Experience - Memphis Symphony Orchestra

Transcription

Experience
Experience
Marian Shaffer, harp, in the
music room at Graceland Mansion
Photo: Maria Benton
Volume
VOLUME 22 •• 2011|2012
2012 |2013 Season
SEASON
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Contents
Volume 2
Concert Experience
• Shostakovich 5
November 17 & 18........................................ 23
•
2012|2013 Season
• MSO Board of Directors, Staff, League Board
& Chorus Board............................................. 68
• Memphis Symphony League......................... 70
• Home for the Holidays
December 8.................................................... 30
• Sponsors & Foundations............................... 72
• Aloha Elvis®!
January 5........................................................ 41
• Contributors................................................... 75
• Innovation: Beethoven & Bernstein
January 12 & 13............................................ 49
• Membership Benefits..................................... 74
• Honorariums & Memorials .......................... 86
• 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
• Advertiser Listing........................................... 59
• S ymphony Soul Project:
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
with the Harlem String Quartet
sunday, september 30
The Theater of Needless Talents
Spectrum Dance Theater
wednesday, november 14
The chucho Valdés Quintet
sunday, 0ctober 21
Jane Monheit with
special guest Mark O’connor
sunday, february 17
Cinderella
Russian national Ballet Theatre
sunday, january 6
Savion Glover’s SoLe Sanctuary
friday, january 25
Monterey Jazz Festival
55th anniversary Tour
sunday, april 21
celebrating the 100th anniversary of
The Rite of Spring
tuesday, april 23
FaMILY
SPecIaL eVenTS
“Sleeping Beauty”
with David Gonzalez, storyteller
sunday, october 7
Cirque Chinois
national circus of the
People’s Republic of china
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 Secret Sisters
friday, september 7
capitol Steps
friday, september 14
Van cliburn Gala
saturday, march 16
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
Milton Schaeffer
4
Scheidt
Family
Foundation
www.MemphisSymphony.org
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Symphony No Bleed Curves.pdf 1 8/29/2012 10:51:47 AM
C
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For Tickets 901-537-2525
Follow the Memphis Symphony! 5
6
Involved
in your
community.
If it’s important to you, it’s important to us.
FedEx is proud to support the Memphis
Symphony Orchestra.
©2012 FedEx. All rights reserved.
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
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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
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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
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
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MSK Group, P.C.
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 History 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 defines 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.
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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 prisoner—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 responses 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 constructive 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.
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 7th 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
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
GABRIELA MONTERO, PIANO
SEPTEMBER 22 & 23
October 13
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
STAX! THE MEMPHIS SOUND
OCTOBER 13
January 12 & 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
MARCH 9
Feelin’ Groovy: The Music of
Simon & Garfunkel
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
APRIL 13 & 14
May 18 & 19
*Subject to availabiity
For tickets (901) 537-2525 or
MemphisSymphony.org/studentdiscounts
20
Joseph Salvalaggio, principal oboe
I’ll take you there!
SOULSVILLE, USA
SYMPHONY S O U L P RO J E C T
Join us for the first 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
Follow the Memphis Symphony!
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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
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22
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
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
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.
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
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
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
During a government-sponsored trip to Latin America in 1941, Aaron Copland became reacquainted 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 reawaken 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
SHOSTAKOVICH Symphony No. 5
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, folklike 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
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
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
Sponsored by:
INTERMISSION
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
Audience Sing-Along
Rudolph the Red Nosed Reindeer:
You know Dasher and Dancer and
Prancer and Vixen,
Comet and Cupid and Donner and
Blitzen,
But do you recall?
The most famous reindeer of all?
Rudolph the Red-Nosed Reindeer
Had a very shiny nose,
And if you ever saw it,
You would even say it glows.
All of the other reindeer
Used to laugh and call him names;
They never let poor Rudolph
Join in any reindeer games.
Then one foggy Christmas Eve,
Santa came to say,
Rudolph with your nose so bright,
Won’t you guide my sleigh tonight?
Then how the reindeer loved him
As they shouted out with glee,
Rudolph the Red-Nosed Reindeer,
You’ll go down in history.
You’ll go down in history.
You’ll go down in history!
Santa Claus is Coming to Town:
You better watch out
You better not cry
Better not pout
I’m telling you why
Santa Claus is coming to town
He’s making a list
And checking it twice;
Gonna find out Who’s naughty and nice
Santa Claus is coming to town
He sees you when you’re sleeping
He knows when you’re awake
He knows if you’ve been bad or good
So be good for goodness sake!
O! You better watch out!
You better not cry
Better not pout
I’m telling you why
Santa Claus is coming to town!
Jingle Bells:
Dashing through the snow
In a one horse open sleigh
O’er the hills we go
Laughing all the way.
Bells on bobtail ring
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
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 Foundation.
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 Awardnominated 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.
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
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.
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
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].
Lawrence A. Edwards, artistic director
Liz Parsons, accompanist
Soprano 1
Linda Brittingham
Marcia Buster
Alicia Butler
Tiffany Cadenhead
Janet Carnall *
Kimberly Cox
Becky R. Darnell
Harmony Duke
Claire E. Fox
Sandra J. Hunt
Irene Mcnamara
Rhea Reuter
Hannah Smith
Shelley C. Stolz
Virginia L. Vann *
Rae L. Williams *
Rosemary Winters
Tina Dawn Womack
Katherine Elizabeth Womack
Soprano 2
Ruth K. Allen
Elizabeth H. Buls *
Delia C Carias
Beth Chenault
Dianne Curtiss
Mathilda D. Doorley
Jeannine Edwards
Theresa A. Hayes
Liz Hoffmaster
Beth Hoople
Emily Huseth
Rosalyn M. Lake
Molly K. Rice
Katrina Maria Skefos
Alisa M. Smallwood
Oma R. Strickland
38
Deb Dallas Walker
Paula L. Wallace
Linda H. Waltz
Alto 1
Dena Brown
Laura J. Crane
Annabelle Dawidow
Pamela Gold *
Deborah K. Goodman *
Anita Hester *
Anita I. Lotz
Cindy Mccool
Lisa Lucks Mendel *
Kelley Muller-Smith
Rebecca Naro
Patti Nelson
Martha Pearson Wesson
Terron K. Perk *
Katie Roper
Keeley Winfield
Alto 2
Cindy Armistead
Gretchen Carstens
Kathie Fox
Barbara Frederick
Andrea Goughnour
Vicki C. Hornsby
Leisa B. Kinnin
Jean Matthews
Vivian H. Norman
Marsha Rider
Patricia D. Rogoski
Mary Seratt *
Jamie L. Walker
Jackie B. White *
Tenor 1
Johnpaul R. Abbott
Larry Denman
Russell W. Hardeman
Rick W. Johnson
Shane Rasner*
Matthew T. Williams
Tenor 2
John T. Killmar
Adam Lasalle
David Spear
Jaime Yanes
Bass 1
Stephen Alsobrook
Steve D. Broome
Irvine Cherry
James Mcclanahan
Eugene M. Reyneke
Sandeford J. Schaeffer, Iii
William G. Weppner
Barry F. White
Herb Zeman
Bass 2
Bob Brittingham
Boyd R. Highfield, Iii
Edward M. Holt, Jr.
