InConcert June July 2012

June/July 2012

Investments: Not A Deposit Not Guaranteed By The Bank Or Its Affiliates Not FDIC Insured Not Insured By Any Federal Government Agency May Go Down In ValueFinancial planning provided by First Tennessee Bank National Association (FTB). Investments available through First Tennessee Brokerage, Inc., member FINRA, SIPC, and a subsidiary of FTB. Banking products and services provided by First Tennessee Bank National Association. Member FDIC. ©2012 First Tennessee Bank National Association. www.firsttennessee.com

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Scan here to listen to a patient’s story.

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InConcertA PUBLICATION OF THE NASHVILLE SYMPHONY

JONATHAN MARXEditor

JESSI MENISHGraphic Designer

ASHLEY MAYGraphic Design Associate

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NashvilleSymphony.org

Many of our graduates have

had a brush with fame.

You might be surprised to find our name behind some of the most well-known artists in the region and nation—Michael Shane Neal, Anna Jaap, Dawn Whitelaw, Paula Frizbe and Harold Kraus, just to name a few. From exhibits in the John C. Hutcheson Gallery featuring

many of these alumni and other notable artists to documentary films, musicals and dramatic plays, there are always events and performances across campus that are open to the public for little or no charge. To brush

up on what’s happening go to events.lipscomb.edu.

events.lipscomb.edu

BEETHOVEN’S NINTH

5InConcert

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GRA

MS 10 High Notes

11 Upcoming Events12 Backstage: Norma Rogers, Piccolo 62 Conductors67 Orchestra Roster68 Board of Directors69 Staff Roster76 Annual Fund: Individuals86 Annual Fund: Corporations90 A Time for Greatness Campaign91 Legacy Society 92 Guest & Facility Information 94 Building Map

DEP

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TS21 SPECIAL EVENT Willie Nelson with the Nashville Symphony June 5

23 SUMMER FESTIVAL Beethoven’s Triple Concerto June 15

31 SUMMER FESTIVAL “Emperor” Piano Concerto June 22

38 SPECIAL EVENT Sarah McLachlan with the Nashville Symphony June 28

50 SPECIAL EVENT: AGO CONVENTION Organ Extravaganza July 6

41 SUMMER FESTIVAL June 30

JUNE/JULY 2012TABLE OF CONTENTS

Nashville SymphonyGiancarlo Guerrero, conductor Nashville Symphony ChorusDouglas Rose, interim chorus directorNorma Grobman Rogers, piccoloJonita Lattimore, sopranoCharlotte Daw Paulsen, mezzo-sopranoBryan Griffin, tenorJason Grant, bass-baritone

Visit our blog, Inside the Nashville Symphony, at:NashvilleSymphony.tumblr.com

BEETHOVEN’S NINTH

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Prime 108Prime 108, a vibrant addition to Nashville’s downtown restaurants, offers the finest steaks, fresh seafood and an extensive wine list along with a beautiful setting inside the newly renovated Union Station Hotel. 1001 Broadway, Ph: (615) 726-1001 www.prime108.com

Sheraton Nashville DowntownSheraton is the place where friends gather. Make Sheraton a memorable part of your next cultural experience with dinner in Speakers Bistro before the show, or dessert and cocktails in Sessions Lounge after the curtain falls. Ph: (615) 259-2000 for reservations www.sheratonnashvilledowntown.com

Sole MioFor almost twenty years, Sole Mio has been serving up Nashville’s best award winning Italian cuisine. Featuring handmade pasta and traditional Northern Italian Sauces made fresh to order. Check us out! 311 3rd Avenue South Nashville 37201. Ph: (615) 256-4013 www.solemionash.com

Valentino’sAAA Four Diamonds & The Wine Spectators Award winner, voted #1 Italian Restaurant by Tennessean 2 years in a row. Featuring award winning Chef & Co-Qwner, Paolo Tramontano. 1907 West End. Ph: (615) 327-0148 for reservations www.valentinosnashville.com

Nero’s GrillGreen Hills favorite neighborhood restaurant! Serving crisp salads, comfort foods, fresh seafood, and aged, wood grilled steaks. 2122 Hillsboro Drive. Ph: (615) 297-7777 for reservations. www.nerosgrill.com

P.F. Chang’sAcknowledge your craving for P.F. Chang’s! View our menu, reserve a table or order online. Open for lunch, dinner and late night dining. Happy Hour from 3pm-6pm everyday! 2525 West End Nashville 37203 Ph: (615) 329-8901 www.pfchangs.com

Fleming’sFleming’s Nashville is an ongoing celebration of exceptional food & wine, featuring the finest prime steak and an award-winning wine list. We are located across from Centennial Park at 2525 West End Ave. Ph: (615) 342-0131 www.flemingssteakhouse.com/locations/tn/nashville

Maggiano’sWe specialize in Italian-American cuisine served in generous portions and made-from-scratch. Our services include lunch, dinner, carryout as well as delivery, in addition to beautiful banquet spaces for special occasions. 3106 West End Ave. Nashville 37203 Ph: (615) 514-0270 www.maggianos.com

For Advertising Information call: Glover Group Entertainment 615-373-5557

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CHECK OUT THE REST OF THE NEW SEASON AT NashvilleSymphony.org | 615.687.6400

SPECTACULAR EXPERIENCE

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“Unforgettable can come in big and small moments. This year, we’re going BIG.” — Giancarlo Guerrero

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“Fine skill and artistry.” — The New York Times

Listen to the Nashville Symphony’s Carnegie Hall performance at http://ow.ly/aYOTK

On May 12, Music Director Giancarlo Guerrero, the Nashville Symphony

and electric violinist Tracy Silverman performed at Carnegie Hall on the

closing night of the Spring For Music Festival. It was a thrilling concert,

with the orchestra receiving multiple standing ovations and Giancarlo

Guerrero making his Carnegie Hall debut!

Thank you to the more than 500 Nashvillians who traveled to New York

City to hear the orchestra in person. Thank you to Classical 91One for

broadcasting the concert live for the Middle Tennessee community. And

thank you to the musicians of the Nashville Symphony, whose stellar

performance showcased the incredible wealth of talent and inspiration

we have right here at home!

JUNE 201210

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For tickets, call 615.687.6400 or visit NashvilleSymphony.org

UPCOMING EVENTS

JULY

Diana KrallJuly 13

SEPTEMBERGrand Avenue Special EventMahler’s Eighth - “Symphony of a Thousand”September 7 & 9, 2012

Bank of America Pops SeriesBoyz II MenSeptember 13, 14 & 15, 2012

SunTrust Classical SeriesA Woman’s LifeSeptember 20, 21 & 22, 2012Rossini - William Tell OvertureRichard Danielpour - A Woman’s LifeRachmaninoff - Piano Concerto No. 3

OCTOBERSunTrust Classical SeriesThe Sound of EnlightenmentOctober 4, 5 & 6, 2012Haydn - Symphony No. 31 “Hornsignal”Stephen Paulus - Three Places of Enlightenment -

String Quartet ConcertoStephen Paulus - The Veil of TearsBeethoven - Symphony No. 5

Jazz SeriesCharlie Haden & Quartet WestOctober 12, 2012Concert presented without orchestra

Special EventChucho ValdésOctober 19, 2012

Bank of America Pops SeriesMichael W. SmithOctober 25, 26 & 27, 2012

The Ann & Monroe Carell Family Trust Pied Piper SeriesHalloween in the Wild WestOctober 27, 2012

Organ Recital Halloween Movie NightNosferatu with organist Tom TrenneyOctober 29, 2012

12

Member of the Nashville Symphony since: 1972

Hometown: Philadelphia, Pennsylvania

You’re retiring this summer after 40 years with the orchestra. What are your plans? My husband and I have plans to travel to Hong Kong twice a year to visit our son and daughter-in-law. I’d like to learn new solo pieces for flute and piccolo and to improve on bridge and learn to play golf.

You’re the featured soloist in Vivaldi’s Piccolo Concerto this month. Have you performed it before? I’ve done it two times before. The first time, I played one movement at a children’s concert with conductor Michael Charry. The other time was at Green Hills Mall, when the orchestra was shut down and we were giving concerts around the city; we called it “the mall tour.” This piece is very difficult because of the breath control; it’s hard to find a place to breathe. The second movement is the most gorgeous part written for piccolo, and it shows off the instrument beautifully.

How does the piccolo differ from the flute? If you’re a piccolo specialist, you feel that it is a different instrument than the flute. It requires a great deal of control and is much harder to play in tune. Playing high and soft is extremely difficult. All flute players can play the piccolo, because the basic fingering is the same, and all flute players should learn to play the piccolo — but many flutists view playing the piccolo as a necessary evil.

What’s been the highlight of your time performing with the Nashville Symphony? I really can’t say there’s just one. One memory that stands out is the time we rehearsed with Pavarotti at War Memorial Auditorium,

before the performance at the arena. He sang in full voice directly to us onstage. It was just exhilarating, because it felt as though he was singing right at me. Other highlights include our concert with Rostropovich at TPAC, our pops concerts with Ella Fitzgerald and Cleo Laine, and our performance with Victor Borge. The tours we did with Amy Grant were an amazing experience, because we were really treated like rock stars. Of course, our tour to Carnegie Hall in 2000 was a wonderful experience. I’ve got a whole list of things that really stand out.

Any funny stories? There was the concert with the rubber chicken. We were backstage at TPAC, and some of the musicians were fooling around by tossing a rubber chicken back and forth. The piano was backstage, and the lid was up, and when it was time to go onstage, no one knew what to do with the rubber chicken, so it ended up inside the piano! When the soloist came out, he saw the rubber chicken, and he had quite a look of surprise, but he went on with the performance.

What will you miss the most? I have played most of the major piccolo solos in the orchestral literature, but I would love to have played Shostakovich’s Ninth one more time, and I am sorry that I never got a chance to perform Shostakovich’s Eight or Hindemith’s Nobilissima Visione. I’m going to miss the camaraderie and being inspired by the wonderful playing of my colleagues.

What’s your biggest hope for the orchestra? Just to continue on the trajectory it’s already on, getting better and better every year. It’s on the road to stardom, and I don’t think we have that far to go.

Visit NashvilleSymphony.org/orchestra to learn more about our musicians.

BACKSTAGE | MEET OUR MUSICIANS

NORMA ROGERS, PICCOLO

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Proudly taking our seat as a supporter of Miami-area arts.Proudly taking our seat as a supporter of Miami-area arts.

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TSpecial EventTuesday, June 5, at 7 p.m.

Nashville Symphony David Campbell, conductor

Willie NelsonBobbie Nelson, pianoMickey Raphael, harmonicaPaul English, drumsBilly English, percussionKevin Smith, bass

Selections to be announced from the stage.

Official Partners

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ABOUT THE ARTISTWILLIE NELSONIf ever an artist deserved to be called a “living legend,” that artist would be to Willie Hugh Nelson. With a career spanning six decades, Nelson is the creative genius behind the historic recordings of “Crazy,” “Red Headed Stranger” and “Stardust.” The iconic Texan has earned every conceiv-able award as a musician, and has amassed reputable credentials as an author, actor and activist. With a discography that includes more than 200 albums, he continues to be a thriving, relevant and progressive musical force.

In 2010, Nelson released Willie Nelson’s Country Music, produced by the legendary T Bone Burnett, which garnered a GRAMMY® nomination for Best Americana Album. In 2011, he released Here We Go Again: Celebrating the Genius of Ray Charles, a 12-tune tribute to

the R&B legend, with Wynton Marsalis and Norah Jones. He also gave us Remember Me Vol. 1, his handpicked collection of country music’s most definitive songs. In 2012, Nelson entered into a historic new record deal with Legacy Recordings, the catalog division of Sony Music Entertainment. Released last month, Heroes is Nelson’s first album for Legacy Recordings, featuring new songs and deep country classics with guest artists including Merle Haggard, Snoop Dogg, Kris Kristofferson, Billy Joe Shaver, Sheryl Crow, Jamey Johnson, Lukas Nelson and Micah Nelson.

