Annual Report by the Numbers

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report by the Numbers 2017/18 ANNUAL REPORT The Nashville Symphony inspires, entertains and educates through excellence in musical performance. BY THE NUMBERS 193,252 tickets sold $10.7 MILLION in ticket sales 190 performances 137 ticketed concerts at Schermerhorn Symphony Center 27 free concerts featuring the orchestra 22 performances with Nashville Ballet 4 ticketed concerts at Ascend Amphitheater $8.2 MILLION in donations from the community 83 full-time musicians 65,300 Middle Tennesseans reached through free education and community engagement programs 64,000 hours of hands-on instruction, concerts and interactive performances provided to children and adults across the region 2 GRAMMY® Awards & 4 GRAMMY® nominations (bringing the Nashville Symphony’s total to 13 GRAMMY® Awards and 24 nominations) ARTISTIC HIGHLIGHTS The Nashville Symphony fulfilled its ongoing commitment toAmerican music through: Live recordings of works by Christopher Rouse, Jonathan Leshnoff and Tobias Picker for forthcoming releases on Naxos Two new releases on Naxos: Terry Riley’s The Palmian Chord Ryddle | At the Royal Majestic Wind Concertos, featuring works by Frank Ticheli, Behzad Ranjbaran and Brad Warnaar, and featuring solo performances by principal clarinet James Zimmermann, principal flute Érik Gratton and principal horn Leslie Norton Two GRAMMY® Awards, including Best Classical Compendium and Best Classical Composition, in recognition of Jennifer Higdon’s All Things Majestic Browse a complete list of recordings at NashvilleSymphony.org/recordings. Composer and conductor John Williams joined the Nashville Symphony onstage for its sold-out opening gala concert. The second Composer Lab & Workshop showcased the work of four young composers: Emily Cooley, James Diaz, Liliya Ugay and Shen Yiwen. Led by Giancarlo Guerrero and Aaron Jay Kernis, this program provides emerging composers with the opportunity to develop their talents, gain hands-on experience working with an orchestra and showcase their work for a live audience. Learn more at NashvilleSymphony.org/ComposerLab. Highlights of the Aegis Sciences Classical Series included Beethoven’s Fifth Symphony, Haydn’s The Creation, Strauss’ Also sprach Zarathustra, Mahler’s Fifth Symphony and Verdi’s Requiem, as well as contemporary works by C.F. Kip Winger, Christopher Rouse, Esa-Pekka Salonen, Jonathan Leshnoff and Enrico Chapela. Guest soloists included pianist André Watts, violinist Jennifer Koh, guitarist Jason Vieaux and cellist Johannes Moser. The new Sunday Matinee Series featured soloists Nadja Salerno-Sonnenberg, Orli Shaham, James Ehnes and others in collaboration with the Nashville Symphony and the Nashville Symphony Chorus. VIOLINS OF HOPE NASHVILLE Led by the Nashville Symphony and the Jewish Federation of Nashville, Violins of Hope Nashville was a community-wide initiative with 27 partners and 60 events, all revolving around a collection of restored instruments played by Jewish musicians during the Holocaust. Over the course of several months, this initiative drove the creation of music, visual art, theater, readings and educational activities, reaching a total of 45,000 people. The Nashville Symphony received a $20,000 Art Works grant from the National Endowment for the Arts in support of the world premiere of Jonathan Leshnoff’s Symphony No. 4 “Heichalos,” which was recorded for forthcoming release on Naxos. The work was performed on instruments from the Violins of Hope collection. Learn more at ViolinsofHopeNashville.org. ORGANIZATIONAL GROWTH To plan for and respond to a changing landscape, the Nashville Symphony is in the first year of a multi-year diversity, equity and inclusion planning process, after spending a year laying the groundwork via leadership training and organizing. In recognition of this vital work, the Nashville Symphony received grant awards from the League of American Orchestras and Metro Arts, Nashville’s Office of Arts and Culture. 