Ryan Johnson
Steven R. Larson
David M. Patterson
Jack Seubert
Lewis R. Wright
Chris Yanes
*Denotes Current Board
Member
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 University Singers and the University Chamber Choir. He
also coordinates the graduate program in conducting
mentoring both masters and doctoral students pursing 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 University 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.
our community
will only fulfill
its potential when
all of our children
reach theirs
A strong educational foundation can set the
stage for a child’s success in life. MOST provides
need-based scholarships to area schools that
charge tuition, giving parents a choice and
children a chance at a great education. Please
invest in the future of a child today.
memphis opportunity scholarship trust
901-842-5327 | memphisscholarships.org
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:
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 Awardwinning 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
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.
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Lifelong Learning
Learning is an adventure, and the Meeman Center for Lifelong Learning at Rhodes College
provides adults many opportunities to explore topics of interest. Join Rhodes faculty and
fellow participants in engaged learning within the fields of:
• Arts
• Humanities
• Culture
• History
• Natural Sciences
• World Religions
• Self-Awareness
• Social Sciences
For information on upcoming classes:
(901) 843-3965 Fax (901) 843-3947
meeman.rhodes.edu
Meeman Center for Lifelong Learning
2000 North Parkway
Memphis, TN 38112
44
Conducting your investments
is our passion.
Duncan-Williams and our Private Client
Group are proud to be a part of the
arts and other fun events throughout
Memphis and the Mid-South. It’s no
coincidence the same values that make
us visible in the community also make
us the right fit for our clients’ financial
The leading doctors in a growing list of
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commitment to care, collaboration,
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communication, and technology.
Client Group, they’re all family to us.
duncanwilliams.com
memphis, tn
901-435-4000
member finra, sipc, bda, wbenc
901-227-DOCS
www.BaptistDoctors.org
Classical Concerts
POPS
Our concerts are at Cannon Center,
GermantownPerformingArtsCentre,
Lindenwood Christian Church.
Cannon Center performances
including your favorite holiday
and Elvis tunes.
M
emphis
usicians
CAPA Virtuosi &
Soulsville Charter School
MSOmusiciansprovideweekly
music coaching at schools
in Memphis.
S
ym
erv
MSO is in the concert hall — a
Leading from Every Chair®
Aday-longleadershiptraining
workshopforcorporatemanagers
and youth that uses the orchestra
and musical processes to develop
leadershipskills.
Symphony Soul Project
FundedbyArtPlace,thisMSO
residencyinSoulsvilleUSAprovides
freeconcertsintheneighborhood
during2012-2013.
Ensembles regularly perform in
schools, airports, assisted living,
hospiceandskilledcarefacilities
bringingthejoyofmusictoevery
stage of life.
MSO Big Band
music originally
broadcastatthe
during the go
bigband
SPECIALS
Messiah,SymphonyintheGardens,
SunsetSymphony,JoshuaBell,Yo-YoMa.
mphony
ving
OPUS ONE
Non-traditionalconcertsinvenueslikethe
Hi-ToneCafe,NewDaisyTheater,and
Memphis Music Magnet.
O
rchestra
thers
and everywhere in Memphis!
d plays historic
performed and
ePeabodyHotel
olden years of
dmusic.
Drum Circle sessions with
veterans groups, hearing impaired
children, and grief program
participants give participants
a means to deal with
life’s challenges.
Music and Human Conflict
In partnership with Facing History
and Ourselves, MSO musicians help
students examine social inequities
through music.
Family Tunes and Tales at a local
librarynearyouisaFREE,FUN
andEXCITINGwaytogetchildren
engaged in reading and music.
Young People’s Concerts
Afullorchestraconcertfieldtripwith
thematicandcurriculum-based
programming that is presented
annually at the Cannon Center.
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
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 Orchestra, 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 Annual 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
set of variations on the tune “Wondrous Love” with the West Virginia Symphony Orchestra, with an orchestral accompaniment by Artistic Director Grant Cooper. He frequently
composes pieces for student ensembles, which have been premiered by students from
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
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 innovations 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. Kennedy 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. Ballet 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, Pointemagazine, 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
program notes
BEETHOVEN Twelve Contredanses
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
of Price’s relatively conservative harmonic idiom and her deft incorporation of AfricanAmerican 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
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.
program notes
BEETHOVEN Symphony No. 7
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
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
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.
Visit hotmusic.org for the complete schedule,
programs, and other exciting information!
501.623.4763
hotmusic.org
purchase tickets: operamemphis.org | 901.257.3100
TM
56
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
a
Please join the musicians, Board of Directors and staff in the
lobby for a complimentary post-concert reception.
Ken-David Masur
conductor
Ken-David Masur is quickly emerging as “a brilliant and commanding conductor with unmistakable charisma” [Leipziger
Volkzeitung] on both sides of the Atlantic and beyond. His
recent and upcoming engagements include the Dresden Philharmonic, the Russian National Philharmonic, the Israel Philharmonic, 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 paragraphs. 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 penetrating 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.chelseamusicfestival.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
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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Memphis Boy Choir, Memphis Girl Choir
& Memphis Chamber Choir........................... 85
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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 (“ultraemotional, 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
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
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
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.
program notes
MOZART Symphony No. 39
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
62
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Robert Coe, CFP®
Senior Vice President,
Portfolio Manager
Brian Kinney, CFP®
President,
Financial Advisor
Nancy Hughes Coe
Financial Advisor
Mei-Ann
Chen
music director
One of the most dynamic young conductors in America, MeiAnn 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
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
Memphis
Symphony
Orchestra
mei-ann chen, music director
conner gray covington, assistant conductor
Violin I
Guest Concertmaster
The Joy Brown Wiener Chair
Paul Turnbow, Assistant Concertmaster
Griffin Browne
Jeffery Jurcuikonis
Hannah Schmidt
Mark Wallace
The Maxine Morse Chair
Marisa Polesky, Assistant Principal
Barrie Cooper, Assistant Principal
Diane Zelickman
Laurie Pyatt*
Wen-Yih Yu
Jessica Munson
Greg Morris
Long Long Kang
Violin II
Gaylon Patterson, Acting Principal
The Dunbar and Constance Abston Chair
Heather Trussell, Acting Assistant Principal
Erin Kaste
Christine Palmer
Ann Spurbeck
Lenore McIntyre
Michael O’Gieblyn
Viola
Jennifer Puckett, Principal
The Corinne Falls Murrah Chair
Michelle Pellay-Walker, Assistant Principal
Marshall Fine, Assistant Principal
Irene Wade
Michael Barar
Karen Casey
Kent Overturf
Beth Luscombe
Cello
Ruth Valente Burgess, Principal
The Vincent de Frank Chair
Iren Zombor, Assistant Principal
Milena Albrecht, Assistant Principal
Phyllis Long
Jonathan Kirkscey 66
Bass
Scott Best, Principal Christopher Butler, Assistant Principal
Sean O’Hara
Andrew Palmer
Timothy Weddle
David Troupe*
Jeremy Upton
Sara Chiego
Flute
Karen Busler, Principal
The Marion Dugdale McClure Chair
Todd Skitch
Chris James
Sarah Beth Hanson*
Piccolo
Chris James
Sarah Beth Hanson*
Oboe
Joseph Salvalaggio, Principal
Saundra D’Amato
Shelly Sublett, Assistant Principal
English Horn
Shelly Sublett
Clarinet
Andre Dyachenko, Principal
Rena Feller
Nobuko Igarashi
Bass Clarinet
Nobuko Igarashi
Bassoon
Susanna Whitney, Acting Principal
Jennifer Rhodes*
Michael Scott
Christopher Piecuch
Bass Trombone
Mark Vail
Contrabassoon
Christopher Piecuch
Timpani
Frank Shaffer, Principal
Horn
Samuel Compton, Principal
Percussion
David Carlisle, Principal
Ed Murray, Assistant Principal
The Morrie A. Moss Chair
Robert Patterson
Caroline Kinsey
Pamela Kiesling
Trumpet
Scott Moore, Principal
The Smith & Nephew Chair
Susan Enger
J. Michael McKenzie
Trombone
Greg Luscombe, Principal James Albrecht Mark Vail
Tuba
Charles Schulz, Principal
Harp
Marian Shaffer, Principal
The Ruth Marie Moore Cobb Chair
Piano/Celeste
Adrienne Park, Principal
The Buzzy Hussey and Hal Brunt Chair
* Currently on leave.