In 1985, Nelson founded Farm Aid, an organization dedicated to championing the cause of family farmers. His acting credits include roles in feature films such as The Electric Horseman and Honeysuckle Rose, as well as numerous television appearances.

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LSummer FestivalFriday, June 15, at 8 p.m.

BEETHOVEN’S TRIPLE CONCERTONashville Symphony Lucas Richman, conductor Eroica Trio

Susie Park, violinSara Sant’Ambrogio, celloErika Nickrenz, piano

LUDWIG VAN BEETHOVEN Overture to Die Weihe des Hauses, Op. 124 [The Consecration of the House]

LUDWIG VAN BEETHOVEN Concerto in C major for Piano, Violin, Cello and Orchestra, Op. 56 “Triple Concerto” Allegro Largo Rondo alla polacca Susie Park, violin Sara Sant’Ambrogio, cello Erika Nickrenz, piano

INTERMISSION

LUDWIG VAN BEETHOVEN Symphony No. 4 in B-flat major, Op. 60 Adagio - Allegro vivace Adagio Allegro vivace Allegro ma non troppo

The Eroica Trio appears by arrangement withColumbia Artists Management, LLCPersonal Direction: Mark Z. Alpert, Vice President1790 Broadway, New York, NY 10019

Official PartnersConcert Sponsors

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Beethoven was an incomparable master of dramatic music. Without any specific “story line,” his sym-phonies and concertos rivet the listener with their compelling use of tension and release. But he also wrote music for use in the theater throughout his career. Aside from his one opera, Fidelio, his theatri-cal works range from the early ballet The Creatures of Prometheus to incidental music for such plays as Goethe’s Egmont. Beethoven undertook his final project of this sort in 1822, when he was asked to par-ticipate in the dedication of the renovated Josefstadt Theater in Vienna.

To celebrate the reopening, Beethoven provided music for Carl Meisl’s rewrite of August von Kotzebue’s play The Ruins of Athens, a version fittingly renamed The Consecration of the House. Beethoven had composed incidental music for the original play a decade earlier and he recycled much of that material for this work, but he chose to write an entirely new overture. It elicited high praise from the critics and was featured on the bill when the Ninth Symphony premiered in 1824.

What to listen forWritten in two linked sections, the overture pays homage to the Baroque, and in fact is sometimes described as an “Overture in the Handelian style.” Beethoven revered Handel, whose work was espe-cially influential during this phase of his career. However, there’s no mistaking the Beethovenian fin-gerprint in the rhythmic eccentricities of the solemn opening section. A trio of trombones contributes a noble sonority to the ensemble. The introductory part also includes a series of fanfares and scurry-ing scales to prefigure action in the play. All this energy spills over into the Allegro, where Beethoven exploits his newfound fascination with the dramatic possibilities of counterpoint by spinning out a vivid double fugue.

The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings.

LUDWIG VAN BEETHOVEN

Born on December 16, 1770, in Bonn, Germany; died on March 26, 1827, in Vienna, Austria

The Consecration of the House Overture, Op. 124

Beethoven composed this overture in 1822 for the reopening of one of Vienna’s leading theaters. The overture shows another facet of the composer’s dramatic genius, while looking back to techniques of Baroque masters like Handel.

First performance: October 3, 1822, in Vienna.First Nashville Symphony performance: January 27, 1953, with Music Director Guy Taylor.Estimated length: 12 minutesRecommended listening: David Zinman and the Zurich Tonhalle Orchestra, the forces behind one of the best Beethoven symphony cycles, bring their fresh approach to a compilation of the composer’s overtures as well (Arte Nova).

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The Concerto for Violin, Cello and Piano — or, to use its more familiar nickname, the Triple Concerto — dates from an especially rich creative period in Beethoven’s career. It was composed immediately after the epochal Third Symphony (the “Eroica”), a revolutionary work that took Beethoven on what he called a “new path.” He then became preoccupied with the earliest ver-sion of his opera Fidelio. Perhaps as a distraction from the stress of working on the latter, Beethoven turned his attention to the Triple Concerto around this time. But precisely why he undertook this unusual fusion between a concerto and the chamber music format of the piano trio remains a matter of speculation. An explanation put for-ward by his notoriously unreliable biographer, Anton Schindler, is that the work was designed for the Archduke Rudolf, brother of the Habsburg emperor, who would become one of Beethoven’s most significant supporters. The Archduke was the dedicatee of several later masterpieces,


Concerto for Violin, Cello and Piano in C major, Op. 56

“Triple Concerto”

Beethoven completed the Triple Concerto in the summer of 1804. Its original purpose remains obscure, and the work features an unusual fusion of concerto and piano trio. Beethoven finds inventive solutions to the challenges inherent in balancing three soloists against the larger ensemble.

First performance: April 1808 in Leipzig, Germany.First Nashville Symphony performance: January 15 and 16, 1973, with Music Director Thor Johnson, pianist Enid Katahn, violinist Samuel Terranova and cellist James Kreger.Estimated length: 38 minutesRecommended listening: The Eroica Trio, veterans of this concerto, have recorded it with the Prague Chamber Orchestra (EMI Classics).

including the “Emperor” Concerto and the “Archduke” Trio.

A teenager at the time, the Archduke studied piano and composition with Beethoven, possibly beginning as early as 1804. The fact that the piano is entrusted with a less taxing role than the other two soloists in the Triple Concerto seems to support the notion that Beethoven calibrated it to serve as a public piece for his new student, who would be joined by two more experienced colleagues. Yet the Archduke didn’t premiere the Triple Concerto, and Beethoven dedicated it to another important patron. There is no documentary evidence to support Schindler’s theory, in any case.

Suffice it to say that the Triple Concerto, which was not well received at its premiere, is an anomaly in Beethoven’s career. His three previously published piano concertos were solo vehicles written to showcase his own virtuoso talent. The Triple Concerto seems more leisurely in style, a work poised to entertain in comparison with the ambitiously progressive works Beethoven was writing at this time.

In his in-depth study of all the Beethoven concertos, musicologist Leon Plantinga suggests that the Triple Concerto was a response to French style. Beethoven had become fascinated by recent developments in France, and he may even have considered resettling in Paris. Concertos for multiple instruments, usually cast in an extroverted, upbeat mood, were all the rage there, where the genre was known as the symphonie concertante . The Triple Concerto, writes Plantinga, “may well be seen as a commentary on — and perhaps an intended concession to — French taste.”

What to listen forBeethoven launches the expansive first move-ment with a surprisingly quiet opening theme deep in the cellos and basses. Note the march-like rhythms that help trigger a sense of momentum. Wonderfully staged in this way, the “big gesture” you expect in a concerto at last arrives in a swell-ing crescendo. Beethoven offers a profusion of themes that are easily fragmented and that have interchangeable elements, including new material introduced after the entrance of the soloists.

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With a shift from the home key of C major to A-flat, the Largo is closer to an interlude than a full-fledged slow-movement meditation. It can also be thought of as a prelude to the finale, since the Parisian symphonie concertante was often cast as two movements. Again, the cello has the honor of being the first of the soloists to appear,

carrying the beautiful melody high in its range. The orchestral accompaniment in this movement is reduced to winds and strings. A suspenseful harping from the cellist on repeated G’s serves as a signal to launch directly into the finale. Here the cello springs into action to give out one of Beethoven’s catchiest tunes, the driving force of this Rondo alla Polacca (or Polonaise, to use the French name for this graceful Polish dance type, so familiar from Chopin’s piano pieces). Beethoven abruptly shifts from the dance’s characteristic triple meter for a shared cadenza in speedy duple time before a return to the “normal” tempo and meter for a finely staged close.

In addition to solo violin, cello and piano, the concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

LUDWIG VAN BEETHOVEN Symphony No. 4 in B-flat major, Op. 60

Beethoven composed the Symphony No. 4 in the summer and fall of 1806. Though the Fourth Symphony is somewhat overshadowed by both the epic grandeur of the Eroica and the taut, fate-filled Fifth, it brims with Beethoven’s innovative spirit and is anything but a “regression” to a more conservative attitude.First performance: After a private performance in March 1807 in Vienna, Beethoven led the public premiere in that city on April 13, 1808.First Nashville Symphony performance: December 20, 1949, at Ryman Auditorium with Music Director William StricklandEstimated length: 35 minutesRecommended listening: No music collection should lack the complete Beethoven symphony cycle. Of the many fine budget editions, try David Zinman’s cycle with the Tonhalle Orchestra (Arte Nova), Herbert von Karajan’s with the Berlin Philharmonic, or Leonard Bernstein and the Vienna Philharmonic (both Deutsche Grammophon).

The image of Beethoven as intrepid rule-breaker became entrenched early on, but it has tended to distort our understanding of the true nature and extent of his originality. While the “Eroica” is rightly viewed as a paradigm shift for the symphony, a preoccupation with its revolutionary qualities — and, in similar fashion, with the formal innovations of the Fifth — can make the Fourth Symphony seem like a tame beast in comparison. Something of this bias lies behind Robert Schumann’s familiar metaphor comparing the work to a “slender Greek maiden,” yet the presumably feminine lyricism in the Fourth is only one of its several facets.

According to prevailing wisdom, the Fourth enacts both a return to more familiar classical patterns and a “relaxation” of the dramatic tension that is the engine of Beethoven’s heroic style. It is true that he composed this work for a patron, the Silesian Count Franz von Oppersdorff, who had

expressed particular admiration for his Second Symphony, yet Beethoven’s creative process was always driven by the search for different solutions to compositional challenges. The Fourth inserts its own powerfully original glosses on the expressive rhetoric of his models, particularly Haydn. That these novel elements are contained within a relatively conservative framework adds to their delightful subtlety, making the Fourth a symphony for true Beethoven connoisseurs. The Fourth reminds us that Beethoven’s symphonic achievement did not resemble a tabula rasa wiped clean of the past, but involved an ongoing argument and dialogue with tradition. Beethoven sought a synthesis of spontaneity and craft, innovation and tradition, fantasy and form.

What to listen forThe long Adagio opening returns to the scheme Beethoven used in his first two symphonies, with a slow introduction to the first movement proper. The model here comes from Haydn’s London Symphonies, particularly the Symphony No. 102, also in B-flat. Beethoven elaborates this into a remarkable drama of sustained suspense and mystery. The Ninth would establish a new para-digm for later composers, outlining an introduc-tory chaos from which musical form emerges. The Fourth, with its sonic groping toward the light, anticipates that process.

Beethoven’s harmonic ambiguity in the introduction serves to intensify the blaze of B-flat major that erupts as the first movement proper pushes off. That thrilling sense of release so early in the symphony, according to British musicologist Robert Simpson, is a feature that the Fourth shares with the Fifth and Sixth symphonies. In all three, Beethoven uses this strategy of a dramatic transformation from darkness to light. That outburst is just one example of why the usual depiction of the Fourth

as merely graceful is so inadequate. Beethoven continues to infuse drama into this movement through his exciting contrasts of dynamics and texture. Listen for the masterfully built crescendo — and the timpani’s role in it — that leads into the recapitulation.