2 NASHVILLE SYMPHONY | 2017/18 ANNUAL REPORT EDUCATION & COMMUNITY ENGAGEMENT The Nashville Symphony provides an array of free education and engagement opportunities at Schermerhorn Symphony Center and throughout Middle Tennessee. Many programs align with state academic standards and provide lesson plans and other resources to participating educators. Learn more at NashvilleSymphony.org/education. Accelerando is designed to prepare gifted young students of diverse ethnic backgrounds to pursue music at the collegiate level and beyond. In the 2017/18 season, nine students participated in the program, receiving mentorship and private lessons, performance and masterclass opportunities, music theory and history coursework, and opportunities to attend summer performance workshops — all offered at no cost. The Young People’s Concerts series for students in grades K-12 reached 12,790 students over 10 concerts. Selected programs tied in to the Violins of Hope Nashville initiative, featuring music by Amy Beach, William Grant Still and John Williams. Teachers received downloadable curriculum with lesson plans and music. Symphony musicians visited schools around Middle Tennessee to offer instruction and coaching for band and orchestra students via the Sectionals program, reaching 2,381 students in total. Curb Open Dress Rehearsals offered opportunities for student groups to experience Nashville Symphony rehearsals with soloists including André Watts, Jennifer Koh and Pinchas Zukerman, reaching 1,016 attendees in total. With the Ensembles in the Schools program, which reached 1,956 students this season, Nashville Symphony musicians presented age-appropriate small-ensemble concerts for young listeners. An interactive program offered in partnership with the Country Music Hall of Fame® that explores the connections between classical and country music, Is It a Fiddle or a Violin? reached 1,000+ students. Free Day of Music, an annual event featuring more than 20 local performing groups, welcomed 11,100 people to the Schermerhorn for a full day and night of performances, all free of charge. Community Concerts brought the Nashville Symphony to outdoor locations across the mid-state area, from urban neighborhoods to outlying communities, reaching 8,600 participants. The Chamber Music Series featured small groups of Symphony musicians performing in an intimate setting, free of charge. Programs covered a wide range of repertoire, including music and stories of composers affected by the Holocaust. As part of its Family Series, the Nashville Symphony integrated support for children with sensory sensitivities. Each of the four concerts featured classical repertoire, along with flexible and accessible seating, closed captioning, learning tools, quiet spaces and trained staff. “Our school is comprised of a wide span of cultural backgrounds, and over 53% receive free/reduced lunches. Many of our students have never heard classical music anywhere but at school in music class from a recording. The opportunity to hear classical music played live by professional musicians in such a grand venue as the Schermerhorn is invaluable.” —Julie Duel, Johnson Elementary School, October 2017 NASHVILLE SYMPHONY | 2017/18 ANNUAL REPORT 3 NASHVILLE SYMPHONY ASSOCIATION SOURCES OF FUNDS | 2016/17 STATEMENTS OF FINANCIAL POSITION July 31, 2017 and 2016 July 2017 July 2016 ASSETS Current assets Cash and cash equivalents $8,078,176 $6,174,215 Accounts receivable 1,023,066 763,713 Prepaid expenses and other assets 1,088,412 1,307,714 64% PROGRAM REVENUE Certificates of deposit 2,400,000 - 33% SUPPORT Contributions receivable, net 2,154,849 2,388,468 3% CASH RESERVES Other receivable 112,315 3,368,099 Total current assets 14,856,818 14,002,209 Noncurrent assets Certificates of deposit - 2,400,000 Contributions receivable, net 2,086,576 3,119,333 USES OF FUNDS | 2016/17 Investments 841,571 747,862 Beneficial interests in trusts 10,081,049 9,669,101 Property and equipment, net 77,614,930 79,384,458 Total noncurrent assets 90,624,126 95,320,754 Total Assets $105,480,944 $109,322,963 LIABILITIES AND NET ASSETS Current liabilities 73% PROGRAMS Accounts payable and accrued liabilities 805,868 $619,367 11% ADMINISTRATIVE Deferred revenues 6,216,741 6,040,278 11% MARKETING Note payable – current 632,192 650,000 5% FUNDRAISING Total current liabilities 7,654,801 7,309,645 Long-term liabilities Note payable 20,000,000 20,632,192 Total long-term liabilities 20,000,000 20,632,192 THANK YOU TO OUR Total liabilities 27,654,801 27,941,837 GOVERNMENT PARTNERS Net assets Unrestricted 68,700,467 70,836,050 Temporarily restricted 6,435,510 7,906,605 Permanently restricted 2,690,166 2,638,471 Total net assets 77,826,143 81,381,126 Total liabilities and net assets $105,480,944 $109,322,963 4 NASHVILLE SYMPHONY | 2017/18 ANNUAL REPORT.
