike and Carolyn Edwards In Honor of Jeremy Warner Gerber-Taylor Family Memphis Symphony Chorus Gifts received In Memory of Buzzy Hussey and Hal Brunt Madeleine Moore Lisa & Louis Jehl In Honor of Bill Weppner Patti Martin Memphis Symphony Chorus Memphis Symphony Chorus Mike & Gay Veazey Williams In Honor of Watkins Uiberall Family In Honor of Joy Brown Wiener Greg & Ellen Morris Becky Webb Wilson Lucia Outlan John & Lynn Joyner In Honor of Charles Schulz In Honor of the Marriage of In Memory of Mrs. Sue Myers Julia Williams & Van Manning Ms. Angela Mullikin Diversified Trust Family Mr. & Mrs. Hubert Minton In Honor of Peggy Seessel Allen & Mary Blair In Honor of Charlotte Neal Dr. Edward S. & Linda S. Kaplan In Honor of Marian & Frank Shaffer Honor or Memorialize In Honor of Gloria Nobles Josephine M. Wood family and friends with Bill and Foy Coolidge a gift to the MSO. Anne and Jack Roane In Memory of Call 901-537-2523 Mrs. Dena Shapiro In Honor of Liz Parsons Anonymous Memphis Symphony Chorus In Memory of Donna Simmons In Honor of the Marriage of David Simmons Michelle Pellay-Walker and Paul Pellay In Honor of David Skinner Thomas & Maryann Mears Anonymous

For Tickets 901-537-2525 Follow the Memphis Symphony! 87 z Patron Information

Your attendance constitutes consent for use of your likeness and/or voice on all video and/ or audio recordings and in photographs made during Symphony events.

Box Office Location/Hours: The Box Office is located at 585 South Mendenhall Road, between Cadence Bank and Folk’s Folly. We are open weekdays 9 a.m. to 5 p.m. and on concert Saturdays from 9 a.m. to 12 p.m. The Box Offices at the concert venues open 90 minutes prior to each performance and remain open until intermission begins. Please note that for concerts at the Cannon Center on the night of, concert tickets must be purchased through the Ticketmaster Box Office located in the east hallway. Services and Will Call for MSO patrons are located near the box office at each venue.

Venues: Saturday First Tennessee Masterworks Series and Memphis Symphony Pops Series concerts are performed at the Cannon Center for the Performing Arts, 255 North Main Street in downtown Memphis. Paid parking is available in the Cook Convention Center garage or surface lots. Friday performances of the Paul and Linnea Bert Classic Accent Series are at the Lindenwood Christian Church, 2400 Union Avenue in Midtown Memphis. First Tennessee Masterworks Sundays are performed at the Germantown Performing Arts Centre (GPAC), 1801 Exeter Road in Germantown. Symphony Soul Project concerts are performed at The Magnet, 879 E. McLemore. Free parking is available at Lindenwood Christian Church and GPAC.

Cameras and Recording Devices: No photos or video recordings are allowed during the performance due to potential injury to performers on stage.

Concert Preview: Free pre-concert discussions begin 45 minutes prior to each First Tennessee Masterworks series performance. Join us in the Cannon Center west mezzanine and the GPAC Dance Studio to get the inside scoop on the upcoming performance.

Coat Check: In the lobby of the Cannon Center and GPAC.

Wheelchair Seating: Wheelchair seating is available upon request at each of our concert venues. Please call our Box Office for more information.

Ticket Information Subscriptions: Buy a series and save! Subscribers get the best seats in the house. Plan for the music you love with our First Tennessee Masterworks, Pops, and Paul & Linnea Bert Classic Accents series. As a subscriber, you will not only save off the single ticket price but also enjoy priority seating and ticket flexibility! Subscribers have the opportunity to purchase the best available seats for your series before tickets go on sale to the general public. You also have the same great seats all season and every year! Subscribers also have the opportunity to purchase tickets for special events before they are available to the general public! New season ticket patrons receive up to a 50% savings off the single ticket price. Established subscribers receive up to a 33% discount for their second year and all others (3+ year) subscribers save 20% off the full price. For subscriber services or to order, call the Box Office at (901) 537-2525 or visit www.MemphisSymphony.org.