Each movement of the Fourth has a distinctive rhythmic character. In this regard, the Fourth also looks ahead to the Seventh, Beethoven’s only subsequent symphony with a similarly prolonged slow introduction. Notice the repetitive rhythmic motif that comes in and out of the foreground in the slow movement. Beethoven sets its mechanical pattern off against one of the loveliest melodies he ever composed, spun from a descending scale.

Beethoven gives the third movement the deceptively old-fashioned label “Minuet,” but his use of syncopation, dynamic contrast and harmonic tricks unquestionably updates the dance into a more energy-fueled scherzo. The regularity of meter in the middle trio (which he asks to be played twice) has comic naïveté, a foil to the main section’s outrageous rowdiness. Beethoven pays his most open homage to Haydn in the finale, which churns with a theme of dizzying perpetual motion. The “feminine” charms of Schumann’s classic Greek maiden are, after all, but one element of the Fourth. Beethoven’s score encompasses yin and yang, shadow and light, all capped by a final, resounding joke.

The Symphony No. 4 is scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

— Thomas May is the Nashville Symphony’s program annotator. He writes extensively about

music and theater.

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tradition. The composer sought a synthesis of spontaneity and craft, innovation and tradition, fantasy and form.

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ABOUT THE ARTISTSLUCAS RICHMAN, conductorLucas Richman has served as Music Director for the Knoxville Symphony Orchestra since 2003, and as Music Director and Conductor for the Bangor Symphony Orchestra since 2010. He received a 2011 Best Classical Crossover Album GRAMMY® Award for conduct-ing the Royal Philharmonic Orchestra on Christopher Tin’s clas-sical/world fusion album, Calling All Dawns. He has appeared as guest conductor with numerous orchestras, including the New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic, Baltimore Symphony, Canada’s National Arts Centre Orchestra, the Oslo Philharmonic and the Zagreb Philharmonic. He has collaborated

with notable soloists such as Mstislav Rostropovich, Lang Lang, Midori, Emanuel Ax, Yefim Bronfman, Frank Peter Zimmerman, Mark O’Connor and Radu Lupu.

Over the past decade, Richman has served as conductor for numerous film scores, including the Academy Award-nominated The Village (with violinist Hilary Hahn), As Good As It Gets, Face/Off, Se7en, Breakdown, The Manchurian Candidate and Kit Kittredge: An American Girl. In 2010, John Williams personally invited Richman to serve as the conductor for the three-month national summer tour of Star Wars in Concert.

An accomplished composer, Richman has had his music performed by more than 200 orchestras in the last 10 years, and his works written specifically for children have been featured in young people’s concerts presented by orchestras such as the Atlanta Symphony, the Houston Symphony and the Grand Rapids Symphony. Links to his compositions and recordings can be found at www.ledorgroup.com.

EROICA TRIOSusie Park, violinSara Sant’Ambrogio, celloErika Nickrenz, piano

The most sought-after trio in the world, the Eroica Trio thrills audiences with virtuosity, enthusiasm and elegance. Whether playing the great standards of the repertoire or daring contemporary works, the three young women who make up this celebrated ensemble electrify the concert stage with their performances. While maintaining a demanding concert schedule, the Eroica Trio has released eight critically lauded

recordings for Angel/EMI Classics Records, garnering multiple GRAMMY® nominations.The Eroica Trio performs the Beethoven Triple Concerto more frequently than any other trio in

the world, having appeared with renowned symphonies including Chicago, St. Louis, San Francisco, Indianapolis, Atlanta, Houston, New Jersey, Seattle and the Mostly Mozart Orchestra. In addition, The Trio has performed the work abroad with Orquesta Sinfonica de Euskadi in Spain, Haydn Orchestra in Italy, with the Royal Philharmonic Orchestra and Budapest Symphony in Germany, and on multiple tours in the United States with the Cincinnati Symphony. The Eroica Trio’s recording of the Beethoven Triple with the Prague Chamber Orchestra was so successful that it landed on Billboard’s Top 20.

The Trio took its name from Beethoven’s passionate Third Symphony, known as the Eroica. The Trio has established a unique identity by creating innovative programs that span 300 years of music. A typical Eroica Trio concert might include the Baroque symmetries of Vivaldi, the passion of Brahms, and Mark O’Connor’s bluegrass ode to Johnny Cash, Poets and Prophets, which was written for them.

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LSummer FestivalFriday, June 22, at 8 p.m.

“EMPEROR” PIANO CONCERTO

Nashville Symphony Alastair Willis, conductor William Wolfram, piano

LUDWIG VAN BEETHOVEN Overture to Die Geschöpfe des Prometheus, Op. 43 [The Creatures of Prometheus]

LUDWIG VAN BEETHOVEN Concerto No. 5 for Piano and Orchestra in E-flat major, Op. 73 “Emperor” Allegro Adagio un poco mosso Rondo: Allegro William Wolfram, piano

INTERMISSION

LUDWIG VAN BEETHOVEN Symphony No. 7 in A major, Op. 92 Poco sostenuto - Vivace Allegretto Presto Allegro con brio


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The myth of Prometheus has inspired many musical responses over the centuries. The young Beethoven inherited his image of Prometheus from Goethe’s famous poem, which depicts the titan as he defiantly addresses Zeus: “Here I sit, forming humans / In my image,” proclaims this proud, independent and creative spirit, who represents the archetype the composer him-self would be seen to embody. Musicologist Constantine Floros has even argued that the Prometheus myth is a subtext underlying the “Eroica” Symphony.

At the same time, Prometheus’ benevolent influence on benighted humanity made him an ideal vehicle for Enlightenment allegory, and it is in this guise that the hero appears in The Creatures of Prometheus. This was the first stage work introducing Beethoven to the Viennese public. A collaboration with the Neapolitan choreographer and dancer (and sometime composer) Salvatore Viganò (1769-1821), Prometheus also involved an ambitious experiment in narrative ballet and pantomime.

What to listen forViganò’s detailed two-act scenario does not sur-vive, but has been loosely reconstructed. It focuses on the role Prometheus plays in a creation story. Having formed humans from clay, he exposes them to art and knowledge to advance their evolution. In addition to the overture, Beethoven composed a tempestuous introduction in which the hero flees from Olympus bearing fire, and 16 numbers, including a finale.

Though only the overture has gained a place in the repertory, the entire score contains enchanting instances of Beethoven’s gifts as a melodist, and also shows him writing a kind of de facto program music — all within the context of his early mastery of Viennese classicism. The slow introduction to the overture echoes the bold character of the recently completed First Symphony. It begins red-hot, in the middle of things, before we land in the home key. The gathering of energy in the final passage of the overture, meanwhile, is an exciting example of Beethoven’s muscular use of tonality and would become a crucial element of his “heroic” style.

The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.


Born on December 16, 1770, in Bonn, Germany; died on March 26, 1827, in Vienna

Overture to The Creatures of Prometheus, Op. 43

This overture is part of a full-length ballet score Beethoven composed around the turn of the century, likely in 1800-01. The ballet was the first stage work to appear under Beethoven’s name, and it represents an ambitious experiment for the composer.

First performance: March 28, 1801, in the Hofburg Theater in Vienna, with Beethoven conducting in the pit. First Nashville Symphony performance: February 22, 1955, with Music Director Guy TaylorEstimated length: 5 minutesRecommended listening: Kent Nagano and the Montreal Symphony have recorded a thoughtful pairing of music from The Creatures of Prometheus with the “Eroica” that includes an imaginary narrative of “Prometheus on trial,” newly scripted by novelist Yann Martel (Sony).

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A number of nicknames have become unavoid-ably linked with Beethoven’s compositions, but none is as ironically misleading as the posthu-mously invented tag “the Emperor” — at least insofar as it might suggest any sort of glorifica-tion of Napoleonic power. The name by which his last completed piano concerto is known in the English-speaking world would hardly have pleased the composer. Napoleon and his troops were in fact making Beethoven’s life hell precisely when he was in the thick of creating this music. Following their bombardment of Vienna in 1809, Beethoven angrily described the destructive mis-ery caused by war. Amid the crumbling founda-tions of the old Habsburg order and the ensuing economic chaos, Haydn’s death in that troubled year must have underscored the sense of an era coming to its end.

Despite the external turmoil, Beethoven composed music of sweeping grandeur in the Fifth Concerto. Its outer movements, set in E-flat (the composer’s signature key for evoking the heroic), actually include assertively militaristic

elements within the larger scope of this inventive and influential score. The turn and dotted rhythm of the first movement’s main theme, to take an obvious example, emphasize a march-like quality.

Yet Leon Plantinga, an expert in the Beethoven concertos, observes that the symbolism beneath the surface here is much subtler. It involves a metaphorical recasting of the militarism that was then impinging on the composer’s daily life. The overbearing presence of armed conflict during this period “may have reminded him (and now us) of a generalized human struggle,” writes Plantinga. So instead of glorifying any one figure, the Concerto’s “heroic gestures pointed to a nobility of character required to prevail.”

What to listen forThe famous opening sequence of orchestral chords and solo cadenzas are more than a gran-diose introduction before the real business of the first movement begins. In fact, they serve as a microcosm for the entire work. Alongside the extroverted confidence of these three fundamen-tal chords, the piano’s flourishes inject an air of leisurely fantasy and even, in its third flight, a hint of otherworldly introspection. The vast expanse of the entire first movement unfolds less as a heroic struggle than as an ongoing contrast between these two impulses: dynamic momentum on the one hand, relaxed musing on the other. Only once, at the climax of the development, does a real sense of crisis threaten, preparing the way for a glorious recapitulation of the opening cadenzas.

Worsening deafness had by now put an end to Beethoven’s own piano career, and the sense of retreat from the world’s cares suffuses the Adagio with a quality of serene, quasi-religious contemplation that perfectly counterbalances the energetic exertions of the outer movements. Yet, in spite of these clearly disparate components, there are deep coherences with the whole. The turn to B major alludes to the tonal expansiveness of the first movement, which now remains static, while the piano’s exquisite filigree seems to revisit its earlier dreamy impulses in slow motion.

At the end of the second movement, Beethoven enacts one of his most magical


Piano Concerto No. 5 in E-flat major (“Emperor”)

Beethoven composed the Piano Concerto No. 5 in 1809. The last piano concerto he completed, the “Emperor” synthesizes imaginative virtuosity for the soloist with symphonic grandeur and expansiveness.

First performance: November 28, 1811, in Leipzig, with the Leipzig Gewandhaus Orchestra and soloist Friedrich Schneider.First Nashville Symphony performance: January 25, 1949, with Music Director William Strickland and soloist Clifford Curzon.Estimated length: 38 minutesRecommended listening: Maurizio Pollini and the Vienna Philharmonic under Karl Böhm (Deutsche Grammophon) or Rudolf Serkin as soloist with Leonard Bernstein and the New York Philharmonic (Sony).

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transitions simply by lowering that static B by a half-step, to B-flat — sounded first by bassoons — to provide a direct springboard back to E-flat and into the finale. The piano first spells out the main subject, a variant of a characteristic “hunting” rondo theme, which Beethoven renders more aggressive by phrasing it with propulsive rhythmic accents. Forward-pushing dynamism once again brushes up against dazzling, virtuosic ruminations. In a startling theatrical surprise, the music nearly comes to a standstill, with the timpani alone insisting on a rhythm, before the piano’s fierce cascade of scales leads the way out to an exuberant finish.

In addition to solo piano, the score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

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Symphony No. 7 in A major, Op. 92

Beethoven composed the Symphony No. 7 in 1811-12. A masterpiece of “absolute music” — that is, music that is inherently about itself, rather than descriptive —

the Seventh has nevertheless inspired countless explanations of what may have inspired its creator.