Recommended publications
  • 559288 Bk Wuorinen US
    559373-74 bk Lincoln US 12/12/08 12:58 PM Page 16 Also available: AMERICAN CLASSICS ABRAHAM LINCOLN PORTRAITS Ives • Persichetti • Harris • Bacon Gould • McKay • Turok • Copland Nashville Symphony • Leonard Slatkin 8.559328 2 CDs 8.559373-74 16 559373-74 bk Lincoln US 12/12/08 12:58 PM Page 2 ABRAHAM LINCOLN PORTRAITS Also available: CD 1 60:54 1 Charles Ives (1874-1954): Lincoln, the Great Commoner 3:39 2 Vincent Persichetti (1915-1987): A Lincoln Address, Op. 124 13:22 3 Roy Harris (1898-1979): Abraham Lincoln Walks at Midnight 14:10 Ernst Bacon (1898-1990): Ford’s Theatre: A Few Glimpses of Easter Week, 1865 29:43 4 Preamble 1:43 5 Walt Whitman and the Dying Soldier 2:42 6 Passing Troops 2:42 7 The Telegraph Fugue (an Etude for Strings - with Timpani) 5:07 8 Moonlight on the Savannah 2:03 9 The Theatre 1:26 0 The River Queen 2:26 ! Premonitions (a duett with a hall clock) 1:51 @ Pennsylvania Avenue, April 9, 1865 3:35 # Good Friday, 1865 3:15 $ The Long Rain 1:17 % Conclusion 1:35 CD 2 51:43 1 Morton Gould (1913-1996): Lincoln Legend 16:36 George Frederick McKay (1899-1970): To a Liberator (A Lincoln Tribute) 11:18 2 Evocation 3:10 3 Choral Scene 2:49 4 March 2:06 5 Declaration 0:43 6 Epilogue 2:30 7 Paul Turok (b. 1929): Variations on an American Song: Aspects of Lincoln and Liberty, Op. 20 9:18 8 Aaron Copland (1900-1990): Lincoln Portrait 14:31 Publishers: Edwin F.
    [Show full text]
  • Joan TOWER Violin Concerto Stroke Chamber Dance
    AMERICAN CLASSICS Joan TOWER Violin Concerto Stroke Chamber Dance Cho-Liang Lin, Violin Nashville Symphony Giancarlo Guerrero Joan Tower (b. 1938) Violin Concerto memorializing Oliveira’s love for his sibling. The middle section, with its Ravel-like woodwind murmurings, opens Stroke • Violin Concerto • Chamber Dance The composer first met violinist Elmar Oliveira while she with the opening whole-step idea given particular Like all good composers, Joan Tower brings to her writing capabilities. Her first concerto, Music for Cello and was working as composer-in-residence for the St. Louis poignancy by octave displacement. It reaches great desk life and musical experiences that inform her music in Orchestra, was written for the group’s cellist, and she has Symphony. “The first time he heard my music, he really heights of emotional intensity before segueing effortlessly unique ways. These include her childhood in South since composed concerti for the other four instruments in liked it,” she says. Eventually he told her, “You know, I just into the “finale,” the beginning of which is marked by a America, her formal education and her work as a the ensemble. She has held orchestral residencies with love your music, and I would like you to write a piece for descending whole step from pizzicato strings. professional chamber-music player. A member of the the St. Louis Symphony Orchestra (1985-88), the me.” Tower set out to compose a work that would generation that broke the glass ceiling for female Orchestra of St. Luke’s (1997-2007) and the Pittsburgh highlight traits she greatly admired in Oliveira’s technique.
