GUERRERO CONDUCTS THE VIOLINS of HOPE

CLASSICAL SERIES

THURSDAY, MARCH 22, AT 7 PM | FRIDAY & SATURDAY, MARCH 23 & 24, AT 8 PM

NASHVILLE SYMPHONY , conductor CLASSICAL SERIES JUN IWASAKI, violin , 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 , art, social justice and free expression. Learn more at ViolinsofHopeNashville.org.

JOHN WILLIAMS Three Pieces from Schindler’s List

• Originally featured in ’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 . Williams’ music also captures what the composer calls “the more tender and nostalgic aspects of Jewish life.” • At Spielberg’s suggestion, Israeli-born violinist performed the solo on the score. Nashville Symphony concertmaster Jun Iwasaki will take on that role tonight. Concerto in A Minor for Piano and Orchestra, Op. 54

• Schumann’s only began in 1841 as a single-movement “Phantasie,” which he wrote for his wife Clara, a celebrated concert pianist. Four years later, he decided to expand the work into a complete concerto, reworking the Phantasie for the first movement and adding two more movements. • The innovative nature of the concerto lies in the seamless interactions between piano and orchestra. This was the composer’s hope for the genre. Prior to completing the concerto, he wrote, “[W]e must await the genius who will show us in a newer and more brilliant way how orchestra and piano may be combined, how the soloist...may unfold the wealth of his instrument and his art, while the orchestra…may interweave its manifold facets into the scene.” JONATHAN LESHNOFF Symphony No. 4 “Heichalos”

• -based composer Leshnoff brings his deep interest in Jewish spirituality to time-tested classical forms. Commissioned by the Nashville Symphony, and to be recorded for release on Naxos, this symphony is inspired by an ancient Jewish text that “describes the way to attain a mystical encounter with the higher worlds,” the composer explains. • The work is divided into two parts, with the dark tone and thick orchestration of Part One conveying the frightening experience of confronting the divine. Characterized as “a love song between humanity and God,” Part Two is much lighter and more transcendent in tone. • Leshnoff wrote this work with the Violins of Hope — a collection of restored instruments that survived the Holocaust — specifically in mind. “I see the Violins of Hope as the physical embodiment of…Jewish survival,” he explains. “And I see my symphony as a representation of the spiritual/ ethical embodiment of this Jewish survival.” Adagio for Strings

• An adaptation of the second movement from his in B Minor, Barber’s Adagio for Strings catapulted him to fame after and the NBC Symphony Orchestra performed it live on the radio in 1938. • The Adagio has come to serve as a go-to work for times of national mourning and reflection, having been performed upon the deaths of Franklin D. Roosevelt, John F. Kennedy, and , among others. It has been used in numerous film and TV soundtracks, including Oliver Stone’s Platoon.

—Corinne Fombelle & Thomas May unforgettably, Jones the most popular films decades: pastseveral the of 1967, for ofhistory Oscars, the 51years after his first win(in record as most-nominated the living person inthe for for Academy the Awards, Score for Original Best B the morethe tender of and Jewish aspects nostalgic dramatic music, but themes that also reflected story…offered an opportunity to create not only soundtrack. Perlman, is who given aprominent role inthe tradition was to bring violinist inthe Itzhak did suggest to tap into of classical the legacy the ‘I know, but they’re dead.’ all ”One thing Spielberg composer than Iam to film.’ dothis Andsaid, he Steven Spielberg], ‘Steven, you abetter need could barely Iremember speak. saying to [director W of television scores. supplementedis further by an evenlarger number Steven Spielberg. His vast cataloguescores of film to composer’s the long-term partnership with Williams’ music has accompanied some of the According to Williams, “the film’s ennobling moreLasting than three hours, period the Star Wars: TheLast Jedi Three Pieces from Star WarsStar Williams had received his 51st nomination program this time y the went to press, John films, cut of of cut illiams that recalls he when firstsaw a Valley of the Dolls E.T. blockbusters, Schindler’s List Schindler’s List , the , the Harry Potter Schindler’s List , thus breaking his own ). ). Angeles currently resides inLos 1932, inNew York City; Born onFebruary 8, WILLIAMS TOWNER JOHN Jaws , “I moved was so I , another testament WHAT TO LISTEN FOR , the , the series and, series Indiana