First performance: December 8, 1813, in Vienna, with the composer conducting.First Nashville Symphony performance: This piece was performed on the Nashville Symphony’s first-ever concert, December 10, 1946, with Music Director William Strickland.Estimated length: 38 minutesRecommended listening: No music collection should lack the complete Beethoven symphony cycle. Of the many fine budget editions, try David Zinman’s cycle with the Tonhalle Orchestra (Arte Nova), Herbert von Karajan’s with the Berlin Philharmonic, or Leonard Bernstein and the Vienna Philharmonic (both Deutsche Grammophon).

We think of Beethoven as a composer determined to challenge his audiences out of their comfort zone, but the Seventh is a happy instance of an indisputable masterpiece that was greeted with widespread public acclaim from the moment of its premiere. It was heard for the first time as part of a benefit con-cert for Austrian and allied veterans of the wars against Napoleon. Also sharing the bill was Beethoven’s even more wildly successful (though now forgotten) novelty piece, Wellington’s Victory, which cel-ebrated the routing of Napoleon’s brother Joseph and his forces in Spain. Its inspiration had been the “panharmonicon,” an extravagant mechanical instrument designed to imitate the orchestra and created by the composer’s inventor friend Johann Nepomuk Mälzel.

BEETHOVEN AS PIANIST Mozart once described Vienna as “the land of the clavier.” When Beethoven settled in the Habsburg capital in November 1792 — only a year after Mozart died — he followed the pattern set by his predecessor and initially made his name as a virtuoso keyboard performer. The piano served as his center of gravity, the tool through which he cultivated a style. Carl Czerny, who was a prodigy when Beethoven took him on as a pupil, later recalled the charismatic impact made by the composer’s famous improvisations. He added that Beethoven “would burst into loud laugh-ter and banter his hearers” after seeing how his playing had brought many of them to tears. But by the time of the “Emperor,” deafness had made it impossible for Beethoven to continue per-forming in public. This is the only one of his five piano concertos that the composer himself did not introduce as soloist. For the Vienna premiere in 1812, it was Czerny who took over this role.

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TThe initial audience for the Seventh thus likely associated its outsize exuberance with the sense of impending triumph over Napoleon’s once seemingly invincible power. After years of disruptive warfare, a lasting peace was finally on the horizon. In one of music history’s more remarkable ironies, the Seventh dates from near the close of what is often termed Beethoven’s “heroic” period, which was launched with the “Eroica” Symphony — a work inevitably linked with the composer’s contradictory attitudes toward Napoleon.

As Beethoven was actually composing the Seventh, however, Napoleon was at the height of his power, though his disastrous invasion of Russia was soon to come. Some have suggested a more intimate inspiration for the intensely joyful torrents of energy that churn through the score, referring to the bachelor composer’s reawakened (though ultimately disappointed) hope of a fully reciprocated love with the “Immortal Beloved” of his letters. Yet beyond these autobiographical tangents, Beethoven’s successors vied to get at the heart of this music by imagining a host of scenarios to account for its exhilarating verve, from peasant weddings and Druid rituals to Wagner’s famous edict that it embodies “the apotheosis of the dance herself…the loftiest deed of bodily motion incorporated in an ideal mold of tone.”

According to biographer Maynard Solomon, all of these varying accounts converge in one way or another in a shared perception of music that “powerfully symbolizes the act of transcendence, with its attendant joyous and liberating feelings.” Solomon himself believes this is because the Seventh manages to tap into an archetype of celebration centered on “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.” This, of course, endures in our secular calendar in the form of Mardi Gras and similar festivals in which restraint is cast aside for the time-being to enjoy “a licensed eruption of the profane and the scatological, and an outpouring of mockery, ridicule and satire expressing a comic vision of life,” untouched by tragedy.

What to listen forAt the same time, the Seventh is one of Beethoven’s most abstract, “absolute” composi-tions, in the sense that it is very much about the power of music itself. The dominant role played by obsessive rhythms and the determined neu-trality of most of the thematic material suggest a focus on music’s primal elements, through which Beethoven builds his immense, epic architecture. The scale of the introduction to the first move-ment, for example, is unprecedented. At the end of it, Beethoven atomizes the sense of pulse and proceeds then to build it up again into the dynamo of the Vivace.

Meanwhile, the accompanying crescendo that suddenly grows quiet as we cross over into the first movement proper is only one of the many surprises that lie in store. Beneath the dynamic thrust of the rhythm, Beethoven juxtaposes static drones deep in the bass. The grinding tension between the two is especially electrifying in the coda, which contains a passage that composer Carl Maria von Weber famously compared to the musings of a madman. This drone, a musical metaphor for outdoor, rustic celebration, plays an important role later in the Seventh as well, literally grounding its sense of Dionysian festivity. Some of Beethoven’s contemporaries even wondered whether he had been drunk while composing it.

The music’s overall exhilaration doesn’t preclude the presence of melancholy, which comes to the fore in the main part of the Allegretto. This is not a slow movement per se, though its tempo offers a reprieve from the speed of the surrounding movements. The variations on the principal theme add new layers of orchestration, anticipating a similar strategy in the orchestral introduction of the “joy” theme in the Ninth’s finale. The clarinet’s consoling major-key countermelody is one of Beethoven’s warmest.

Along with its rhythmic profile, the Seventh is a symphony of harmonic jolts. In his elegant study of the Beethoven symphonies, Robert Simpson points out that keys, in an acoustically vivid sense, actually become “tonal protagonists,” to the point that they “seem more like dimensions than keys,” thus intensifying the feeling of epic expanse. The Scherzo, for example, whisks us far

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ALASTAIR WILLIS, conductorConductor Alastair Willis served as the Associate Conductor of the Seattle Symphony from 2000-2003. He previously held the posi-

tion of Assistant Conductor with the Cincinnati Symphony and Pops Orchestras, and Music Director of the Cincinnati Symphony Youth Orchestra.

In the past few seasons, Willis has guest-conducted orchestras around the world, including the Chicago Symphony, Philadelphia Orchestra, New York Philharmonic, San Francisco Symphony, Mexico City Philharmonic, Orquestra Sinfônica Brasileiro in Rio de Janeiro, Nordwestdeutsche Philharmonic, Hong Kong Sinfonietta, China National Orchestra in Beijing and Silk Road Ensemble with Yo-Yo Ma, among others. His Naxos recording of Ravel’s L’Enfant et les Sortilèges with Nashville Symphony was nominated for a Best Classical Album GRAMMY® in 2009.

Last season Willis was reengaged by the St. Louis Symphony, Tulsa Symphony and Pacific Northwest Ballet; had debuts with the Toronto Symphony Orchestra, Deutsche Symphony Orchestra Berlin and Amarillo Symphony; and concluded his three-year tenure as conductor of the Florida Orchestra’s Coffee Concert series.

This season he returns to the Chicago Symphony Orchestra, Nashville Symphony, Omaha Symphony, Calgary Philharmonic Orchestra, Tulsa Symphony, Pacific Northwest Ballet, River Oaks Chamber Orchestra (Houston) and Rio International Cello Festival, and he debuts with the Qatar Philharmonic Orchestra and the Illinois Symphony.

Born in Acton, Massachusetts, Willis lived with his family in Moscow for five years before settling in Surrey, England. He received his Bachelor degree with honors from England’s Bristol University, an education degree from Kingston University, and a Master of Music degree from Rice University’s Shepherd School of Music.

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afield into F major, though with excursions into D for the trio, a key closer to the “home” of A. Thus, Simpson notes, “only the most furious vehemence can reinstate A as the rightful tonic” for the finale.

Indeed, a sequence of powerhouse chords launches the driving, sometimes terrifying fury of the last movement. Beethoven here extends both the form and content of the classical symphony into uncharted territory. The coda’s maelstrom once again evokes the tension between stasis and motion from the first movement, escalating it still further. Wagner’s description of the Seventh as “the apotheosis of the dance” has become well-

known, but elsewhere in his commentary Wagner touches more closely on the music’s psychological impact when he writes that its effect is one of “emancipation from all guilt, just as the aftereffect is the feeling of Paradise forfeited, with which we return to the phenomenal world.”

The Seventh is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

— Thomas May is the Nashville Symphony’s program annotator. He writes extensively about

music and theater.

ABOUT THE ARTISTS

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Beethoven’s Seventh is one of his most abstract, “absolute” compositions, in the sense that it is

very much about the power of music itself.

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LWILLIAM WOLFRAM, pianoAmerican pianist William Wolfram has earned a reputa-tion as the rare concerto soloist who is equally adept as a recit-alist, accompanist and cham-

ber musician. In all of these genres, he is highly sought after for his performances of the music of Franz Liszt and Beethoven, and he is a champion of the music of modernist 20th-century American composers. He has appeared with the San Francisco, St. Louis, Indianapolis, Seattle and New Jersey symphonies, the Buffalo Philharmonic, the National Symphony Orchestra, the Baltimore Symphony, the Colorado Symphony and the Rochester Philharmonic, among many others.

He has worked with internationally recognized conductors such as Andrew Litton, Jerzy Semkow, Vladimir Spivakov, Gerard

Schwarz, Carlos Miguel Prieto and Carlos Kalmar. Abroad, Wolfram has appeared with the City of Birmingham Symphony Orchestra, the Royal Scottish National Orchestra, the Beethovenhalle Orchestra Bonn, and the Warsaw, Moscow and Budapest Philharmonics. An enthusiastic supporter of new music, he has collaborated with and performed music by composers such as Aaron Jay Kernis, Kenneth Frazelle, Marc-André Dalbavie, Kenji Bunch and Paul Chihara.

Wolfram was a silver medalist at both the William Kapell and the Naumburg International Piano Competitions, a bronze medalist at the prestigious Tchaikovsky Piano Competition in Moscow, and finalist in the Van Cliburn International Piano Competition.

A graduate of The Juilliard School, he resides in New York City with his wife and two daughters.

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T Special EventThursday, June 28, at 7:30 p.m.

Nashville SymphonySean O’Loughlin, conductor

Sarah McLachlan, piano, vocals, guitarVincent Jones, piano, keyboards, vocalsLuke Doucet, guitar, vocalsMelissa McClelland, guitar, bass, vocalsCurt Bisquera, drums, percussion

Selections to be announced from the stage.

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TABOUT THE ARTISTSARAH MCLACHLANSarah McLachlan has sold more than 40 million recordings worldwide since her career began in 1988 with her debut album Touch. Five of her albums have reached the Billboard Top 15, and she’s had mul-tiple hit singles, including “I Will Remember You” and “Building a Mystery.” The Canada native is an eight-time winner of that country’s Juno Award, and she’s also a three-time GRAMMY® winner, receiv-ing awards in 1998 and 1999 for Best Female Pop Vocal Performance, as well as a 1998 GRAMMY® for Best Pop Instrumental Performance. Her song “Angel” was featured on the bestselling soundtrack for the film City of Angels.

In 1997, McLachlan founded the touring festival called Lilith Fair, which brought together 2 mil lion people over its three-year history and raised more than $7 million for charities. Indigo Girls, Sheryl Crow, Nelly Furtado, Queen Latifah, Emmylou Harris and Christina Aguilera were among the many artists who participated in Lilith Fair. The festival was revived in 2010, with guest artists including Brandi Carlile, Carly Simon, Cat Power, The Go-Gos, Loretta Lynn, Jill Scott and Mary J. Blige.

In 1998, McLachlan received the Elizabeth Cady Stanton Visionary Award for advancing the careers of women in music. In 2003, the singer founded the Sarah McLachlan Music Outreach Program, which provides free music education classes to inner-city youths whose school music programs have been reduced or abolished by budget cuts.

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Home of the Music Academy at

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LSummer FestivalSaturday, June 30, at 8 p.m.