Memphis
Symphony
Orchestra
governance & staff
Board of Directors
Mark Crosby
Crosby & Higgins LLP
Janet Seessel
Arts Advocate
Officers
Mike Edwards
Chair
Paragon Bank
Michael J. Douglass
Gerber/Taylor Capital
Advisors, Inc.
Charles Shipp
Architect
Arthur N. Seessel III
Interim Executive Director
Memphis Symphony
Orchestra
Louis Jehl
Chair Elect
Diversified Trust
Louise Barden
Secretary
First Tennessee Bank
Lowry Howell
Treasurer
Southeastern Asset
Management
Paul A. Bert
Immediate Past Chair
Retired Corporate Executive
Board
Paul Berz
Ritche Manley Bowden
Arts Advocate
Dr. Karen Bowyer
Dyersburg State Community
College
Austin Byrd
Darrell Cobbins
Universal Commercial Real
Estate
Nancy Hughes Coe
Dominion Partners Private
Wealth Management
68
Mary Lawrence Flinn
Memphis Symphony League
Pam Guinn
St. Mary’s Episcopal School
Larry J. Hardy
Scott Heppel
Buzzy Hussey
Babcock Gifts
Bryan Jordan
First Horizon National Corp.
Natalie C. Kerr, MD
Hamilton Eye Institute
Joanna Lipman
Arts Advocate
Hon. Mark Luttrell
Shelby County Government
Alec McLean
New South Capital
Management
Lisa Mendel
Scott Moore
Memphis Symphony
Orchestra
Carol W. Prentiss
River Oaks Investments
Robert Quinn
FedEx
John Speer
Bass, Berry & Sims, PLC
Jim Vining
Vining Sparks
Anneliese Watts
Morgan Keegan
Russ Wigginton
Rhodes College
Board Emeritus
Gloria Nobles
Past Chairs
Dunbar Abston, Jr.
Newton P. Allen, Esq.*
Walter P. Armstrong, Jr.*
Leo Bearman, Jr., Esq.
Troy Beatty*
Paul A. Bert
Jack R. Blair
Robert L. Booth, Jr.
Judge Bailey Brown*
Robert E. Cannon*
George E. Cates
Charles P. Cobb, Esq.*
Nancy R. Crosby*
George E. Falls, Jr.
David B. Ferraro
Lewis E. Holland
William F. Kirsh*
Martha Ellen Maxwell
Dr. Joseph Parker*
G. Dan Poag
Thomas M. Roberts*
Jeff Sanford
P.K. Seidman*
Michael Uiberall
Joseph Weller
Dr. Russel L. Wiener
(*deceased)
Administrative Staff
Accountability
Anita McLean
Chief Financial Officer
Grace McAlister, PHR
Finance Manager
Rodney Gilchrist
Technical Support
Grants
Rhonda Causie
Director of Grants
& Innovation
Ricardo Callender
Grants & Accountability
Specialist
Artistic Engagement
Brandon Knisley
Vice President of
Artistic Engagement
Development
Nicki Inman
Vice President of
Patron Engagement
Jenny Compton
Music Librarian
Erica Eason
Patron Engagement Assistant
Molly Mangialardi
Artist Coordinator
Ellen Montgomery
Corporate Engagement
Assistant
Susan Miville
Director of Musician
Engagement
Operations
Douglas Whitaker
Director of Operations
Laura Mirahver
Orchestra Personnel Manager
Joseph Nelson
Soulsville Project Manager
Ellen Rolfes
Advancement Specialist
Marketing & Public
Relations
Denise Borton
Director of Patron
Engagement & Marketing
Nicole Davis
Patron Engagement Manager
Mandy Porch
Box Office Manager
Memphis Symphony League Board of Directors
Mary Lawrence Flinn,
President
Lura Turner,
President-Elect
Priscilla Alexander
Honey Cannon
Scottie Cobb
Jeanette Cooley
Jean de Frank
Billie Jean Graham
Eula Horrell
Mindy Johnson
Nancy Lou Jones
Florence Leffler
Sissy Long
Babbie Lovett
Carol Martin
Mabel McNeill
Amy Meadows
Laurie Monypeny
Charlotte Neal
Gloria Nobles
Tommie Pardue
Marilyn Powell
Shelly Sublett
Sharon Turner
Joy Wiener
Memphis Symphony Chorus Board of Directors
Lisa Mendel, President
Steve Alsobrook
Cindy Armistead
Elizabeth Buls
Janet Carnall
Larry Edwards
Pamela Gold
Deborah Goodman
Anita Hester
David Patterson
Terron Perk
Shane Rasner
Mary Seratt
Jack Seubert
Ginny Vann
Jackie White
Matthew Williams
Rae Williams
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
© 2010 Highwoods Properties
Memphis’ First LEED-Certified Office Building Built by the NAIOP
2009 Developer of the Year
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
Memphis
Symphony
Orchestra
ALABAMA
FLORIDA
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MISSISSIPPI
TENNESSEE
TEXAS
WASHINGTON, DC
www.bakerdonelson.com
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
services performed by other lawyers. FREE BACKGROUND INFORMATION AVAILABLE UPON REQUEST. © 2012 Baker, Donelson, Bearman, Caldwell & Berkowitz, PC
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+
$50,000-$99,999
Locally owned.
Internationally
respected.
Expe r ience. Integ r it y. Independence.
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
$15,000-$24,999
www.dominion-partners.com · 901-969-2182 · 888-589-5188
Dominion Partners is a branch office of and securities offered through WFG Investments Inc., member FINRA & SIPC.