Estimated length: Schindler’s List first performances full ofThree Pieces from Kathryn Van Osdale, butthese are theorchestra’s performed March 8&9, 1996,withsoloist Mary The Themefrom First Nashville Symphonyperformance: released onDecember 15,1993. composed for thefilm First performance: Composed: industrialist situated inPoland and former inthe Oskar (1908-1974),was aGerman Schindler figures theduring Holocaust. The figure,title Ark writer Thomas Keneally’s 1982 novel drama Time” for No.1 spot in AFI’s “100Greatest Scores Film of All Films of Time. All (Williams himself holds the Institute’sFilm list of The 100 Greatest American in Jerusalem on Mount Zion. Righteous Among Nations, the and he was buried In Israeli 1963the government named him were employed as slave laborers at his factories. savedSchindler lives the of some 1,100 Jews who Czechoslovakia. Amember of Nazi the Party, harp and strings. 3 horns, 3trombones, timpani, percussion, celesta, doubling bass clarinet), 2bassoons, contrabassoon, and piccolo), oboe, English horn, 3clarinets (3rd scored for 3flutes (2nd doubling alto, 3rd on alto In addition to solo violin, Williams’ Three Pieces are thematic elements of score.” the Schindler’s List — Winter ’41], Remembrances andfrom Theme performance —Jewish Town [Krakow Ghetto three pieces fromextracted score the for concert life during turbulent those years.” He later Schindler’s List , a fictional treatment , afictional of events real-life and Schindler’s List Star Star

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The composer managed to come to terms terms with to to come managed composer The The Phantasie was intended as a freestanding as a freestanding intended was Phantasie The stage of the Piano Concerto in A minor. In In Concerto in A minor. the Piano of stage and the Phantasie to returned 1845, Schumann more two adding original movement, his reworked design. three-movement the familiar complete to would Schumann concerto this the only is While of one created he it with the keyboard, for produce repertoire. Romantic the early of the landmarks a developing by the genre about reservations his orchestra and the soloist how of concept unique thinking “is His other. each to in relation operate which incorporates in the piano, grounded entirely in a single results it that the extent to the orchestra work Geck. “The writes resultant sound,” body of one a keyboard virtuoso but for a concerto not is the piano of sound in which the omnipresent a single create to the orchestra of that with merges the composer in this was sense that — it entity who Clara, interpreter, his with merge to hoped the score.” out him in writing even helped 1841, Schumann arrived at a sort of compromise: compromise: a sort of at arrived 1841, Schumann in one orchestra and piano for a “Phantasie” a to write in part fulfillpromise to his movement, his of feature A fundamental Clara. for concerto with in the diary shared she wrote Clara approach, the piano weave to managed he Robert, how was skillfully.” “most together orchestra and be to the embryonic also out turned it but work, that encodes an autobiographical dimension dimension autobiographical encodes an that compositions. in Schumann’s found frequently Italianspelling the outline (C-B-A-A) notes The in alludes which Schumann to name, Clara’s of = B in the H where (Chiara, well as works other this melodic idea addition, In German system). aria in Florestan’s the recalls hero the beginning of Beethoven’s Composed: in 1841) composed First performance: Ferdinand and as the soloist Schumann with Clara conducting Hiller Symphony performance: First Nashville William with music director 1947, April 29, Jesús María Sanromá and soloist Strickland length: Estimated

WHAT TO LISTEN FOR LISTEN TO WHAT Born on December 16, 16, on December Born 1770, in Bonn, Germany; 26, 1827, died on March in Vienna ROBERT SCHUMANN ROBERT

obert Schumann was born only 16 months 16 months born was only obert Schumann a deep shared and both Mendelssohn, after