    [Show full text]
  • My Father Knew Charles Ives Harmonielehre
    AMERICAN CLASSICS JOHN ADAMS My Father Knew Charles Ives Harmonielehre Nashville Symphony Giancarlo Guerrero John Adams (b. 1947) My Father Knew Charles Ives • Harmonielehre My Father Knew Charles Ives is an intriguing, allusive with his father in the local Nevers’ Second Regimental reaches its apex, however, the music suddenly subsides, woodwinds introduce an insistent D (suggesting a title. But, as composer John Adams freely admits, his Band). When the parade begins (at 5:38), Adams mirroring “a moment of sudden, unexpected astonishment functional seventh chord, perhaps?), but the prevailing E father never met the iconoclastic New England composer, conjures up an Ivesian Fourth of July, although in this after a hard-won rush to the top.” minor triad persists, driven by a constant quarter-note much less knew him personally. In his memoir, Hallelujah instance the tunes only sound familiar. Rather than At the time he completed Harmonium for the San pulse in the bass and flurries of eighth notes in the rest of Junction: Composing an American Life (Farrar, Straus quoting established melodies as Ives often did, Adams Francisco Symphony and Chorus in 1981, Adams described the strings (and eventually woodwinds). The harmony and Giroux, 2008), he notes similarities between his creates his own. “Only a smirk from trumpets playing himself as “a Minimalist who is bored with Minimalism.” steadily thickens and becomes more complex until the father and George Ives, Connecticut bandmaster and Reveille and, in the coda, a hint of Ives’ beloved Nearer He was an artist who needed to move on creatively but pounding pulse relaxes and eases into a second “theme” father of Charles: “Both fathers were artistic and not My God to Thee are the genuine article,” he says.
    [Show full text]
  • LEONARD BERNSTEIN Symphony No
    GUERRERO CONDUCTS BERNSTEIN with the NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, APRIL 5 & 6, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JUN IWASAKI, violin LAILA ROBINS, speaker CONCERT PARTNER MARY WILSON, soprano NASHVILLE SYMPHONY CHORUS TUCKER BIDDLECOMBE, chorus director BLAIR CHILDREN’S CHORUS MARY BIDDLECOMBE, artistic director MICHAEL TORKE Adjustable Wrench KURT WEILL Concerto for Violin and Wind Orchestra, Op. 12 Andante con moto Notturno-Cadenza-Serenata Allegro molto, un poco agitato Jun Iwasaki, violin – INTERMISSION – LEONARD BERNSTEIN Symphony No. 3, “Kaddish” (1963 version) I. Invocation — Kaddish 1 II. Din-Torah — Kaddish 2 III. Scherzo — Kaddish 3 — Finale Laila Robins, speaker Mary Wilson, soprano Nashville Symphony Chorus Blair Children’s Chorus This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY. This concert will last 2 hours, including a 20-minute intermission. INCONCERT 23 TONIGHT’S CONCERT AT A GLANCE MICHAEL TORKE Adjustable Wrench • Michael Torke emerged on the new music scene in the 1980s with a style that combines elements of Minimalism, jazz and popular music. Adjustable Wrench dates from 1987 and comes from a body of work that reflects an array of influences ranging from Bartók and Philip Glass to Chaka Khan and the Talking Heads. • Torke originally composed this piece for a chamber ensemble of 15 players divided into three groups, each comprised of four instruments paired with a keyboard instrument: woodwinds with piano, brass with marimba, and strings with a synthesizer. The composer however, adapted the score to make it suitable for an orchestra by allowing the string parts to be performed by multiple musicians.