88 www.MemphisSymphony.org Single Tickets: Tickets for all events are available through the MSO Box Office by phone, in person, or online at www.MemphisSymphony.org. Please note that vouchers and coupons may only be redeemed at the MSO office and must be done in person.

Gift Certificates: Give the gift of music! Gift certificates to the Memphis Symphony Orchestra may be purchased in any denomination. Please call the Box Office at (901) 537-2525 for details.

Refunds/Exchanges: There are no refunds or exchanges on single ticket purchases or returned tickets. Subscribers have the benefit of exchanging their subsription tickets. All subscription ticket exchanges are subject to availability. Ticket exchanges must be made at least 24 hours before the date of the original performances.

Lost Tickets: Subscribers can have lost tickets reprinted by calling the Box Office at (901) 537-2525 or visiting the Box Office prior to the concert.

Student/Child Tickets: Student Tickets are available for $5.00 (plus applicable processing fees, excluding Memphis Messiah, Nutcracker, Symphony in the Gardens and Opus One series) to regular series concerts based on availability. Please come to the box office prior to the performance. Students must show a valid student ID. A maximum of 1 ticket per ID is available. All discount tickets are subject to availability.

Group Discounts: For more information, call our Box Office at (901) 537-2525.

Other Information • Please turn off all cell phones and pagers when the performance begins. • Food and beverages are not allowed in the concert halls. • Lost and Found is located at the box office. Management is not responsible for lost, stolen or damaged property. • Restrooms are located off the main floor, lobby and balcony areas of the concert hall. Facilities for wheel chair bound patrons are also available in each main floor restroom.

First Aid • Contact an usher for assistance. • Emergency Evacuation – In case of a fire or other emergency, please use the exit nearest to your seat, indicated by a lighted Exit sign. This is the shortest route out of the performing arts center. Please be sure to walk to the exit – do not run.

All concerts and performers are subject to change with or without notificiation.

For Tickets 901-537-2525 Follow the Memphis Symphony! 89 Pure Entertainment

Nationally recognized for creative quality and community vision. Join us for a stellar season with a variety of entertaining shows in our 2012-13 season. See classics, comedies, musicals and new works on the Lohrey Stage and Next Stage. Memberships include six tickets to use in any combination on any unrestricted show and Member Card benefits are all part of your Membership,including discounts on adult tickets to A Christmas Carol, TM’s special events and ShoWagon children’s camps. Season Memberships may be purchased through November 30, 2012 for only $120.

Purchase individual tickets online at www.theatrememphis.org

or call 901.682.8323 to become a member. photos by Skip Hooper 2011-12 production

2012-13 Season

FIDDLER ON THE ROOF A CHRISTMAS CAROL* SYLVIA Aug 24 – Sept 16, 2012 Nov 30 – Dec 23, 2012 April 5 – 21, 2013 TALLEY’S FOLLY SIX DEGREES OF BRIGHTON BEACH Sept 21 – Oct 7, 2012 SEPARATION MEMOIRS Jan 25 – Feb 10, 2013 April 26 – May 12, 2013 DANGEROUS LIAISONS Oct 12 – 28, 2012 A STEADY RAIN SINGIN’ IN THE RAIN Feb 15 – March 3, 2013 June 7 – 30, 2013 ALTAR BOYZ Nov 2 – 18, 2012 A CHORUS LINE *Not part of the season membership Jan 11 – 20, 2013 March 8 – 30, 2013 but members do get discounts on A Christmas Carol tickets.

UNRIVALED PERFORMANCE. UNENDING APPLAUSE.

Season Presenting Sponsor Season sponsored by Generous support received from Arthur F. and Alice E. Adams Foundation

PURCHASE TICKETS ONLINE WWW.THEATREMEMPHIS.ORG OR CALL 682.8323 Bon Appétit, Y’all

Sample our food section with a distinctive Southern flavor in Wednesday’s paper and online at facebook.com/sotastes

For home delivery, call 529.2666 92 www.MemphisSymphony.org