$10,000-$14,999
Robert Coe, CFP®
Portfolio Manager
Brian Kinney, CFP®
President,
Financial Advisor
Nancy Hughes Coe
Financial Advisor
$5,000-$9,999
72
$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
R E S TA U R A N T & B A R
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
Foundation
The Jeniam Foundation
Follow the Memphis Symphony! Thomas W. Briggs
Foundation
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
Contributions
Symphony 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 + )
Anonymous (2)
ArtPlace
ArtsMemphis
First Tennessee Bank
Craig Simrell & Mark Greganti
Bonnie and Chapman Smith
Mr. & Mrs. John C. Speer
The Sparks Foundation
Lynne & Henry Turley
Mr. & Mrs. Joseph C. Weller
Impresario - ($50,000 - $99,999)
Paul & Linnea Bert
The Estate of Billy J. Christian
Jeniam Foundation
The Estate of Jean C. Mosow
Visionary - ($25,000 - $49,999)
Mr. & Mrs. George E. Cates
Scott & Carolyn Heppel
Wil & Sally Hergenrader
Susan & Robert J. Quinn
Gayle S. Rose
Mr. & Mrs. Arthur N. Seessel III
Mr. & Mrs. Frederick W. Smith
Joy & Russel Wiener
Pacesetter - ($15,000 - $24,999)
The Day Foundation
Scheidt & Hohenberg Charity Trust Families
Kim & Bryan Jordan
Marion & James McClure
Mrs. Thomas N. Stern
Ann & Jim Vining
Sustainer - ($10,000 - $14,999)
Anonymous (1)
Ann and Gordon Getty Foundation
Phyllis and Paul Berz
Mr. & Mrs. Michael J. Bruns
Kitty Cannon & Jim Waller
Children’s Foundation of Memphis
Mr. & Mrs. Robert E. Craddock
Michael & Maria Douglass
Mr. & Mrs. Jeffrey Engelberg
Peter & Mary Lee Formanek
Laura & Lowry Howell
Sylvia G. Marks
Andrew R. & Anne H. McCarroll
Phillip & Mabel McNeill
Estelle & John Sheahan
Benefactor - ($5,000 - $9,999)
Anonymous (1)
William & Mary Louise Barden
David & Betty Blaylock
Mr. & Mrs. Marion S. Boyd, Jr.
Mrs. Phyllis Brannon
Charles & Nancy Coe
Mike and Carolyn Edwards
Robin Lauren & Peter Hale
Formanek Advised Fund
Robin Formanek
Dr. Suzanne Gronemeyer & Mr. Ellis Delin
Larry J. Hardy
Buzzy Hussey and Hal Brunt
Lisa & Louis Jehl
Dorothy O. Kirsch
Mr. Edwin Koshland III
J. W. & Emily McAllister
Mr. & Mrs. Joseph H. Powell
Carol W. Prentiss
Mrs. Alice J. Rawlins
Schadt Foundation, Inc.
Andie & Michael Uiberall
Watkins Uiberall, PLLC
Patron - ($2,500 - $4,999)
Jack & Kathleen Blair
Scott E. Bohon
Ms. Mei-Ann Chen
Harriett & Hilliard Crews
Liz & Glenn Crosby
Mark Crosby
Mr. & Mrs. John S. Evans
Ryan Fleur & Laura Banchero
Fred & Mary Lawrence Flinn
Martha & Robert Fogelman and
Bradley and Robert Fogelman
Kathy & J. W. Gibson
Mr. & Mrs. Robert A. Goodman
Contributions
Mr. Sigmund F. Hiller
Dr. & Mrs. Masanori Igarashi
Dr. Natalie Kerr
Joanna & Josh Lipman
Dr. & Mrs. Dan Meadows
Mark & Suzanne Medford
Morgan Stanley
Ron & Jessica Morris
Ms. Brooke Morrow
Dr. Frank and Mrs. Sarah Ognibene
Robert G. Patterson, Jr. & Patricia Gray
Sadie & C.J. Pickering
Capt. & Mrs. Robert R. Proctor, USN (Ret.)
Dr. Eugene A. Vaccaro Family
Mrs. Charles E. Walker
Jack & Cristina Ward
Dr. and Mrs. Otis S. Warr III
Mr. & Mrs. Jeff Weintraub
Mr. & Mrs. Charles L. Wurtzburger
Golden Circle - ($1,000 - $2,499)
Anonymous (2)
Rev. Dr. Jane Abraham
Connie & Dunbar Abston
Ben & Kathy Adams
Peter & Fran Addicott
Ms. Anita Allison
Pamela & Esmond Arrindell
Charles S. & Stephanie Baer
Mr. Ion Balu
Richard W. Barnes & Peter R. Pauciello
Sharon Barnett-Myers
Neal & Joey Beckford
Mr. & Mrs. Richard H. Bodine, Jr.
The Honorable Joseph Boeckmann, Jr.
Carmen C. Bond
Phillip Bowden & Ritche Manley Bowden
Dr. Karen A. Bowyer
Martha & James Boyd
Charles R. & Ronell C. Brindell
Lillian Hammond Brown
Austin Byrd
Canale Foundation
Mr. & Mrs. Henry Cannon
Karen M. Carlisle
Jeanne Gray Carr
Robert & Jenny Carter
Rhonda & Dan Causie
Dr. Fenwick W. Chappell
Dr. Nancy A. Chase, M.D.
Gloria & Irvine Cherry
76
Mikki & Darrell Cobbins
Colonial Middle School
Ms. Jeanette S. Cooley
Bill and Foy Coolidge
Robert & Kim Cox
Mr. & Mrs. David Crippen
Jill & Joe Crocker
Elaine & Loren Crown
Dr. & Mrs. Ray E. Curle
Saryn Doucette M.D.
Mrs. Bryan M. Eagle
Susan & David Ellison
Mr. & Mrs. David B. Ferraro
Ms. Kathy Fish
Barbara & Hiram Fry
Kathleen C. Gardner
Allison Garrott
Dr. Phillip George
Mr. & Mrs. James S. Gilliland
Ms. Kathie Smyth Gould
Martha & Jerrold Graber
Billie Jean Graham
Pam and Steve Guinn
Sarah Haizlip
Judith & John Hansen
Ann & O. Mason Hawkins
Emil Henry
Paul & Marisa Hess
David O. Hill & Elisabeth Hills
Lunida & Lewis Holland
Mr. & Mrs. Walter B. Howell, Jr.