BEETHOVEN’S NINTHNashville Symphony Giancarlo Guerrero, conductor Nashville Symphony ChorusDouglas Rose, interim chorus directorNorma Grobman Rogers, piccoloJonita Lattimore, sopranoCharlotte Daw Paulsen, mezzo-sopranoBryan Griffin, tenorJason Grant, bass-baritone

LUDWIG VAN BEETHOVEN Overture to Egmont, Op. 84

ANTONIO VIVALDI Concerto for Piccolo and Orchestra in C major, R. 443 Allegro Largo Allegro Norma Rogers, piccolo

INTERMISSION

LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, Op. 125 “Choral” Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Presto - Allegro assai - Allegro assai vivace Jonita Lattimore, soprano Charlotte Daw Paulsen, mezzo soprano BryanGriffin,tenor Jason Grant, bass-baritone

Funding for choral programs is provided in part by the Mary C. Ragland Foundation.


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Beethoven’s only opera, Fidelio, is a story of the triumph of humanity and love over injustice and tyr-anny, and it follows a path from darkness to blazing, joyful light that is traced by his Fifth and Ninth Symphonies as well. The overture he wrote for Johann Wolfgang von Goethe’s play Egmont represents yet another variation on this essential pattern. In 1809, the directors of Vienna’s Burgtheater (an insti-tution that still exists) commissioned him to produce an incidental score to accompany a new pro-duction of Egmont, which resulted in a set of nine pieces plus the overture. The choice of Egmont had obvious contemporary relevance, as Vienna had just been besieged for the second time in four years by Napoleon’s army. It’s interesting to note that another play under consideration had been William Tell by Friedrich Schiller, whose “Ode to Joy” would supply Beethoven with the text for his Ninth Symphony’s grand finale.

Goethe published Egmont in 1788, on the eve of the French Revolution, modeling it after his study of Shakespeare’s tragedies and drawing on historical events in 15th-century Flanders, when much of the territory of modern-day Holland and Belgium was under the yoke of Spanish rule. Egmont, an aristocratic general and leader who rebels against a tyrannical Spanish overlord, is imprisoned and sentenced to death as a traitor. Unlike the victorious outcome in Fidelio, his lover Klärchen is unable to help Egmont and poisons herself in despair while the hero faces his execution. Biographer Maynard Solomon points out that for Beethoven, who had angrily renounced his original dedication of the “Eroica” Symphony to Napoleon several years earlier, Egmont’s story reverberated with his political ideals of “national liberation and individual freedom.” Proud of his own Flemish ancestry, Solomon adds, the composer may have found additional resonance in the historical setting.

Born on December 16, 1770, in Bonn, Germany; died on March 26, 1827, in Vienna

Egmont Overture

Beethoven wrote this overture as part of a set of incidental music he composed in 1809-10 to accompany a staging of Goethe’s play Egmont. Written in the composer’s “heroic” style, the Egmont Overture encapsulates an entire drama of resistance and ultimate victory against tyrannical oppression.

First performance: June 15, 1810, possibly with the composer conducting, in Vienna’s Burgtheater.First Nashville Symphony performance: January 30, 1951, with Music Director William Strickland.Estimated length: 9 minutesRecommended listening: David Zinman and the Zurich Tonhalle Orchestra, the forces behind one of the best Beethoven symphony cycles, bring their fresh approach to a compilation of the composer’s overtures as well (Arte Nova).


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There are also some 500 concertos. Vivaldi produced many of these works during the decades he devoted to teaching music at an orphanage

for girls in his native Venice, where the students would participate in concerts for well-to-do patrons in church settings. (The concert hall as we know it did not yet exist.)While the majority of Vivaldi’s concertos feature his own instrument, the violin, he also wrote concertos for a variety of other instruments, such as oboe, bassoon, cello and mandolin. The concerto we hear is one of only three that survive from this massive legacy showcasing the flautino. Scholars continue to debate the exact identity of this high-pitched instrument — likely a sopranino recorder — but the solo part is often performed on the modern-day piccolo. Arranging a pre-existing concerto for different instruments was, after all, a widespread practice in Vivaldi’s own era.

ANTONIO VIVALDI

Born on March 4, 1678, in

Venice, Italy; died on July 28, 1741, in Vienna.

Piccolo Concerto in C major, RV 443

It’s not known exactly when Vivaldi wrote this concerto or when it was first performed. An exemplary gem showing his innovative concerto style, the piece calls for unflagging

virtuosity and soulful lyricism alike.

First Nashville Symphony performance: This is the Nashville Symphony’s first full performance.Estimated length: 12 minutesRecommended listening: William Bennett plays the piccolo on Sir Neville Marriner’s recording with the Academy of St. Martin in the Fields, which also includes a sampling of Vivaldi’s other wind concertos and a stylish account of The Four Seasons (Decca).

What to listen forBeethoven’s formal design is easy to follow and lucidly conveys the essentials of Goethe’s drama. Set in F minor, the overture begins with a slow introduction that immediately establishes the grim atmosphere with an imposing rhythmic figure and rueful phrases in the woodwinds. These give way to an idea, at first hopeful but soon darkening, that is speeded up to launch an electrifying Allegro section. This music echoes the tautness and drive of the Fifth Symphony, which Beethoven had completed in 1808. The cellos spin out the main theme — its range of just a bit over two octaves suggesting heroic striving — before Beethoven intensifies it as an outburst for full orchestra. A much quicker version of the intro-duction’s oppressive opening rhythm swaggers in

the strings, alternating with a more lyrical motif. After a compact development of these ideas,

the music abruptly cuts off mid-recapitulation with a tragic cry from the violins, followed by an expectant pause. Egmont is sacrificed, but his message of liberation lives on to inspire the people. This posthumous vindication is the subject of the final section, a white-hot, major-key “victory symphony” in which Beethoven uses gestures familiar from military fanfares — punctuated by drums and fife (piccolo) — to underscore liberty’s inevitable triumph.

The overture is scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings.

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L What to listen forVivaldi established the three-movement template of fast-slow-fast that became the norm for concertos, as we hear in this piece. The faster outer movements also share a structural principle he developed to exploit colorful contrasts and to enhance the soloist’s theatrical presence. Known as a ritornello, this is a kind of refrain and is the music for full ensemble heard at the outset, which then alternates with close-up moments for the soloist. The ritornello returns several times, as if to take stock after these adventur-ous flights of fancy. During the Largo (set in E minor), the strings provide a harmonic aura for the pic-colo’s dreamily wistful, bittersweet aria. Its blend of elegant ornamentation with heartfelt pathos gives us a taste of Vivaldi the opera composer. Vivaldi, a chronic asthma sufferer himself, scarcely gives his soloist a chance to breathe in the finale, a showpiece of sparkling, trilling, joyfully dancing virtuosity.

In addition to the solo instrument, Vivaldi’s score calls for an ensemble of strings and continuo (the accompaniment supplied by low strings and harpsichord).


Symphony No. 9 in D minor, Op. 125

Beethoven composed the Symphony No. 9 between 1822 and 1824. The last and most innovative of Beethoven’s symphonies, the Ninth is a milestone of Western culture that opened up new understandings of what musical expression could encompass.

First performance: May 7, 1824, in Vienna; the deaf composer stood at the podium but was “shadowed” by Michael Umlauf as conductorFirst Nashville Symphony performance: April 18, 1950, at War Memorial Auditorium with Music Director William Strickland Estimated length: 70 minutesRecommended listening: The desert-island choice for many lovers of the Ninth is the legendary recording by Hungarian conductor Ferenc Fricsay with the Berlin Philharmonic — the version Kubrick used in the soundtrack to A Clockwork Orange (Deutsche Grammophon).

“We live in the valley of the Ninth,” musicologist Joseph Kerman once observed, referring to the impact of Beethoven’s final symphony on our culture as a whole. But because its presence is so familiar, its influence so pervasive, we sometimes lose track of what a daunting mountain Symphony No. 9 in D minor really is. Despite countless commercials and ringtones exploiting the Ninth, ascending these musical peaks is not an effort to be undertaken lightly.

The Viennese audience privileged to attend the premiere was unequivocally enthusiastic. It took place on a Friday night, sharing the program with Beethoven’s Consecration of the House Overture and excerpts from his Missa Solemnis. The premiere was even more extraordinary if we recall that it went forward following a mere two full rehearsals. There was some carping about the technical quality of the performance, but the initial critical tone overall tended toward admiration. One particularly influential correspondent described how Beethoven’s “inexhaustible genius revealed a new world to us.”

Despite their enthusiasm, however, that first audience could hardly have anticipated the resounding influence the Ninth would exercise across generations and divides of culture. In fact, Vienna at the time didn’t even have a self-standing orchestra devoted to concert music. Throughout his career, Beethoven organized programs employing freelancers from the various theater orchestras to present his latest compositions.

One gauge of the Ninth’s iconic status is the variety of interpretations it continues to inspire. Precisely

because it commands exalted prestige, the Ninth has also generated controversy, including its share of naysayers, as well as skeptics who discern an element of danger in its overwhelming power. Some have insisted on seeing the symphony’s epic breadth as a spiritual autobiography of its composer, while for others it encapsulates an entire history of music. There have been elaborate psychoanalytic and feminist readings. As with our other most revered works of art, the Ninth not only offers an experience in itself, but serves as a mirror for our own preoccupations.

What to listen forThe Ninth simultaneously echoes and transcends Beethoven’s “heroic” style, replacing the indi-vidual hero with an all-embracing social vision in the finale. That finale’s gravitational pull is so immense that it has a tendency to make us overlook how extraordinary the Ninth’s first three movements are as well. Yet Beethoven’s ambiguous and enigmatic opening — illustrat-ing an unprecedented musical genesis — by itself has cast a spell on countless later composers. Emerging out of an indistinct void of pulsing open fifths (chords that have yet to materialize as either major or minor), the music coalesces to thunder forth a titanic theme. Its first part is made from the basic elements of a descending D minor triad, hammered into shape by a power-ful rhythmic pattern. It’s as if we’re listening to the universe expanding. Part of the awe comes from Beethoven’s uncanny ability to build vast structures from such primal thematic material. He introduces elements of tender lyricism in clas-sical contrast, yet these become swept up in the unrelenting momentum. Just as Beethoven seems to have exhausted the full potential of his mate-rial, he launches into an extensive and apocalyp-tic coda that is a fascinating counterpart to the movement’s oracular beginning.

After this depiction of a rapidly expanding musical universe, the Scherzo introduces another kind of energy, one that seems more densely concentrated, chasing itself in circles with repetitions that almost anticipate Minimalism. Beethoven’s reordering of the movements so that the Scherzo comes second gives the more relaxed

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Lbecause it commands exalted prestige, the Ninth has also generated controversy, including its share of naysayers, as well as skeptics who discern an element of danger in its overwhelming power. Some have insisted on seeing the symphony’s epic breadth as a spiritual autobiography of its composer, while for others it encapsulates an entire history of music. There have been elaborate psychoanalytic and feminist readings. As with our other most revered works of art, the Ninth not only offers an experience in itself, but serves as a mirror for our own preoccupations.

What to listen forThe Ninth simultaneously echoes and transcends Beethoven’s “heroic” style, replacing the indi-vidual hero with an all-embracing social vision in the finale. That finale’s gravitational pull is so immense that it has a tendency to make us overlook how extraordinary the Ninth’s first three movements are as well. Yet Beethoven’s ambiguous and enigmatic opening — illustrat-ing an unprecedented musical genesis — by itself has cast a spell on countless later composers. Emerging out of an indistinct void of pulsing open fifths (chords that have yet to materialize as either major or minor), the music coalesces to thunder forth a titanic theme. Its first part is made from the basic elements of a descending D minor triad, hammered into shape by a power-ful rhythmic pattern. It’s as if we’re listening to the universe expanding. Part of the awe comes from Beethoven’s uncanny ability to build vast structures from such primal thematic material. He introduces elements of tender lyricism in clas-sical contrast, yet these become swept up in the unrelenting momentum. Just as Beethoven seems to have exhausted the full potential of his mate-rial, he launches into an extensive and apocalyp-tic coda that is a fascinating counterpart to the movement’s oracular beginning.