Concerto in A Minor for Piano and Orchestra, Op. 54 and Orchestra, Piano in A Minor for Concerto point, the piano enters with a grand rhetorical rhetorical a grand with enters the piano point, ollowing the orchestra’s opening exclamation exclamation opening the orchestra’s ollowing There had been previous attempts at piano piano at attempts had previous been There Yet it took Schumann longer to establish establish to longer Schumann took it Yet

display hampered his inspiration. Finally, in Finally, inspiration. his hampered display of the genre with lightweight, empty virtuoso empty lightweight, with the genre of aspirations to become a soloist, which he later later which he a soloist, become to aspirations association the popular — but abandon to had concertos — Schumann himself started out with with started out himself — Schumann concertos and early in 1841 he sketched out his First First his out sketched in 1841 he early and days. of a matter within Symphony encouraged her husband to expand his ambitions, ambitions, his expand to husband her encouraged he experienced following his marriage to Clara to marriage his experiencedhe following in 1840. She pianist, concert a celebrated Wieck, catalyst was the newfound sense of confidence that that confidence sense of the newfound was catalyst to orchestral music, having devoted most of the of most devoted having music, orchestral to A major solo piano. for decade works to previous the 1840s that he seriously turned his attention attention his turned seriously he the 1840s that himself as a major musical figure. It wasn’t until until It wasn’t figure. musical a major as himself Schumann’s first child, Marie. Marie. child, first Schumann’s other, and Mendelssohn even became godfather to to became even godfather Mendelssohn and other, well as they did during the time they they as bothwell did during spent befriended composers two The each in Leipzig.” to explain why they understood each other as they other each understood why explain to out that they were “the first musicians to receive receive to musicians first “the they were that out helps doubt which no education, formal a proper his biography of Schumann, Martin Geck points Geck points Martin Schumann, of biography his served as sources of inspiration for their music. In In their music. for served inspiration of sources as R arts, which in turn the other and literature of love

part, a wistfully descending four-note phrase part, a wistfully four-note descending transformations. Especially significant is its first its first is Especially significant transformations. multiple parts, each of which leads to varied which leads to parts, each of multiple to the oboe and bassoon for the lengthy the lengthy the oboe bassoon for to and actually comprises This theme theme. central gesture of descending chords, and then cedes and chords, descending of gesture F

CLASSICAL sections ofsections what Schumann an “Intermezzo,” calls in character —evencoquettish outer —inthe language shared by piano and orchestra is lighter movements as asingle, interlinked entity. The a brisk, march-like variant on theme. the a quickening of ends first pace the movementwith richly follows imagined cadenza reprise the before to a“little dark lake…between rocks and trees.” A piano and clarinet that one early critic compared arrives of guise inthe agentle between dialogue of Schumann’s themes,“slow” the movement concerto. After afanfare-like working out of one a miniaturized version of athree-movement that so and first the mood movement contains his material into of sections contrasting tempo movement Phantasie, Schumann had organized during prolonged their and difficult courtship. and Clara regardedRobert as mirror their image architectural form.” fresh: inharmony and expression and inthe also to light shed new there’sbut so try something I’m not comfortable doing same the thing over, inpouring freshbelieve wine into flasks. these tested forms that have shown work. they But I quartet have endured are they “because time- He symphony, the believes concerto and string date. around world the have programmed his music to Philadelphia orchestras; more than 60orchestras Nashville, but from also Atlanta, the Baltimore and today on iscommissions based not only from leading American composers of orchestral music Jonathan Leshnoff. His stature as one the of major work new by Baltimore-based the composer O Schumann conceived of second the and third In its earlier incarnation as single- the This is especially This is especially apparentthe composer’s in Leshnofftraditionalthetakes formsseriously. World Premiere |Nashville SymphonyCommission Symphony No.4“Heichalos” and Nashville the Symphony introduce a program,n this Maestro Giancarlo Guerrero JONATHAN LESHNOFF Baltimore currently resides in September 8,1973; New Jersey, on Born inNew Brunswick,