Greg & Trina Huelsman
Hyde Family Foundations
Barbara Hyde
Nicki & Brian Inman
Janas L. Jackson
Dr. & Mrs. Eric E. Johnson
Dr. Rose M. Johnston
Dr. Edward S. & Linda S. Kaplan
Sue Kaplan
Edith Kelly-Green
Dale Kelman
Delores Kinsolving
Knapp Foundation
Dr. & Mrs. Sheldon Korones
Bruce & Susanne Landau
Mr. & Mrs. George Lapides
Dr. Peter G. & Susan J. Law
LeMay+Lang
Daniel Lewis
Mr. & Mrs. Lester F. Lit
Aron Livnah & Rose Merry Brown
Babbie Lovett
Al & Janet Lyons
Mr. & Mrs. Jerome B. Makowsky
B. Lee & Susan Mallory
Jerry and Elizabeth Marshall
William D. & Marcia B. Mathis III
Ashley Mayfield
Sandra H. Mays
Mary McDaniel
Mr. & Mrs. Michael McDonnell
Mr. & Mrs. Alexander D. McLean
Linda McNeil
Anita & Don McLean
Jean & Michael McSwain
Dr. Lisa & Dr. Maurice I. Mendel
Nancy & Rodgers Menzies
Henry Morgan
Christine B. Munson
Zoe & Alan Nadel
Gloria P. Nobles
Max B. Ostner, Jr.
Sally Pace
Tommie Pardue
Marianne Parrs
Clint and Esther Pearson
Mrs. Barbara J. Perkins
Arnold & Mary Lynn Perl
Elisabeth & Lewis Perry
Chloee & Dan Poag
Dr. Anca Pop
Mary Alice Quinn
Mr. & Mrs. Bryson Randolph
Dr. Sandra Reed
Dr. & Mrs. Brown Robertson
Carol Lee & Joe Royer
Diane Rudner
Dr. Craig & Mrs. Andrea Sander
Jeff Sanford & Cynthia Ham
Lila Saunders
Mary & Joe Scheuner
Dr. Charles A. & Mrs. Sharen Schulz
Mary M. Seratt
Patricia & John Seubert
Dr. John J. & Mrs. Linda Shea
William W. Siler
Ron & Linda Sklar
Alisa & Arwin Smallwood
Bruce R. & Jane Scharding Smedley
Mrs. Rita Sparks
Susan L. Springfield
Nancye Starnes
Bruce & Gillian Steinhauer
Eugene & Helga Stengel
Anne & John Stokes
Owen & Margaret Tabor
Mary E. Tate-Smith
The Rose & Walter Montgomery Foundation
Dr. Paul G. Thomas
Ashley & Todd Tobias
Keith & Anne Townsend
Mr. & Mrs. Philip H. Trenary
Mr. & Mrs. Corey B. Trotz
Steve & Lura Turner
Ms. Susan K. van Dyck & Dr. James Newcomb
Mr. & Mrs. William M. Vaughan, Jr.
Mr. & Mrs. David S. Waddell
Patricia & Charles Walker
James L. Waller
Dr. Jane Walters
Graham Warr
Frank & Houston Watson
Anneliese & William Watts
Mrs. Cassandra H. Webster
Martha & Lee Wesson
Becky West
Barry White & Dr. Janice Garrison
Julia G. Williams Manning
Ms. Tracey Williams
Dr. Ethelyn Williams-Neal
Barbara Williamson
Becky Webb Wilson
Oneida Wittichen
Jocelyn Wurzburg
Jan Young
Associate - ($600 - $999)
Ms. Carol Beachey & Mr. Donald Voth
Stanley & Dorothy Bilsky
Joanne & George Buzard
Gary Carlson
Sara G. Folis
Dot and Luther Gause
Diane Greenhill
Phyllis Guenter
Mrs. June Hildebrand
Susan Kingston
Father Albert Kirk
Mr. & Mrs. Lloyd C. Kirkland, Jr.
Barry Kuhn
Mr. & Mrs. J. A. O’Neill, Jr.
Contributions
Emily Ruch
Mrs. Emily Ruch
John Pickens & Suzanne Satterfield
Robert Vidulich & Diane Sachs
Don Vollman
Julia Wilkins
Member - ($300 + $599)
Anonymous (4)
Dot Arata
Mary L. Belenchia
Mr. & Mrs. Jack A. Belz
Nancy E. Bogatin
Denise & Scott Borton
Jerry Bowman
Walter Brown
Gregory Buckley & Susan Berry-Buckley
Dale & Gina Cunningham
Lewis Donelson
Dr. Michael R. Drompp
Fredrika & Joel Felt
Joseph & Anne Fisher
Emily & Jerry Gay
Mr. Charles K. Gilder
Jim & Harriett Gillis
John Gilmer & Catherine Willner
Guardsmark, Inc.
Robert Hanusovsky
Judith & Howard Hicks
Bill & Marian Himmelreich
Dr. G. Leon Howell
Joanna Hwang
Susan & Frank Inman
Paul Tudor Jones
William B. Keiser, Jr.
Ms. Yoriko Kitai
Mr. & Mrs. Brandon Knisley
Janie & Martin Kocman
Marti & Mike Laslavic
Lucy Lee
Jennifer Lyons
Ramona & Harry Mahood
Shirley W. McRae
Richard McStay
Pam & Fred Montesi
Ed & Anne Motley
Cecile & Frederick Nowak
Nancy M. Penisten
Johnny & Kim Pitts
Marco & Cynthia Ross
78
Marcia Schlesinger
Bonnie and Bill Siler
Charles & Mary Stagg
Fred & Joan Stephenson
Ryals & Gwendolyn Thomas
United Way of the Mid-South
Joan & James Vogel
Dr. William W. Walker & Ms. Mary L. Belenchia
Lee & Mary Wardlaw
Jules & Betty Weiss
Dr. & Mrs. Benton Wheeler
Dr. Russell Wigginton
Mary Jane and Herman Wolfe, AIA
Mr. Winston Wolfe
Dr. George R. Woodbury & Dr. Cathy M. Chapman
Nick and Charlotte Woodward
Berje & Kathy Wade-Yacoubian
Friend - ($100 - $299)
Anonymous (12)
Doug & Meg Adams
Larry Adler
Gwendolyn & John Ahlemann
Harriet Alperin
Frank Anthony
Mrs. Eleanor Appling
Genni Arledge
Dr. & Mrs. Philip Aronoff
Sue & Wesley Atwood
Clayton Baker
Mr. & Mrs. William E. Baker Jr.
Sue & A.E. Balkin
Mary Nell & Pervis Ballew
David & Debbie Balling
Rosemary Banta
Robert Bartolotta & Ellen Hutchinson-Bartolotta
Mrs. Frank Barton, Jr.
Patricia Barton
John & Wanda Barzizza
Mary & Allen Battle
Becky Bayless
Dr. & Mrs. Tom Beasley
Ernest & Georgia Bell
Eugene Bernstein
Dr. & Mrs. Michael P. Berry
Dr. Harry Berryman
Mr. & Mrs. James C. Blackburn
Allen & Mary Blair
Sam Blair
Emilie Blanchard
Clark & Yolanda Blatteis
Dr. & Mrs. Gene Boeckman
Lois E. Bohon
Scott Bojko
Modine & Lee Bolen
Jan & John Boudreaux
Dr. & Mrs. Allen Street Boyd
Reggi and Sharon Burch
Dr. & Mrs. Paul Burgar
Judy & Charles Burkett
Raymond Butts
Eleanor & Gerald Byrne
Mr. & Mrs. Irvin Califf
Mr. Ricardo Callender
Larry Campbell
Mrs. Ruby Chittenden
Carol & David Ciscel
Dorothy Cleaves
Brian Clement
Mr. & Mrs. Charles P. Cobb, Jr.