After this depiction of a rapidly expanding musical universe, the Scherzo introduces another kind of energy, one that seems more densely concentrated, chasing itself in circles with repetitions that almost anticipate Minimalism. Beethoven’s reordering of the movements so that the Scherzo comes second gives the more relaxed

and lyrical music of the contrasting Trio a special strategic prominence. Its joyful melody, rising upward against a sustained horn note and then descending, foreshadows the profile of the famous tune in the Finale.

In contrast to the emotional turbulence of the first two movements, the Adagio transports us to an otherworldly realm. Its sustained lyrical elevation is based on a series of alternating variations on two themes. These unfold in contrasting keys and tempos, the first in the prevailing Adagio tempo (in B-flat) and the second in a faster-flowing Andante in D major — the key toward which the symphony as a whole will culminate.

In Beethoven’s only other symphony in a minor key, the Fifth, the breakthrough occurs at the outset of the final movement, but his strategy in the Ninth is more complex. By introducing the human voice, the finale resists classification. Some commentators view this movement as a compressed miniature symphony, with its own interior sequence of movements. Instead of the quiet, mysterious pulsation that had set the first movement in motion, the finale begins with terrifying clangor, a chaos from which order must again be constructed and jubilation earned.

Beethoven reviews the symphony’s journey up to this point. This process clears the way to introduce the human voice, first as a brave solo for baritone and then via the collective of the chorus. The joined voices of the chorus neatly counterbalance the individual nuances of the solo quartet. For his text, Beethoven adapted selections from Schiller’s lengthy ode from 1785, “An die Freude” (“To Joy”). In what follows, the first three movements are not so much “rejected” as reintegrated. For example, the lengthy instrumental fugue flowing out of the jubilant tenor’s solo recalls similar fugal textures from the first two movements. The elevation of the Adagio returns in another form, as thoughts turn toward a transcendent being and a second theme suggesting a kind of “sacred joy” is introduced.

Beethoven’s choral writing draws on his study of Handel’s magnificent oratorios. In a thrilling tour de force later in the finale, he weaves together the famous joy theme with the second, “sacred”

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one. The “Ode to Joy” tune itself is as simple as a folk song, beginning with just a partial run up and down the scale. Beethoven’s genius is to unpack its potential in the vast series of variations that make up most of the finale: hymnal, military, operatic, mystical and on to the unstoppable, delirious rush of the coda. The musical principle of variations becomes a symbol of life-affirming creativity. It may also signify the composer’s awareness that, however utopian the vision contained in the “Ode to Joy,” our highest aspirations must always be molded anew.

The score calls for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, bass drum, cymbals and strings; in the fourth movement, Beethoven also asks for a solo vocal quartet (soprano, alto, tenor and bass) and four-part chorus.

— Thomas May is the Nashville Symphony’s program annotator. He writes extensively about music and theater.

TEXT AND TRANSLATION FOR BEETHOVEN’S NINTH SYMPHONY

An die FreudeO Freunde, nicht diese Töne!sondern lasst uns angenemere anstimmen,und freudenvollere. — Beethoven

Freude, schöner Götterfunken,Tochter aus Elysium,Wir betreten feuertrunken,Himmlische, dein Heiligtum.Deine Zauber binden wiederWas die Mode streng geteilt,Alle Menschen werden Brüder,Wo dein sanfter Flügel weilt.

Wem der grosse Wurf gelungen,Eines Freundes Freund zu sein,Wer ein holdes Weib errungen,Mische seinen Jubel ein!Ja, wer auch nur eine SeeleSein nennt auf dem Erdenrund!Und wer’s nie gekonnt, der stehleWeinend sich aus diesem Bund.

Freude trinken alle WesenAn den Brüsten der Natur,Alle Guten, alle BösenFolgen ihrer Rosenspur.Küsse gab sie uns und Reben,Einen Freund, geprüft im Tod,Wollust ward dem Wurm gegeben,Und der Cherub steht vor Gott.

Froh, wie seine Sonnen fliegenDurch des Himmels prächt’gen Plan,Laufet, Brüder, eure Bahn,Freudig, wie ein Held zum Siegen.

Seid umschlungen, Millionen!Diesen Kuss der ganzen Welt!Brüder, überm SternenzeltMuss ein lieber Vater wohnen.

Ihr stürzt nieder, Millionen!Ahnest du den Schöpfer, Welt?Such ihn überm Sternenzelt!Über Sternen muss er wohnen.

— Friedrich Schiller

THE NINTH AND THE MODERN ORCHESTRA

One reason the Ninth was so pivotal in music history is that it actually shaped the role of the modern professional conductor, fostering new standards of rehearsal demanded by its unprecedented technical requirements, and by its array of orchestral and choral forces. Beethoven adds instruments to his orchestral ensemble that were anomalies in the classical symphony, though they were used on occa-sion in the opera house: piccolo, contrabas-soon, trombones and percussion instruments besides timpani. In addition, the human voice is here added to what had previously been the purely instrumental medium of the symphony. The Ninth even encouraged a new approach to writing about music: Mere description was no longer adequate to con-vey the often confusing power of this experi-ence. It had to be interpreted.

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LOde to JoyO friends, not these sounds!Rather let us begin to sing more pleasantlyand more joyously.

Joy, fair spark of the gods,daughter of Elysium,We enter, intoxicated with fire,Heavenly One, your holy place.Your magic again uniteswhat custom strictly divided;all men become brotherswhere your gentle wings abide.

Whoever has had the great fortuneof being friend to a friend,whoever has won a loving woman,let him add his jubilation!Yes, even he who calls but one soulon earth his own!And he who has never done it, let himsteal away, weeping, from this company.

All creatures drink joyat Nature’s breast,all good, all evil onesfollow her trail of roses.She gave us kisses and vines,a friend, proven faithful to death;Pleasure was given even to the worm,and the cherub stands before God.

Happy, as his suns flythrough heaven’s magnificent design,follow, brothers, your path,joyfully, like a hero to victory.

Be embraced, ye millions!This kiss to the whole world!Brothers, beyond the starry skysurely a loving Father dwells.

Do you fall prostrate, ye millions?Do you sense the Creator, World?Seek Him beyond the starry sky!Beyond the stars He must dwell.

Phrases of the above text are alternated and combined, especially in the latter part of the movement.

ABOUT THE SOLOISTSNORMA GROBMAN ROGERS, piccoloNorma Grobman Rogers is a native of Philadelphia, where her first flute teacher was John Krell, renowned piccoloist of the Philadelphia

Orchestra. She has played piccolo and flute in the Nashville Symphony since 1972, and began teach-ing flute, piccolo and recorder at the Blair School of Music at Vanderbilt University that same year.

Rogers has been piccolo soloist with the Nashville Symphony and has performed as a soloist at the National Flute Associations Conventions. She has performed frequently in chamber concerts in Tennessee, and has been featured numerous times on Live in Studio C on WPLN-FM, Nashville’s public radio station.

In addition to teaching, Rogers has given piccolo master classes, been conductor of the Blair Flute Choir and served as leader of the Nashville Symphony Woodwind Quintet. She has been a judge for various competitions, including the Piccolo Artist Competition at the National Flute Association Convention.

JONITA LATTIMORE, sopranoJonita Lattimore has gar-nered praise for her portray-als of roles ranging from Micaela to Jackie O, as well as for her oratorio perfor-

mances with major orchestras across the United States and abroad. Lattimore made her Lyric Opera of Chicago debut in Kurt Weill’s The Rise and Fall of the City of Mahagonny. She recently performed the role of Countess Almaviva in Le Nozze di Figaro with Tulsa Opera, and debuted in the title role in the world premiere and record-ing of James Niblock’s Ruth at Blue Lake Fine Arts Festival. With Houston Grand Opera, she appeared in the world premieres of Harvey Milk, The Book of the Tibetan Dead and Jackie O. She made her Paris debut at the Bastille Opera as Serena in Porgy and Bess.

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In 2011/12, Lattimore returns to the Orquesta Sinfónica Nacional de Mexico in Beethoven’s Ninth Symphony, and she will perform Mozart’s Requiem with both Vermont Symphony and Louisiana Philharmonic. She also sings Rossini’s Stabat Mater at the Grant Park Music Festival.

CHARLOTTE DAW PAULSEN, mezzo-soprano

Since her Carnegie Hall debut in Mozart’s Requiem under the direction of John Rutter, Charlotte Paulsen has been recognized as a stellar

singer on both the opera and concert stage. Her upcoming performances include an Opera Gala with the Johnstown Symphony, Verdi’s Requiem with the Canterbury Choral Society (New York City), Dvořák’s Stabat Mater with Oratorio Society of New York, and the role of Third Lady in Opera Delaware’s production of The Magic Flute.

During the 2010/11 season, Paulsen sang Judas Maccabaeus with the Berkshire Choral Festival, Handel’s Israel in Egypt with Musica Sacra and Karl Jenkins’ Stabat Mater and Gloria with Distinguished Concerts International New York at Carnegie Hall, as well as the role of Amneris in a concert version of Aida with the Greater Bridgeport Symphony.

Paulsen was born in Philadelphia and holds degrees from the Peabody Conservatory of Music and Temple University. Her further studies brought her to the Salzburg Mozarteum, Zurich International Opera Studio, Tanglewood Festival and Opera Music Theater International.

BRYAN GRIFFIN, tenorA graduate of the Ryan

Opera Center at the Lyric Opera of Chicago, tenor Bryan Griffin made his Lyric Opera debut as Edmondo in a new production of Manon

Lescaut, and has since appeared there as Tamino in Die Zauberflöte, Fenton in Falstaff and Tybalt in Roméo et Juliette. Other appearances have included Faust in Grand Rapids, Gerard in Lakme for the Florida Grand Opera, Alfredo in La Traviata for Toldedo Opera, and Rodolpho in La Bohème for Opera North.

In recent seasons, Griffin has sung Beethoven’s Symphony No. 9 with the New Jersey Symphony, the National Symphony Orchestra of Costa Rica, the Santa Barbara Symphony and the Mozarteum Orchestra of Salzburg. He performed Handel’s Messiah and Rachmaninoff ’s The Bells with the Nashville Symphony, and Stravinsky’s Les Noces with the New York City Ballet at Lincoln Center. He sang the world premiere of Michael Torke’s Parks with the Grant Park Music Festival, and the premiere of Gary Ratcliff ’s Ode to Common Things with the Austin Symphony.

Griffin received his undergraduate degree from The Juilliard School.

JASON GRANT, bass-baritone

A native of Los Angeles, bass-baritone Jason Grant has won acclaim for his expressive, richly hued voice. This season, Grant will sing

Pater Profundis in Mahler’s Symphony No. 8 in a return to the Virginia Symphony with JoAnn Falletta, as well as Beethoven’s Symphony No. 9 with the Detroit Symphony led by Leonard Slatkin.

Grant’s 2010/11 season began with Beethoven’s Symphony No. 9 with the New Jersey Symphony, and he returned to the Alabama Symphony for Handel’s Messiah with Neal Gittleman. He also performed Verdi’s Requiem with the Buffalo Philharmonic led by JoAnn Falletta.