    [Show full text]
  • WORLD CLASS Right Here
    WORLD CLASS Right Here Giancarlo Guerrero, Music Director Your Nashville Symphony 2020/21 Season — Take Your Seat YOUR 13-TIME GRAMMY-WINNING ORCHESTRA Does It All Classical Captivating Masterworks of Yesterday, Today & Tomorrow Pops Symphonic Celebrations & Star-Studded Headliners BlockbustersMovies with Live Orchestra Family Symphony for Little Ones & Their Folks Jazz Straight-Ahead, Smooth, Swing WORLD CLASS. RIGHT HERE. YOUR NASHVILLE SYMPHONY 2020/21 SEASON HIGHLIGHTS Opening Weekend: Her Story September 10-12, 2020 Be here for the world premiere and live recording of Pulitzer Prize-winning composer Julia Wolfe’s Her Story. Written to honor the centennial of the 19th Amendment, this powerful new work for orchestra and female vocal ensemble Lorelei is Wolfe’s latest composition to explore significant moments in the people’s history of America. This concert will also feature three other generations of women composers: Florence Price, Joan Tower and Composer Lab Fellow SiHyun Uhm, each of whom possesses a singular musical voice. Mozart Fest Winter 2021 This three-week festival, curated and conducted by Maestro Guerrero, kicks off with the Academy Award-winning film Amadeus, with your Nashville Symphony performing the score live. Next, Mozart’s Greatest Hits will feature his “Jupiter” Symphony No. 41 and “Elvira Madigan” Piano Concerto No. 21. We’ll close with a semi-staged version of his comic opera The Marriage of Figaro. Pinchas Zukerman Double Header Spring 2021 Following knockout performances in 2018, one of the world’s greatest violinists returns. First, Zukerman takes the podium to conduct and solo with your Nashville Symphony. The following week, Maestro Guerrero conducts as the orchestra, Zuckerman and cellist/spouse Amanda Forsyth perform Avner Dorman’s Double Concerto – which explores the couple’s relationship as soloists and soul mates, and was written especially for them.
    [Show full text]
  • Paul Jacobs • Christoph Bull • Frederick Swann • Craig Williams FEB
    AMERICAN COMPOSERS FESTIVAL 2016 ORGAN SPLENDOR Paul Jacobs • Christoph Bull • Frederick Swann • Craig Williams FEB. 4-6 classical series SEGERSTROM CENTER FOR THE ARTS RENÉE AND HENRY SEGERSTROM CONCERT HALL presents 2015-16 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES Performance begins at 8 p.m. Preview talk with Alan Chapman begins at 7 p.m. CARL ST.CLAIR • CONDUCTOR | PAUL JACOBS • FESTIVAL CURATOR AND ORGAN CHRISTOPH BULL • ORGAN | PACIFIC CHORALE — JOHN ALEXANDER • ARTISTIC DIRECTOR AMERICAN COMPOSERS FESTIVAL 2016 Organ Splendor Wayne Oquin (b. 1977) Resilience for Organ and Orchestra (WORLD PREMIERE) Paul Jacobs Morten Lauridsen (b. 1943) Lux Aeterna Introitus In Te, Domine, Speravi O Nata Lux Veni, Sancte Spiritus Agnus Dei Christoph Bull Pacific Chorale INTERMISSION William Bolcom (b. 1938) Humoresk for Organ and Orchestra Christoph Bull Stephen Paulus (1949–2014) Pilgrims’ Hymn Pacific Chorale Concerto No. 4 for Organ and Orchestra I. Robust II. Soaring III. Whirling; with Agitation Paul Jacobs The 2016 American Composers Festival is supported by PACIFIC SYMPHONY PROUDLY RECOGNIZES ITS OFFICIAL PARTNERS Official Hotel Official Television Station ACF Media Sponsor Official Classical Radio Station The Saturday, Feb. 5, performance is being recorded for broadcast on Sunday, March 13, at 7 p.m. on Classical KUSC. 2 • Pacific Symphony NOTES by michael clive What to Listen For Critics praise Oquin for his spiritually intense musical expression, which connects listeners with inner emotions while reaching outward for the eternal. The San Francisco Examiner, in a review of Oquin’s Reverie, noted that “The dreamlike spirit of the title was established by the composer through tones and chords sustained for considerable duration.