Allen E. Cohen
Alan K. Cole
James P. Cole
Samuel & Jenny Compton
Anne Connell
Tim & Mary Cook
Alice & Jack J. Craddock
Mr. & Mrs. William S. Craddock
Ms. Laura J. Crane
Brad Crawford
Leslie Daniel
Fred Davis
Diane & Joe Davis
Steve Davis
Jean M. de Frank
Phili & Terry Deboo
Jeanne Decker
Kathryn Deshpande & Jon Katze
Drs. Robert & Heather Donato
Joe & Martha Dooley
Jed Dreifus
Regina Duberstein
John & Alice Dudas
Gerry and Charles Duff
Betty Jo & William P. Dulaney
Delories Duncan
Mrs. Ruth Edmonds
Patti & Lew Ellis
Karen English
Lillian & Thomas Ernst
Edward & Gloria Felsenthal
Helen Ferguson
James & Sue Ferguson
Donna Fisher
Tanya Fitts
Molitor Ford
Turner Foster
Ms. Kathie Fox
Desi Franklin
Ms. Barbara A. Frederick
Dr. Jerre Freeman
Mrs. Caroline Fruchtman
Juan Fuentes
Ana & Mark Gardner
Joseph Garrone
Bill and Jeannine Gaudet
Frank & Anne Gianotti
Mr. & Mrs. James D. Gibson
John Gibson
Marsh & Ann Gibson
Mary Gill
Joan Gips
Paul & Mary Evelyn Goodwin
Capt. & Mrs. James P. Googe, Jr.
Arthur Graesser
Betty Tully Graves
Rita Mercille Green
Gerard & Alessandra Grosveld
Phil Guichelaar
Hemant Gupta
Bela & Nan Hackman
Mr. Reb Haizlip
Clarence & Harriett Halmon
Doug Hamik
Robert Hamilton
Dr. & Mrs. O. Brewster Harrington
Jeffery & Cathy Harris
Thomas Harrison III
Albert C. Harvey, Jr.
Geraldine Haspel
Diane Hawks
Dr. Jean S. Hayden
Nikki Haynes
Janet D. Held
Kathleen Helton
Mr. & Mrs. James R. Hillis
Sara M. Holmes
Dr. & Mrs. Horace K. Houston, Jr.
Mr. & Mrs. Antonino Incardona
Ann Indingaro
Bertha Means & Michael Jacewicz
Larry & Diane Jackson
Mr. & Mrs. James B. Jalenak
Contributions
Anita James
David & Ann James
Dr. & Mrs. Russell James
Harriette Jenkins
Mr. David Jennings
Mr. Mickey Johnson
Mr. Jeff Johnston
Nancy Lou & Mott Jones
Mr. & Mrs. Robert K. Jones
Warren and Betty Lu Jones
Kathy Junkin
Tom and Anne Marie Kadien
Beulah Kasselberg
Helen & J.D. Kelly
John Kelyman
Charlotte King
Mr. & Mrs. Jerry D. Kirkscey
Jon Knight
Nancy & Brian Kuhn
Michael & Diane Kuhn
Ms. Patsy Lane
Frank M. Langford, Jr.
Ms. Demetra Lawrence
Gumersindo & Marianne Leal
Suzanne Lease & Michael Watts
Mr. Shelby R. Lee III
Sandra Leftwich
Tom & Celesta Letchworth
Dr. & Mrs. Michael J. Levinson
Jean & Melvyn Levitch
Pamela & Robert Levy
Leticia Lindsey
Mrs. Esther K. Lubin
William Payson & Melissa Luck
Jose & Nancy Magallanes
Mr. & Mrs. Hugh Mallory
Charles & May Lynn Mansbach
Mr. & Mrs. Jack H. Marks
Frank & Mary Markus
Nancy Masterson
Shannon G. Matta, Ph.D.
Richard & Nancy Mattox
Ethel T. Maxwell
John Maxwell
Mrs. Eloise Mays
Michael McCanless
Peggy & Don McClure, Jr.
Mr. & Mrs. James W. McDonnell, Jr.
Mary Ellen & Phillip McDow
Robert McEniry
Anthony McGregor
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Mary Allie & Denton McLellan
Sylvia & Ron McSwain
Gale Medley
T. Medlin
Simone & Logan Meeks
Dr. & Mrs. Lee Milford, Jr.
Dr. & Mrs. David M. Mirvis
Mrs. Houston Niller Moore
Ms. Patricia T. Moran
Gregory Morrell
George Morris
Dr. R. J. & Susan Moskop, Jr.
Mrs. Sue Myers
Stephen & Mary Nelson
Drs. Thomas J. & Monika Nenon
Julie & William Nicholson
Mr. & Mrs. Greg Nomland
Adrienne Oeding
David Ogdon
Norma Davis Owen & Penn Owen Jr.
Mr. Christopher Owens
Mr. Ernest Owens
Bob Owens
Mr. & Mrs. Keith M. Parker
Roylyn and Bill Parks
Eugene Pearlman
Dana Sue Percer
Ms. Peggy Perkins
Dr. William S. Phillips
Paula Posey-Destefanis
Ms. Prak
Peter A. Pranica
Mr. & Mrs. Julian Prewitt
Brenda & Robert Rachor
Karen & James Ralston
Nancy Reed
Betsy Reeder
Mrs. & Mr. Geraldine Rhodes
Mr. & Mrs. Neil Ringel
Mr. & Mrs. Curtis E. Ringold
Mr. Luther L. Robinson III
Dr. & Mrs. E. William Rosenberg
Tom & Elena Ross
Dr. & Mrs. Richard T. Ross
Barbara Rubenstein
Thelma Rudd
Melanie Runyon
Amy & William Ryan
Bev and Ken Sakauye
Barbara J. Sax
Sandy & Beth Schaeffer
Christopher Scholik
Doug Schrank
Mike Schwartz
J. Allen Scoggin
Michael & Kelly Scott
Phil & Fran Shannon
Roy and Cyndy Shepherd
Kenneth & Mary Sipley
John H. Sligh
Mr. & Mrs. Richard W. Smith
Cecil Smith
Ritchie and Patti Smith
Marshall and Maida Smith
John Snowden
Trish & Richard R. Spore III
Sheri L. Spunt, M.D.