In the 2009/10 season, Grant performed the Brahms German Requiem with JoAnn Falletta at both the Virginia Symphony and the Buffalo Philharmonic, and he appeared in Mendelssohn’s Die erste Walpurgisnacht with Justin Brown and the Alabama Symphony. Grant’s performances during seven seasons with the New York City Opera include Pooh-Bah in The Mikado, Dulcamara in L’elisir d’amore, Leporello in Don Giovanni, Don Profondo in Il viaggio a Reims, along with appearances in Macbeth and Agrippina.

An alumnus of the Santa Fe Opera Apprentice Program, Grant debuted with the company as the Tutor of Orest in Elektra. He is a graduate of the Juilliard Opera Center as well as the Eastman School of Music.

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SOPRANOBeverly AndersonEsther BaeKimberly BeginMiranda BurnettAnna CaldwellAngela Carr**Âmanda DierBecky Evans-YoungShiloah FennKathleen FigaroAbbey FrancisDelphine GentryTosha GreenwayGrace Guill^Catherine HolsenJamie HormuthVanessa Jackson^Carla JonesYoung-Soon KangAlesia Kelley^Heather LannanMegan LathamHayley LewisJanet MacdonaldRebecca MathiasDori MikusClementina MoreiraCarolyn Naumann+Îris PerezCatherine Pratt^Lauren PriceRobin RogersSonya Sardon^Deborah SchraugerEsther SooterJennifer Stevens*Barbara SullivanBrandi SurfaceMarva SwannMarla Thompson

Valerie TrantumJanelle Waggener^Debra WatersKathryn WhitakerJoanna Wulfsberg+^Sylvia Wynn

ALTOAshley BasselJennifer BeckRachel BurkeyAllison CampbellCathi Carmack*^Teresa CissellLisa Cooper*^Karen Crow^Janet Davies**Carla Davis*Emily GaskillElizabeth Gilliam*^Debra Greenspan-WattsRachel Hansbury^Marah HarringtonSallie HartGay Hollins-WigginsYounhee KimJessica LavenJanice LewisAynsley Martindale^Karen Mitchell+Lisa Pellegrin+^Debbie Reyland^Nancy RobertsStephanie RobinsonUrsula RodenCarmen Sanders^Jill SaylerPatricia SharpCarla SimpsonSharon Taylor

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Elizabeth Smith, accompanistJohn Roberts, librarian

+ Section Leaders* NSC Board Appointment** NSC Board Member^ Chamber Chorus

NASHVILLE SYMPHONY CHORUSDOUGLAS ROSE, interim director

JUNE 201250

Special EventFriday, July 6, at 8 p.m.

ORGAN EXTRAVAGANZANashville Symphony Giancarlo Guerrero, conductorNathan Laube, organTodd Wilson, organ

JOHANNES BRAHMS Academic Festival Overture FELIX MENDELSSOHN Variations Sérieuses trans. Nathan Laube Nathan Laube, solo organ

ROBERTO SIERRA Concierto para órgano y orquesta [Concerto for Organ and Orchestra] Toccata Pastoral Fantasía Danza final Todd Wilson, organ

INTERMISSION

ANTONÍN DVORÁK Carnival Overture

STEPHEN PAULUS Grand Organ Concerto Vivacious and Spirited Austere; foreboding Jubilant Nathan Laube, organ

RICHARD WAGNER Prelude to Die Meistersinger von Nürnberg trans. Edwin Lemare Todd Wilson, solo organ

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JOHANNES BRAHMS (1833-1897)

Academic Festival Overture, Op. 80 (1880)

Brahms’ own “student years” boiled down to a couple of fun-filled months, but as a respected artistic figure he received an honorary doctorate from the University of Breslau in 1879. Instead of composing a dutifully solemn new work to acknowledge such an honor, he created an independent concert overture that playfully cross-pollinates popular references with the elevated discourse of the symphonic tradition.

The Overture has the intricacy of a symphonic opening movement, complete with an introduction that gropes in darkness before the main theme arrives with a sunburst of C major. But into this structure Brahms smuggles no fewer than four well-known student songs, leading to the famous graduation tune “Gaudeamus igitur” in festive colors as the logical conclusion to all that has come before. Far more than “a boisterous potpourri,” as Brahms described it, the Overture carefully conceals his remarkable learning behind a drinking song transformed into an ode to joy.

FELIX MENDELSSOHN (1809-1847)

Variations Sérieuses, Op. 54 (1841)

Alongside his career as a composer and a conductor, Mendelssohn was widely praised by his contemporaries as a performer on piano and organ. The title he chose for his piano masterpiece, Variations Sérieuses, however, emphasizes that the focus of the music should extend beyond dazzling keyboard technique for its own sake. Mendelssohn composed this set in 1841 as his contribution to a joint publication featuring new

pieces by 10 leading pianists. The effort was intended to raise money for what became the Beethoven monument in Bonn, but Mendelssohn incorporated his tribute into the aura of the music itself.

The emotional substance and ambitious architectural plan of these Variations allude to Beethovenian models that he knew intimately, while advanced Baroque techniques enhance the dramatic intensity. Using a hymn-like theme in D minor, Mendelssohn crafts an intricate scheme of 17 variations. Only one of these (the Adagio, No. 14) finds relief in the major, and a whirlwind coda seals the overall tone of relentless pathos.

ROBERTO SIERRA

Born on October 9, 1953, in Vega Baja, Puerto Rico; currently resides in Ithaca, New York

Concierto para órgano y orquesta

Roberto Sierra composed the Concierto para órgano y orquesta in 2012 on a commission from the American Guild of Organists (AGO). As in his other orchestral works performed by the Nashville Symphony in recent

seasons, this new work brings a highly personal accent to the concerto format, blending Sierra’s love of Baroque forms, Latin dance elements and vibrant orchestral colors while showcasing the organ’s expressive potential.

JUNE 201252

First performance: With this performance, the Nashville Symphony gives the world premiere of Concierto para órgano y orquesta.Estimated length: 25 minutesRecommended listening: An upcoming release on the Naxos label will include the Nashville Symphony’s recent performances of Sierra’s Fandangos and his Sinfonía No. 4. Naxos has also released a GRAMMY®-nominated recording of his acclaimed Missa Latina, along with several other works by the composer.

In addition to this new organ concerto, which was commissioned expressly for this year’s AGO National Convention in Nashville, Robert Sierra’s prolific catalogue includes four symphonies, numerous other concertos, chamber works and such large-scale choral canvases as Missa Latina and the oratorio Bayoán (based on the work of Puerto Rican writer Eugenio María de Hostos). His music has been finding its way into the repertoire of major orchestras throughout the United States and Europe and was chosen for the inaugural concert of the London Proms in 2002. Later this year, Sierra’s Christmas Cantata will be premiered by the Detroit Symphony. The composer was elected to the American Academy of Arts and Sciences in 2010.

Born in Puerto Rico, Sierra taught himself piano until the age of 15 and then, at the Puerto Rico Conservatory of Music, shifted his focus to composition. He lived in Europe from 1976 to 1982, furthering his studies in London, Holland and Hamburg, where he took lessons with György Ligeti, one of the most genuinely adventurous and self-reliant composers to emerge in Europe’s postwar avant-garde scene. In some ways, Sierra found his musical voice as part of a process

of rediscovery during this extended sojourn abroad. The composer recalls the sense of artistic epiphany he experienced when Ligeti encouraged him to stay true to his roots. He went on to develop a uniquely colorful style that infuses classical forms and genres with Latin American idioms.

Sierra, who moved to the United States in 1989, uses the term “tropicalization” to describe the vibrant music that results from this creative encounter between different cultures and traditions. To express his Puerto Rican identity, Sierra says, means to resist homogenization. “I’m trying to express myself with my own peculiar accent,” he explains. “Even when I look at the Western tradition, it will be filtered through my own tradition and experience.” And the journeys he undertakes are not limited to geographical ones. Sierra’s compositions also travel far and freely across time, drawing fluently on the spectrum of Western music — as in his Concierto Barroco, a guitar concerto from 1996 that was inspired by the historical novel of the same name by Alejo Carpentier. The music treks back in time to conjure the novelist’s imagined encounter between Handel, Vivaldi and a slave from the New World.

Sierra’s four symphonies and his concertos similarly reconsider traditional genres from his unique perspective. “I’m interested in the Classical and Romantic tradition of the symphony, and also in devices like the Baroque passacaglia as something that can still be used by modern composers,” he explains. His new organ concerto — Sierra’s first for the instrument — is informed by his penchant for Baroque models of virtuosity and concertante interplay.

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Puerto Rican-born Sierra explains. “Even when I look at the Western tradition, it will be filtered through my own tradition and experience.”

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In the Composer’s WordsRoberto Sierra has provided the following description of his new Concierto para órgano y orquesta:

The concerto starts with a virtuosic Toccata , where the orchestral timbres stand in contrast, but at the same time complement, the rich sound palette of the solo instrument. An oneiric Pastoral follows, where phantasmagoric salsa music sounds interrupt the idyllic setting, without ever completely disrupting the initial mood of the work; they behave like sound mirages — apparitions — that, while clearly audible, never quite settle in or totally disrupt the flow of the movement. The mercurial Fantasía is akin to a scherzo, and, as in the initial toccata, the virtuosic aspects of the organ are explored. The martial rhythms of a tango and a sensual Latin bolero alternate and mix in complex juxtapositions in the Danza final, the final dance that brings the work to an end.

In addition to solo organ, the score calls for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings.

ANTONÍN DVORÁK (1841-1904)

Carnival Overture, Op. 92 (1891)

The Carnival Overture is one of a sequence of three concert overtures that Dvořák initially envisioned as a unified cycle, though they are nowadays usually encountered separately. The others are In Nature’s Realm and Othello, and the entire group was meant to outline the elemental experiences of “Nature, Life and Love.” The composer suggested a vague program for this second part of the trilogy, in which “a lonely

wanderer” arrives by twilight at the outskirts of a city where carnival festivities are under way. The flashy, folk-flavored opening sets the scene with cinematic immediacy. Later comes a

passionate theme depicting a pair of lovers who draw away from the crowd, followed by a passage of tender slow music evocative of pastoral calm. The tempo accelerates for another turn of the carnival music, and the celebration at last intensifies into an unrestrained joie de vivre.

STEPHEN PAULUS

Born on August 24, 1949, in Summit, New Jersey; currently resides in St. Paul, Minnesota

Grand Concerto for Organ and Orchestra

Stephen Paulus composed the Grand Concerto for Organ in 2004 on a commission from Mr. and Mrs. William H. Moore III for the Dallas Symphony Orchestra. The third of his concertos for organ by

a recognized master of the genre, the Grand Concerto takes its name from the dramatic contrasts, rhythmic energy and rich use of melodic material that define the work.

First performance: April 1, 2004, with Bradley Hunter Welch as organist and Marc Albrecht leading the Dallas Symphony Orchestra.

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First Nashville Symphony performance: This is the Nashville Symphony’s first performance of the Grand Concerto. Estimated length: 21 minutesRecommended listening: The discography for Paulus’ music encompasses more than 50 recordings, from which the composer singles out To Be Certain of the Dawn, a Holocaust oratorio written to commemorate the 60th anniversary of the liberation of the Nazi death camps; the premiere by the Minnesota Orchestra led by Osmo Vänskä is available on the BIS label.