    [Show full text]
  • Program Notes
    with the NASHVILLESYMPHONY CLASSICAL SERIES THURSDAY, FEBRUARY 21, AT 7 PM | FRIDAY & SATURDAY, FEBRUARY 22 & 23, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CONCERT PARTNER ALBAN GERHARDT, cello AARON JAY KERNIS Symphony No. 4, “Chromelodeon” Out of Silence Thorn, Rose | Weep, Freedom (after Handel) Fanfare Chromelodia SAMUEL BARBER This weekend's performances are made Concerto for Cello and Orchestra, Op. 22 possible through the generosity of Allegro moderato Drs. Mark & Nancy Peacock. Andante sostenuto Molto allegro ed appassionato Alban Gerhardt, cello – INTERMISSION – LUDWIG VAN BEETHOVEN Symphony No. 7 in A Major, Op. 92 Poco sostenuto – Vivace Allegretto Presto Allegro con brio This concert will last 1 hour and 55 miutes, including a 20-minute intermission. INCONCERT 33 TONIGHT’S CONCERT AT A GLANCE AARON JAY KERNIS Symphony No. 4, “Chromelodeon” • New York City-based composer Kernis has earned the Pulitzer Prize in Music and the prestigious Grawemeyer Award, as well a 2019 GRAMMY® nomination for Best Contemporary Classical Composition. (Winners had not yet been announced at the time of the program guide’s printing.) He also serves as workshop director for the Nashville Symphony’s Composer Lab & Workshop. • The title of his latest symphony, “Chromelodeon,” comes from an unusual word previously used by maverick American composer Harry Partch to describe one of his musical inventions. As defined by the composer, this word aptly describes his own creation here: “chromatic, colorful, melodic music performed by an orchestra.” • The idea of color is especially significant in Kernis’ work, as the composer has synesthesia, a condition that associates specific notes and chords and with distinct colors.
    [Show full text]
  • Brahms' Violin Concerto
    CLASSICAL SERIES BRAHMS’ VIOLIN CONCERTO FRIDAY & SATURDAY, OCTOBER 25 & 26, 2019, AT 8 PM SUNDAY, OCTOBER 27, 2019, AT 2 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor KAREN GOMYO, violin ANTONIN DVOŘÁK Slavonic Dance, Op. 46, No. 1 - 4 minutes JOHANNES BRAHMS Concerto in D major for Violin and Orchestra, Op. 77 - 38 minutes I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace Karen Gomyo, violin – INTERMISSION – JOHN ADAMS My Father Knew Charles Ives - 28 minutes Concord The Lake The Mountain CHARLES IVES Three Places In New England (Version 4: restored and edited by James Sinclair) - 19 minutes The “St. Gaudens” in Boston Common (Col. Shaw and his Colored Regiment) Putnam's Camp, Redding, Connecticut The Housatonic at Stockbridge This concert will last two hours and five minutes, including a 20-minute intermission. 28 OCTOBER 2019 CLASSICAL PROGRAM SUMMARY Composers may seem to create their singular visions in isolation, but the task of bringing new music to life depends on engagement with long-standing traditions, with other performers and sometimes with other composers. This program is built around two pairs of composers who share certain attitudes and practices. Dvořák and Brahms were actual contemporaries. The former’s Slavonic Dances paved the way for his international breakthrough, and their publication was facilitated by a helpful word from Brahms — who supplied the folk music model from which his colleague drew. Around the same time, Brahms composed his Violin Concerto with helpful advice from its intended soloist, in the process creating one of the most beloved concertos in the repertoire.