Estimated length: performances. is givingtheworld premiere withthese First performance: Composed: and trumpets, along with timpani and strings. for pairs of flutes, oboes, clarinets, bassoons, horns In addition to the solo piano, the Concerto scored is and orchestra have share. equal music of irresistible affirmation which in piano firsttwo movementsbefore working its way to counterpointsuspenseful the recalls and further his “heroic” includes finale mode, the patches of character. Touching at on times in Beethoven dominates, thanks to its rhythmic powerful emotional shades, of though asense exuberance gives us acomplex several theme reflecting followswhich without pause. Again, Schumann prepares way the for finale, the now inA major, secondthe movement. embrace inaswooning of melody middle inthe but it soars into rhapsody as strings and piano able to include Violins the of Hope of as part dynamic. thought into its presentation of solo-ensemble the incorporates concepts of humility from Jewish recording alongside Leshnoff’s Symphony No. 4) next month (for future release on aNaxos Concerto, for example, Nashville which performs express art,” inthis them he remarks. His Guitar spiritual concepts to music and finding ways to for composer. the “I’ve become known for putting spirituality, an inexhaustible source of inspiration signatureLeshnoff’s fascinationwith Jewish substantial musical statement,” he says. symphonythe for its heritage as an enduring, laterthe century. 20th “I have always admired eras underwent —which an identity crisisin greatthe of and Classical the Romantic legacy unfolding relationship with symphony the — A reminiscence of Concerto’s the opening Leshnoff discoveredthat he be would In “fresh the case, this wine” comes from

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CLASSICAL text: “When one enters enters one “When text: Heichalos In stark contrast to the darkness and speed and the darkness to contrast stark In Part One refers to the opening and a later a later and the opening to refers One Part “The root of Judaism is the teaching and and teaching is the Judaism of “The root pushed from one extreme to the other.” For Part Part For the other.” to extreme one from pushed when he is on yet a higher level, he is separated separated is he a higher level, yet on is when he who him tries harm to anyone mankind; from when he tribunal...and a Heavenly by rebuked is Chayos the angelic room, the seventh approaches their 512 eyes, each stare him each with at glare of overallcharacter The of lightning.” a flash like hue of a darker is Leshnoff, says here, the music though written, hitherto had he anything than Taking Second Symphony. in his foretaste a is there frightening and disturbing were that images up thick deploys the composer way, in a spiritual a very “This using brush. dark does orchestration, my of touch nuanced and the lightness have not purposefully mysterious using I’m works. other adds. he orchestration,” foreboding and Two Part characterizes Leshnoff One, Part of its God,” and between humanity song love “a as a lot “There’s warmer. much therefore language in hear can which you detail, and nuance more the added with the writing, sonorities string just The vibraphones. and clarinet bass harp, of been they if suddenly have as feel should audience chords spread across the orchestra). across spread chords the of chapter everything willhe knows room, that the [first] a on is he in the terrestrial world...when happen secret deeds... sees he higher each person’s level, than 25 local organizations. local 25 than organizations. ethics,” Jewish and monotheism of philosophy the kept “Thishas is what the composer. explains all the through millennia together people Jewish theas Hope of I see persecutions. the Violins of survival. this Jewish of embodiment physical a representation as symphony I seeAnd my this of embodiment the spiritual/ethical of this physical with survival,Jewish combined aspect the mystical to attracted I’m embodiment. these very themes.” of deep spiritual in Heichalot WHAT TO LISTEN FOR LISTEN TO WHAT Heichalos Rabbasai Heichalos together through all the millennia of persecutions.” of persecutions.” all the millennia through together literally refers to “rooms” and is one one is and “rooms” to refers literally

(also known as as (also known “The root of Judaism is the teaching and philosophy of monotheism and of monotheism and philosophy of Judaism is the teaching “The root Jewish ethics,” Leshnoff explains. “This explains. Leshnoff people the Jewish is what has kept ethics,” Jewish

he Symphony No. 4’s subtitle, “Heichalos,” “Heichalos,” subtitle, 4’s No. Symphony he dimension, this spiritual the to key provides Leshnoff describes Symphony No. 4 as “a as 4 No. describesSymphony Leshnoff Heichalos

they are connected by the arresting theme stated stated theme the arresting by connected they are fortissimo of (a sequence the outset at majestically distinctive characters, though on a motivic level level a motivic on though characters, distinctive in the usual sense, he points out, because the out, in the points usual sense, he such have so and powerfully partstwo contrast These should not be thought of as “movements” “movements” as of be not thought Theseshould these rooms.” The music proceeds in two proceeds in partstwo music The these rooms.” 10 minutes. each about equal lengths, roughly of musical depiction of the initiate’s travels through through travels the initiate’s of depiction musical