Shirley St. Hilaire
Terry Starr
Jill & Kenneth Steinberg
Fred & Shirley Stinson
Leslie Stratton
Ms. Harriett Surprise
Denise Taylor
Mr. & Mrs. Parrish Taylor
Doris Thomas Hill
Dr. & Mrs. Steve Tower
Patricia Wilson Tripp
Alison Turner
Mariet & Sam Rogers
Mike Vaughn
Drs. Anni B. Walker and William S. Walker
Sonia Walker
Mr. Edward Wallace
Evelyn Walpole
Gerald & Julie Walton
Shihung & Chingfun Wang
Matilda Washington
Patrick & Vicki Washington
Susan S. Webb
Diane & Walker Wellford
Stuart Wilkinson
Elsa & David Williams
Tige Williams
Mrs. Barbara H. Wilson
Carol Wilson
Major & Donna Wilson
Stewart Wingate
Jerry Wolfe
Josephine M. Wood
Gary Woodard
Mary & Lucius Wright
Mr. Paul Yacoubian
Mr. & Mrs. William M. Yandell III
Dr. Herbert D. Zeman
Qihong Zhou
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
Bank of America
Chevron Corporation
Citigroup Foundation
Digital Equipment Corporation
Ernst & Young, PLLC
Federated Department Stores
First Horizon National Corporation
First Tennessee Foundation
Gap Foundation
General Electric
General Mills Foundation
GlaxoSmithKline Foundation
Home Depot Foundation
Johnson & Johnson
Kraft, Inc.
Lucite International
Merrill Lynch
New York Times Company Foundation
Nissan Motor Corporation
Phillip Morris Companies, Inc.
Quaker Oats Foundation
Regions Financial Corporation
Security Pacific Foundation
United Technologies – Carrier Corporation
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,
co-chair
Mary McDaniel,
co-chair
Becky Wilson,
co-chair
Rev. Dr. Jane Abraham
Connie Abston
Anita Allison
Belinda Anderson
Pam Arrindell
Louise Barden
Sharon Barnett-Myers
Joey Beckford
Phyllis Berz
Joyce Blackmon
Kathy Blair
Peggy Bodine
Carmen Crane Bond
Dr. Marcia Bowden
Martha Boyd
Sonji Branch
Ronell Brindell
Ruby Bright
Lillian Brown
Rose Merry Brown
Marian Bruns
Alice Burnett
Kitty Cannon
Karen Carlisle
Jeanne Gray Carr
Jenny Carter
Dr. Nancy Chase
Dorothy Cleaves
Mikki Cobbins
Seandria Cobbins
Nancy Hughes Coe
Jeanette Cooley
Kim Cox
Deborah Craddock
Jill Crocker
Elaine Crown
Dr. Saryn Doucette
Joy Doss
Mary Ann Eagle
Marsha Evans
Kathy Fish
Mary Lawrence Flinn
Mary Lee Formanek
Kathleen Gardner
Allison Garrott
Kate Gooch
Billie Jean Graham
Sarah Haizlip
Cynthia Ham
Deborah Hester
Harrison
Ann Hawkins
Carolyn Heppel
Frances Hooks
Trina Huelsman
Buzzy Hussey
Barbara Hyde
Nicki Inman
Janas Jackson
Jeanne Jemison
Rose Johnston
Dale Kelman
Edith Kelly-Green
Delores Kinsolving
Dorothy Kirsch
Ellen Klyce
Suzanne Landau
Florence Leffler
Suzana Lightman
Joanna Lipman
Babbie Lovett
Gretchen McLennon
Bickie McDonnell
Linda McNeil
Mabel McNeill
Lisa Chow Mallory
Suzy Mallory
Julia Manning
Ashley Mayfield
Sandra Mays
Suzanne Medford
Nancy Menzies
Snow Morgan
Brooke Morrow
Christine Munson
Jenny Nevels
Gloria Nobles
Sarah Carpenter
Ognibene
Sally Pace
Tommie Pardue
Barbara Perkins
Carol Prentiss
Mary Alice Quinn
Susan Quinn
Dr. Sandra Reed
Beverly Robertson
Ellen Rolfes
Gayle Rose, former
co-chair
Diane Rudner
Beverly Sakauye
Lila Saunders
Honey Scheidt
Janet Seessel
Rachel Shankman
Lucy Shaw
Lynda Mead Shea
Alisa Smallwood
Bonnie Smith
Maxine Smith
Rita Sparks
Susan Springfield
Nancye Starnes
Helga Stengel
Susan Stephenson
Anne Stokes
Margaret Tabor
Mary Tate-Smith
Ashley Tobias
Anne Townsend
Bridget Trenary
Lynne Turley
Lura Turner
Meg Turner
Andie Uiberall
Jeanne Varnell
Anita Vaughn
Kimmie Vaulx
Ann Vining
Stacie Waddell
Ann Marie Wallace
Jane Walters
Cassandra Webster
Becky West
Monica Wharton
Sharon Wheeler
Joy Wiener
Dr. Ethelyn WilliamsNeal
Tracey Williams
Barbara Williamson
Oneida Wittichen
Jocelyn Wurzburg
Jan Young
Sponsorships
Baptist Mem Health
Care Fd.
Blue Cross Blue Shield
TN
Gerber/Taylor
Hyde Foundation
Independent Bank
New South Capital
Paragon Bank
Phyllis Berz
Ritche Bowden
Deborah Craddock
Ellen Klyce
Brooke Morrow
Sarah Carpenter
Ognibene
Gayle Rose
For more information please contact Ellen Rolfes at the Memphis Symphony: 901-537-2526
82
Memphis
Youth
Symphony
Program
Conner Gray Covington, Music Director ||Musical
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
901--722
722--4004 | www.mysp
www.mysp--music.org
Find us on Facebook!
Photo: Justin Fox Burks
60th Season ... the Memphis Story
2012 | 2013 SeaSon
September
OCtOber
NOvember
DeCember
JANuArY
FebruArY
mArCH
AprIL
mAY
Sun 9
Fri 14
Sat 22–Sun 23
Sun 30
Sat 13
mon 22
Sat 17–Sun 18
Sat 8
Fri 14
Sat 5
Sat 12–Sun 13
Fri 18
thurs 24
Sat 16
Sat 23–Sun 24
Sat 9
Sat 16–Sun 17
Fri 22
Sat 13–Sun 14
thurs 18
Sat 4
Sat 18–Sun 19
Lemoyne-Owen College
beethoven 8
rachmaninoff & mahler
Symphony in the Gardens
StAX! the memphis Sound
Yo-Yo ma
Shostakovich 5
Home for the Holidays (2:30 pm & 7:30 pm)
memphis messiah
Aloha elvis®!