    [Show full text]
  • SAMUEL BARBER the Nashville Symphony Is Grateful for Adagio for Strings Support from Violins of Hope Nashville Project Donors
    GUERRERO CONDUCTS THE VIOLINS of HOPE CLASSICAL SERIES THURSDAY, MARCH 22, AT 7 PM | FRIDAY & SATURDAY, MARCH 23 & 24, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CLASSICAL SERIES JUN IWASAKI, violin JONATHAN BISS, piano PRESENTING PARTNER JOHN WILLIAMS Three Pieces from Schindler’s List Theme from Schindler’s List Jewish Town Remembrances WITH SUPPORT FROM: Jun Iwasaki, violin ROBERT SCHUMANN Concerto in A Minor for Piano and Orchestra, Op. 54 Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace Jonathan Biss, piano - INTERMISSION- JONATHAN LESHNOFF Jonathan Leshnoff's Symphony No. 4 Symphony No. 4, “Heichalos” is made possible in part by a Creation Part 1: Fast: H Binah Project Grant from Metro Arts and an Art Works grant from the National Part 2: Slow Endowment for the Arts. World Premiere | Nashville Symphony Commission SAMUEL BARBER The Nashville Symphony is grateful for Adagio for Strings support from Violins of Hope Nashville project donors. This concert will last approximately two hours, including intermission. This concert is being recorded live for a forthcoming release on Naxos. To ensure the highest-quality recording, please keep noise to a minimum. TONIGHT’S CONCERT AT A GLANCE This concert is part of Violins of Hope Nashville, a citywide collaboration exploring music, art, social justice and free expression. Learn more at ViolinsofHopeNashville.org. JOHN WILLIAMS Three Pieces from Schindler’s List • Originally featured in Steven Spielberg’s 1993 film, these three selections from the score are representative of key themes from the movie, which tells the story of Oskar Schindler, the German industrialist who saved more than 1,000 Jews during the Holocaust.
    [Show full text]
  • Press Kit About the Nashville Symphony
    Nashville Symphony 2019/2020 Press Kit About the Nashville Symphony ed by music director Giancarlo Guerrero, the Nashville Symphony has been professional orchestra careers. Currently, 20 participating students receive individual Lan integral part of the Music City sound since 1946. The 83-member ensemble instrument instruction, performance opportunities, and guidance on applying to performs more than 150 concerts annually, with a focus on contemporary American colleges and conservatories, all offered free of charge. orchestral music through collaborations with composers including Jennifer Higdon, Terry Riley, Joan Tower and Aaron Jay Kernis. The orchestra is equally renowned for Schermerhorn Symphony Center, the orchestra’s home since 2006, is considered one of its commissioning and recording projects with Nashville-based artists including bassist the world’s finest acoustical venues. Named in honor of former music director Kenneth Edgar Meyer, banjoist Béla Fleck, singer-songwriter Ben Folds and electric bassist Victor Schermerhorn and located in the heart of downtown Nashville, the building boasts Wooten. distinctive neo-Classical architecture incorporating motifs and design elements that pay homage to the history, culture and people of Middle Tennessee. Within its intimate An established leader in Nashville’s arts and cultural community, the Symphony has design, the 1,800-seat Laura Turner Hall contains several unique features, including facilitated several community collaborations and initiatives, most notably Violins soundproof windows, the 3,500-pipe Martin Foundation Concert Organ, and an of Hope Nashville, which spotlighted a historic collection of instruments played by innovative mechanical system that transforms the hall from theater-style seating to a Jewish musicians during the Holocaust.