and attempt this type of meditation have long ago ago long have this type meditation of attempt and ceased this walk Earth.” to the face of the Divine. The Rabbis who were qualified to teach were who The theRabbis Divine. initiate meditates himself into ‘rooms,’ where he he where ‘rooms,’ into himself meditates initiate with a communion to room, by room advances, Through the means outlined in the text, in the outlined the means the Through texts that explicitly describes the way to attain attain describes to the explicitly way that texts the higher with worlds. encounter a mystical approximately 2,000 years ago. It is one of a few of one is It ago. 2,000 years approximately this is an “ancient Jewish mystical text written written text mystical Jewish “ancient this an is Ashkenazi Hebrew, which Leshnoff chooses to which Leshnoff Hebrew, Ashkenazi the composer, to According title). own his use for Rabbati of the oldest written mystical works. Leshnoff Leshnoff works. mystical written the oldest of by the specificallywas inspired

which in turn shapes the formal design of the design of the formal shapes which in turn composition. 20-minute T project, which involves the participation of more more of the participation which involves project, . Visit ViolinsofHopeNashville.org or or ViolinsofHopeNashville.org Visit Tennessee. this historic about learn more 30 to p. to turn the Jewish Federation of Nashville and Middle and Nashville of Federation the Jewish initiative led by the Nashville Symphony and and Symphony the Nashville led by initiative luthiers Amnon and Avshi Weinstein and are are and Weinstein Avshi and Amnon luthiers a citywide a part as of Nashville in arriving now the Holocaust. They have been restored by Israeli Israeli by restored been Theyhave the Holocaust. extraordinary collection of violins, one viola and and viola one violins, collection of extraordinary during musicians Jewish by played cello were one is dedicated to Giancarlo Guerrero. This Guerrero. Giancarlo to dedicated is his soundscape for Symphony No. 4, which No. Symphony for soundscape his

CLASSICAL beginning andbeginning end, respectively, of Part Two. you love?” and “where are now?” —at they the brief, thought-inducing questions —“who do harp). Into score the composer the has written accompaniment from vibraphone, piano and again center take stage at end the (with discrete orchestra and organ later movement, inthe they lines, and following amassive climax for full strings alone play extended, slow, quasi-Mahlerian foreground:the first inthe five minutes, the blessing” and like). the (“might and faithfulness,” “understanding and various qualities of “the One lives who forever” Chapter 28of the Two,score Leshnoff’s appends brief quotesfrom to emotional String the whose Quartet, weight he was never satisfied Barber with hisfact, conclusion suited to performance as astand-alone piece. In I movement from his Op. 11String Quartet, for , infive parts, the of slow Reich. toand refused perform inHitler’s also who Third Fascist left who Mussolini’s out of protest endeavor founded for Toscanini, avehement anti- radio orchestra, Symphony NBC the —anew music from young the American for his fledgling conductor Arturo Toscanini that he requested Austria in1937.It impressed so world-famous the playedbe at prestigious the Salzburg Festival in S middle ofmiddle three movements, yet it is perfectly n its context, original Adagio the as the occurs Leshnoff explainsthat exploring been he has It is here that Violins the of Hope come into Barber respondedBarber by sending aversion Adagio for Strings (1936) was first the piece by an American to amuel Barber’s Symphony inOne Movement Heichalos BARBER SAMUEL York City January 23,1981,inNew Pennsylvania; diedon 1910, inWest Chester, Born onMarch 9, text, glorifies which WHAT TO LISTEN FOR

Toscanini conducting thestrings oftheNBC First performance: Composed: Estimated length: William Strickland 28, 1947, withmusicdirector First Nashville Symphonyperformance: Symphony Orchestra inalive radio broadcast organ. percussion players, harp, piano, strings and optional piccolo trumpet, 3trombones, tuba, timpani, 2 contrabassoon, 4horns, 3trumpets (1st doubling clarinets (3rd doubling bass clarinet) 2bassoons, piccolo), 3oboes (3rd doubling English horn), 3 Symphony No. scored 4is for 3flutes (3rd doubling alive, of part your life?” what has happened to —are them or dead they aboutthinking love. they who Then, the end,at musicians to meditate on that phrase and to start as long as conductor the is inclined. “I want the a measure of notated rest questions with these held into spiritual realms.” Thus,the start of Part Two is how to make “the transitions from music to enter classical Latin poet Virgil.classical poet Latin wasoriginal pagan the of nature great the poetry scholars,to Barber one hidden inspiration for the wasrealized centered middle. According inthe soundtracks. great effect on “.”) The to used been also Adagio has cappella arrangement to prayer Latin the set authenticity. (Later, composer the made an a ofa sense spiritual gravitas with unadorned and non-denominationalsecular and yet conveys mourning and reflection. sensibilityIts both is canonthe of American music for of times national for Strings as has ago-to come work to serve in composerthe to international fame. The Adagio over radiowaves the inNovember 1938catapulted adapted for string orchestra. The Adagio’s premiere Rather thanRather asimple “Adagio,” Barber’s actual