Innovation: beethoven & bernstein
bach and mozart
North mississippi Allstars
A memphis Gospel Celebration
Holst The Planets
Feelin’ Groovy: the music of Simon & Garfunkel
tchaikovsky 5
If bach Were a beekeeper
From Gandolfi to memphis
Hope Clayburn
Symphony in the Gardens
Porgy & Bess
Programs, prices, dates, times, venues and artists are subject to change.
n First tennessee Masterworks –
saturday
7:30 p.m. at Cannon Center
First tennessee Masterworks –
sunday
2:30 p.m. at GPAC
n saturday PoPs
7:30 p.m. at Cannon Center
n Friday ClassiC aCCents
7:30 p.m. at Lindenwood Christian Church
n oPus one At published venues
n sPeCial
Tickets (901) 537-2525 | MemphisSymphony.org
,
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
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
Kathy and Ben Adams
Camille & William Mueller
In Honor of
Peter & Fran Addicott
Rosemary Banta
In Honor of Jim Albrecht
Kathryn A. King
In Honor of Michael Barar
Anonymous
In Honor of
Paul & Linnea Bert
Ms. Mei-Ann Chen
Jennifer Lyons
In Memory of Florence Bohon
Dorothy S. Atkinson
Mr. & Mrs. James C. Blackburn
Lois E. Bohon
Marti & Mike Laslavic
Myron & Gail Lewis
Nancy M. Penisten
Barbara Van Ness
In Memory of Tandy Brannon
Phyllis Brannon
In Honor of Linda Brittingham
In Honor of the Marriage
of Kitty Cannon
and Jim Waller
In Honor of Rhonda Causie
Marian & Frank Shaffer
In Honor of Mei-Ann Chen
Stanley & Dorothy Bilsky
Joseph & Anne Fisher
Mr. & Mrs. Lester F. Lit
In Honor of Mrs. Ruth Cobb
Mr. & Mrs. Charles P. Cobb, Jr.
In Honor of Mrs. Scottie Cobb
The Womans Exchange of
Memphis, Inc
86
Gifts received In Memory of
Charles P. Cobb, Sr.
In Honor of the Birthday of
Charles “Chuck” Coe
In Memory of
Ms. Marguerite Piazza
Jean M. de Frank
In Memory of Billie Crenshaw
In Memory of
Mrs. Eleanor Dean
Ron & Linda Sklar
In Honor of Mrs. Jane Dutcher
Norma Rogers
In Honor of
Dr. Lawrence A. Edwards
In Honor of Rena Feller
Helen Ferguson
In Honor of Laura, Ryan,
Robert and Anna Fleur
Mr. & Mrs. Henry Cannon
Mrs. Lyda Parker
In Honor of Sara G. Folis
Helen Ferguson
In Honor of
James “Jim” Gholson
Ron & Linda Sklar
In Memory of
Elaine and Louis Gompertz
Louise Stern
In Memory of
Michael Gompertz
Joan Gips
In Honor of
Billie Jean Graham
Mr. & Mrs. James Alexander
Samuel Graham
In Memory of
Mrs. Barbara Ramsey Harris
Lisa & Louis Jehl
In Memory of
Mrs. Evelyn Foote Horrell
Jean Lewis
Robert McEniry
In Honor of Buzzy Hussey
Marilyn & Franklin Allen
Ms. Jeanette S. Cooley
Mr. & Mrs. James S. Gilliland
Bobby and Eva Hussey
Tom & Garnett Hutton
Bill Jones
Ms. Jean Lewis Coors
Adrienne Oeding
Mr. & Mrs. Arthur N. Seessel III
Bonnie and Chapman Smith
Anne & John Stokes
Patricia Williams
In Memory of
Dr. Bernard B. Beard
Dr. Jerre Freeman
In Memory of
Dr. Abraham D. Kriegel
Dr. & Mrs. H. Delano Black
Walter Brown
Thomas & Marcia Collins
Jed Dreifus
Gail Murray
Leslie Stratton
Major & Donna Wilson
In Memory of
George Krupicka
nexAir
In Honor of Florence Leffler
Dr. & Mrs. William E. Long
Mary Alice Quinn
In Honor of Sissy Long
Mr. & Mrs. James Alexander
Dr. & Mrs. O. Brewster
Harrington
Mrs. Van Pritchartt
Anne and Jack Roane
Jane Williams
Honor/Memorial Contributors List
Honor/Memorial Overture 11-12
In Memory of Jeff Manis
Dr. Suzanne Gronemeyer
& Mr. Ellis Delin
In Honor of
Barbara H. Marshall
Doris Thomas Hill
In Honor of
Kathleen C. Gardner
In Memory of
Dorothy McDonald
In Honor of the Marriage of
Don and Anita McLean
Lisa & Louis Jehl
Meg Jones
In Honor of
Dr. and Mrs. Lee Milford
Martha & James Boyd
Gifts received In Memory of
Madeleine Moore
Patti Martin
In Honor of
Greg & Ellen Morris
John & Lynn Joyner
In Memory of
Ms. Angela Mullikin
Mr. & Mrs. Hubert Minton
In Honor of Charlotte Neal
In Honor of Gloria Nobles
Anne and Jack Roane
In Honor of Liz Parsons
Michelle Pellay-Walker
and Paul Pellay
Thomas & Maryann Mears
In Honor of
Susanna Perry Gilmore
Diane Greenhill
Lynn Jones
Sandra Leftwich
Lyda Parker
In Memory
of Mr. William “Bill” Prest
Virginia Gandy
In Honor of Perry Redfearn
The Chancel Choir of Christ United
Methodist Church
In Memory
of Thomas M. Roberts
Lucy Lee
Dale & Eugene McDermott
In Memory of Dr. Max E. Johns
Mike and Carolyn Edwards
Gerber-Taylor Family
Lisa & Louis Jehl
Mike & Gay Veazey Williams
Watkins Uiberall Family
Becky Webb Wilson
In Honor of Charles Schulz
Mrs. Sue Myers
In Honor of Peggy Seessel
Allen & Mary Blair
In Honor of
Marian & Frank Shaffer
Josephine M. Wood
In Memory of
Mrs. Dena Shapiro
Anonymous
In Memory of Donna Simmons
David Simmons
In Memory of Peter Spurbeck
Jean M. de Frank
Shirley W. McRae
Shirley St. Hilaire
Jane & Reede Taylor
Robert Vidulich & Diane Sachs
In Memory of
Robert Spurbeck
Susan S. Webb
In Memory of Jean Tuttle
Anneliese & William Watts
In Memory of
Mrs. Cele Carolyn Lubin
Lisa & Louis Jehl
In Honor of Irene Wade
Diane Greenhill
In Honor of Jeremy Warner
In Honor of Bill Weppner
In Honor of Joy Brown Wiener
Lucia Outlan
Julia Williams & Van Manning
Diversified Trust Family
Honor or Memorialize
family and friends with
a gift to the MSO.
Call 901-537-2523
In Honor of David Skinner
Anonymous
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
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.
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.
2011-12 production photos by Skip Hooper
Pure Entertainment
2012-13 Season
FIDDLER ON THE ROOF
Aug 24 – Sept 16, 2012
A CHRISTMAS CAROL*
Nov 30 – Dec 23, 2012
SYLVIA
April 5 – 21, 2013
TALLEY’S FOLLY
Sept 21 – Oct 7, 2012
SIX DEGREES OF
SEPARATION
Jan 25 – Feb 10, 2013
BRIGHTON BEACH
MEMOIRS
April 26 – May 12, 2013
A STEADY RAIN
Feb 15 – March 3, 2013
SINGIN’ IN THE RAIN
June 7 – 30, 2013
DANGEROUS LIAISONS
Oct 12 – 28, 2012
ALTAR BOYZ
Nov 2 – 18, 2012
Jan 11 – 20, 2013
A CHORUS LINE
March 8 – 30, 2013
*Not part of the season membership
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
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