    [Show full text]
  • Contact Us at 615.687.6494 Or [email protected] the Power of Corporate Partnerships
    NASHVILLE SYMPHONY INSPIRE. ENTERTAIN. EDUCATE. 3 OUR VISION FOR NASHVILLE SYMPHONY | SCHERMERHORN SYMPHONY CENTER THE NASHVILLE SYMPHONY INSPIRES, ENTERTAINS AND EDUCATES THE FUTURE THROUGH EXCELLENCE IN MUSICAL PERFORMANCE. Dear Friends: Our community is in the midst of a transformative period, and so is the Nashville Symphony. Building on our six-decade history of performing exciting and soul-stirring music, we continue to grow and innovate, and we 2018 Highlights, By the Numbers: remain devoted to making music accessible for everyone in our community. Finding new and vibrant ways to connect with listeners of all ages, backgrounds and life experiences. Celebrating American music. Driving creative partnerships and projects. These are the strategic initiatives that propel us forward. 137 ticketed concerts at Schermerhorn Symphony Center This work, accomplished daily by 83 world-class musicians, along with the Symphony’s administrative staff, volunteers and board, helps to cement our purpose as a community-focused organization. 4 ticketed concerts at Ascend Amphitheater This brochure shares some information about who we are and what we do – groundbreaking artistic projects, million in ticket sales internationally distributed recordings, impactful education programs and community engagement initiatives. $10.7 But equally important is why we do this work: tickets sold To create an orchestra that reflects the richness of the community we serve. 193,252 To share beauty and inspire joy. To create meaningful experiences for families, friends and neighbors. 27 83 To cultivate the next generation of artists, educators and leaders. FREE CONCERTS FULL-TIME MUSICIANS featuring the orchestra Because music matters. We are reimagining what it means to be an orchestra in the 21st century.
    [Show full text]
  • Beethoven's Fifth
    SPECIAL EVENT BEETHOVEN’S FIFTH WITH THE NASHVILLE SYMPHONY CLASSICAL SERIES THURS., OCTOBER 5, AT 7 PM | FRI. & SAT., OCTOBER 6 & 7, AT 8 PM | SUN., OCTOBER 8, AT 3 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor THANK YOU TO JAMES EHNES, violin OUR PARTNER CHRISTOPHER ROUSE Symphony No. 5 Nashville Symphony co-commission BENJAMIN BRITTEN Concerto No. 1 for Violin and Orchestra, Op. 15 SERIES PRESENTING PARTNER I. Moderato con moto II. Vivace III. Passacaglia: Andante lento (un poco meno mosso) James Ehnes, violin INTERMISSION LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Op. 67 Allegro con Brio Andante con moto Allegro Allegro Christopher Rouse’s Symphony No. 5 is being recorded live for commercial release. to conduct a partnership with the To ensure the highest-quality recording, please keep noise to a minimum. Nashville Symphony to make our community a better place to live and work. INCONCERT 15 TONIGHT’S CONCERT CHRISTOPHER Composed: 2014-15 First performance: February 9, 2017, with Jaap ROUSE van Zweden conducting the Dallas Symphony AT A GLANCE Orchestra First Nashville Symphony performance: Born on February 15, 1949 CHRISTOPHER ROUSE in Baltimore, Maryland, These concerts mark the first performances by Symphony No. 5 where he currently the Nashville Symphony resides Estimated length: 25 minutes CLASSICAL • Christopher Rouse is one of America’s leading composers, with numerous works and a Pulitzer Prize to his credit. The New York Philharmonic’s recording of his Symphonies No. 3 and 4 was named one of NPR’s Best 50 Albums of 2016. Symphony No. 5 • Co-commissioned by the Nashville Symphony, American composer Christopher Rouse’s Symphony No.
    [Show full text]