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ABOUT THE SOLOISTS ABOUT THE describing the process of recording the sonatas, the sonatas, recording of the process describing volume. His bestsellingeBook, His volume. recording cycle of Beethoven’s complete piano piano complete Beethoven’s cycle of recording the released seventh 2018 he in early and sonatas,

Salvatore Sciarrino’s “Il Sogno di Stradella,” paired paired Sogno “Il di Stradella,” Sciarrino’s Salvatore 4. Concerto No. Piano Beethoven’s with Saint Paul Chamber Orchestra, he premiered premiered he Orchestra, Chamber Paul Saint composers to write new piano concertos, each concertos, new piano write to composers Last fall the with Beethoven’s. of one by inspired Chamber Orchestra is co-commissioning five five co-commissioning is Orchestra Chamber project, project, than 150,000 people in 185 countries. in 185 countries. 150,000 people than Beethoven’s Piano Sonatas Beethoven’s first massive open online course (MOOC) online course openoffered massive first conservatory, music a classical by mater, the Curtis Institute of Music, Biss led the Biss Music, of Institute the Curtis mater, his relationships with the composers with whom whom with the composers with relationships his alma his at A faculty member a stage. shares he Music Festival and has written extensively about about extensively written has and Festival Music concerts, he has spent 11 summers at the Marlboro the Marlboro at 11 summers spent has he concerts, Royal Concertgebouw orchestras, among many many among orchestras, Concertgebouw Royal a full performing of to schedule addition In others. the Leipzig Gewandhaus, Budapest Festival and and Festival Budapest Gewandhaus, the Leipzig Philharmonia orchestras; the Boston, Chicago Chicago the Boston, orchestras; Philharmonia and orchestras; Radio symphony Swedish and Philharmonic; the Philadelphia, Cleveland and and Cleveland the Philadelphia, Philharmonic; he has forged relationships with the New York York the New with relationships forged has he

a wrenching climax before the piece breaks breaks the piece before climax a wrenching gentle A silence. numbed, throbbing a into off compelling architectural design to build toward toward build designto architectural compelling Barber follows a well-calculated but emotionally emotionally but a well-calculated Barber follows from the stepwise melodic motif stated at the at stated melodic motif the stepwise from elements, familiar and simple Using opening. the strings’ registers. The entire piece develops piece develops entire The registers. the strings’ singing quality.” The music gradually builds in music gradually The quality.” singing through ascends it as density textural and intensity cantando tempo indication is is indication tempo

CLASSICAL at the Mimir Chamber Music Festival, the Fort Bedford Symphony, Canton Symphony, Richardson Worth Star Telegram called him “the magician of Symphony, Cleveland Pops Orchestra, Plano the evening. He could reach into his violin and pull Symphony Orchestra and the Cleveland Institute out bouquets of sound, then reach behind your ear of Music Orchestra. In addition, he has served as and touch your soul.” guest concertmaster of the São Paulo Symphony Prior joining the Nashville Symphony, Orchestra in 2015, Santa Barbara Symphony in Iwasaki served as concertmaster of the Oregon 2010 and National Arts Center Orchestra in Ottawa Symphony from 2007-11, and he performed in 2006. He served in the same position with the with that ensemble at the first annual Spring For Canton () Symphony Orchestra from 2005-07. Music Festival in 2011. Throughout his career, he In addition to teaching at ’s has appeared with numerous other orchestras, Blair School of Music, Iwasaki is the artistic director including the Tokyo Symphony Orchestra, of Portland Summer Ensembles in Portland, Columbia Symphony Orchestra, Blossom Festival Oregon, a workshop for young musicians focusing Orchestra, (Georgia) Philharmonic, New on chamber music.