“I am pleased to have been a composer who can satisfy all kinds, somewhat in the fashion of a Benjamin Britten,” Stephen Paulus remarked a few years ago during an interview about his career with Minnesota Public Radio. The wide range of audiences and performers for whom he has written music is reflected in his remarkably versatile and prolific body of work, which encompasses large-scale orchestral and choral compositions, operas and chamber works, as well as pieces for community groups and young musicians. Paulus’ complete catalogue already tallies over 450 compositions and is continually expanding, thanks to a steady stream of new projects. Yet along with his own creative work, Paulus has found time to be a powerful advocate for fellow composers. In 1973, he cofounded the American Composers Forum, the largest composer service organization in the world.

The much sought-after composer has been commissioned by such leading institutions as the New York Philharmonic, the Atlanta Symphony Orchestra, the Minnesota Orchestra, the St. Paul Chamber Orchestra and the Chamber Music Society of Lincoln Center. The latest of his many concertos — the Violin Concerto No. 3 — receives its premiere with The Cleveland Orchestra this October, the same month when Nashville Symphony audiences can hear Three Places of Enlightenment (a concerto for string quartet) and a selection from his oratorio To Be Certain of the Dawn. Paulus is currently at work on yet another concerto, commissioned by the Phoenix Symphony and written for the highly gifted organist Paul Jacobs.

A significant composer of opera as well,

Paulus — who studied with Dominick Argento at the University of Minnesota — has already created a dozen works for the stage. His frequently revived The Postman Always Rings Twice (1982) was the first American production to be presented at the Edinburgh International Festival. Recently, Paulus finished a one-act opera, The Shoemaker, based on a Leo Tolstoy short story. Featuring a libretto by longtime collaborator Michael Dennis Browne, it will be premiered in Minneapolis this September.

The composer’s inherent gift for dramatic music also comes through in his effective use of contrasts. Paulus originally wrote his Grand Concerto for organist Bradley Hunter Welch, whose victory in the Dallas International Organ Competition in 2003 led to the Dallas Symphony’s commission of a new concerto featuring the prize-winning musician. The Grand Concerto, explains Paulus, is representative of his overall style in its use of melodic material “sometimes in short strands and at other times in long arches,” in “the interplay of different key juxtapositions and sometimes sudden changes or unusual combinations,” and in its “rhythmic and kinetic energy in forward-moving phrases.”

In the Composer’s WordsThe work is cast in three movements, titled “Vivacious and Spirited,” “Austere; foreboding” and “Jubilant.” Paulus has provided the following description of the music:

The title was selected to indicate that the work employs full orchestra and some wide, sweeping gestures and melodic ideas. The movement titles are descriptive of the musical activity within each movement. There is a wide array of mood shifts, with great contrasts and texture in each movement.

In the second movement, towards the end, a portion of the hymn tune “Come, Come Ye Saints” appears in the organ part. This is a tradition that I have incorporated into almost every organ work that I have written, in honor of my father, who used to improvise on the same tune. In the Mormon musical liturgy, it is known as “All Is Well,” and it is a tune that the great organist

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Alexander Schreiner used to improvise during Sunday-morning radio broadcasts from the Mormon Tabernacle in Salt Lake City. Both my father and I listened to these broadcasts many, many times.

In the third and final movement, after a brief orchestral opening, I give center stage to the organ with a large section of chords oscillating between the right and left hands. Over this is eventually woven a high melody in the violins, which is based on the tune “Waly, Waly,” also known as “The Water Is Wide.”

In addition to solo organ, the score calls for 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussionists and strings.

RICHARD WAGNER (1813-1883)

Prelude to Die Meistersinger von Nürnberg (1862)

Unlike the mythic heroes who populate the Ring cycle, Wagner’s opera Die Meistersinger turns its attention to an actual historical period — 15th-century Nuremberg — and considers the place of the innovative young artist vis-à-vis the tradition preserved by the guild of mastersingers. The Prelude deftly interlaces these different points of view, starting with the pompous, self-important music of the mastersingers in

procession and followed by the sweetly cadenced music of young love. In the opera, the knight Walther wins his beloved Eva through victory in the guild’s song contest,

and the theme of his Prize Song is juxtaposed with a scherzo-ish parody of the mastersinger music. Wagner’s original orchestration itself pulls out all the stops for a grand, climactic confrontation of the Prelude’s various motifs. These he weaves together in thrilling counterpoint — an homage to his own rediscovery of old German masters and a metaphor for the harmony of tradition and the freshly creative spirit.

—Thomas May is the Nashville Symphony’s program annotator. He writes extensively about music and theater.

TODD WILSON, organRegarded as one of today’s finest concert organists, Todd Wilson is head of the Organ Department at The Cleveland Institute of Music, and Director of Music and Worship at Trinity Episcopal Cathedral in Cleveland, Ohio. In addition, he is Curator of the E.M. Skinner pipe organ at Severance Hall, home of The Cleveland Orchestra.

Wilson has been heard in concert in major cities throughout the United States, Europe and Japan. In 2001, he made his solo debut with The Cleveland Orchestra on the newly restored E.M. Skinner organ at Severance Hall, in two performances of the Symphonie Concertante by Joseph Jongen. In June 2003, he dedicated the organ in the new 21,000-seat Mormon Conference Center in Salt Lake City, and in October 2004, he was organ soloist with the Los Angeles Philharmonic on the first subscription series concerts featuring the new organ at Walt Disney Concert Hall in Los Angeles.

Wilson’s latest CDs on the JAV label feature a live recital of American music from the National Cathedral in Washington, D.C., and Live from Severance Hall, a concert of music for trumpet and organ with Michael Sachs, Principal Trumpet of The Cleveland Orchestra.

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Wilson received his Bachelor and Master of Music degrees from the University of Cincinnati, where he studied organ with Wayne Fisher and piano with John Quincy Bass. Further coaching in organ repertoire was with Russell Saunders at The Eastman School of Music.

NATHAN LAUBE, organA star among young classical musicians, concert organist Nathan J. Laube has quickly earned a place among the organ world’s elite performers. Upcoming and recent performances by Laube include major U.S. venues such as the National Cathedral in Washington, D.C., The Mother Church in Boston, and Verizon Hall in Philadelphia. Laube has performed five tours of the United Kingdom, which included concerts at Southwark Cathedral, Bridlington Priory, Exeter Cathedral and All Souls Church in London. In France, he has performed

at the Cathédrale Saint-Alain in Lavaur, Église Notre-Dame-du-Taur, and the Musée des Augustins in Toulouse. In August 2011, he was a featured Young Artist at the Lahti Organ Festival in Finland.

Laube has been a featured performer at the 2009 and 2011 national conventions of the Organ Historical Society, and in 2010 he was featured at the national convention of the American Guild of Organists. Other celebrated venues in which he has performed include Girard College Chapel in Philadelphia, Jacoby Symphony Hall in Jacksonville, Florida, and Spivey Hall in Morrow, Georgia, in a performance subsequently broadcast on Minnesota Public Radio’s Pipedreams.

A native of Chicago, Laube earned his Bachelor of Music degree at the Curtis Institute of Music in Philadelphia. In 2011, he began a graduate degree program at the Musikhochschule in Stuttgart, Germany. The recipient of the coveted William Fulbright Grant, he spent the 2010/11 academic year studying with Michel Bouvard at the Conservatoire à Rayonnement Régional de Toulouse.

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GIANCARLO GUERREROMUSIC DIRECTOR

Now entering his third season as its Music Director, Giancarlo Guerrero continues to flour-ish with the Nashville Symphony Orchestra (NSO). In autumn 2011, Guerrero also begins his new appointment as Principal Guest Conductor of The Cleveland Orchestra Miami Residency.

A fervent advocate of new music and contem-porary composers, Guerrero has collaborated with and championed the works of several of America’s most respected composers, including John Adams, John Corigliano, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, Michael Daugherty and Roberto Sierra. His first record-ing with the Nashville Symphony, on Naxos, of Michael Daugherty’s Metropolis Symphony and Deus Ex Machina, won three 2011 GRAMMY® Awards, including the category of Best Orchestral Performance. In 2010/11, Guerrero and the NSO released two more recordings on Naxos — one featuring the music of Argentine legend Astor Piazzolla and another featuring the music of American composer Joseph Schwantner.

In 2011/12, Guerrero will debut several world premieres with the Nashville Symphony, includ-ing a new work by Richard Danielpour, a banjo concerto by Béla Fleck and a concerto for electric violin by Terry Riley, which the NSO will bring to Carnegie Hall as part of the Spring for Music festival. With The Cleveland Orchestra, where Guerrero first appeared in May 2006, he will conduct subscription concerts in both Severance Hall and for Miami Residency performances

at the Arsht Center, as well as plan and engage in education and community programs in the Miami-Dade area. Also this season, he returns to the Cincinnati Symphony Orchestra and makes his debut with the Pacific Symphony.

Internationally, highlights of this season include his first European tour with the Monte Carlo Philharmonic and Jean-Yves Thibaudet, concerts with the Slovenian and Strasbourg Philharmonics, the BBC Scottish and BBC Welsh Symphony Orchestras, and a return to the São Paulo State Symphony Orchestra.

In summer 2011, Guerrero again led the Philadelphia Orchestra in concert at Mann Center, and in addition conducted the orchestra in their summer residencies at Vail and Saratoga. This followed a busy 2010/11 season that included guest-conducting engagements in five continents: Europe, Asia, Australia, North America and South America. He now returns annually to Caracas, Venezuela, to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s much-lauded El Sistema music education program.

In recent seasons he has appeared with many of the major North American orchestras, includ-ing the symphony orchestras of Baltimore, Boston, Cincinnati, Dallas, Detroit, Seattle, Toronto, Vancouver and the National Symphony in Washington, D.C. He has also appeared at several major summer festivals, including the Los Angeles Philharmonic at the Hollywood Bowl, The Cleveland Orchestra at Blossom Music Festival, and Indiana University’s summer orches-tra festival.

In June 2004, Guerrero was awarded the Helen M. Thompson Award by the American Symphony Orchestra League, which recognizes outstanding achievement among young conductors nationwide. He holds degrees from Baylor and Northwestern universities. Guerrero was formerly the music director of the Eugene Symphony (2001-2008), associate conductor of the Minnesota Orchestra (1999-2004) and music director of the Táchira Symphony Orchestra in Venezuela.

CONDUCTORS

JUNE 201262

CONDUCTORS

Now in her fifth season with the Nashville Symphony, Associate Conductor Kelly Corcoran serves as the primary conductor for the orchestra’s education and community engagement concerts. She has also conducted the Symphony’s Classical Series, Pops Series, and its CD collaboration with Riders In The Sky, ‘Lassoed Live’ at the Schermerhorn.

Corcoran has conducted major orchestras throughout the country, including the Houston and Utah Symphonies, and return engagements with the Detroit, Milwaukee and National Symphonies. In 2009, she made her South American debut as guest conductor with Orquesta Sinfónica UNCuyo in Mendoza, Argentina, returning for multiple programs in 2011. She has developed a reputation for exciting performances. The Tennessean has hailed her work on the podium as “lively” and “fresh.”

Named as Honorable Mention for the Taki Concordia Conducting Fellowship, Corcoran studied with Marin Alsop and shared performances with her and the Bournemouth (U.K.) Symphony and Colorado Symphony. In 2004, she participated in the National Conducting Institute, where she studied with her mentor Leonard Slatkin. She has also attended the Lucerne Festival’s master class in conducting with Pierre Boulez.

Prior to Nashville, Corcoran completed three seasons as assistant conductor for the Canton Symphony Orchestra in Ohio and music director of the Canton Youth Symphony and the Cleveland-area Heights Chamber Orchestra. She has served as assistant music director of the Nashville Opera, founder/music director of the Nashville Philharmonic Orchestra and fellow with the New World Symphony.

Originally from Massachusetts and a member of the Tanglewood Festival Chorus for more than 10 years, Corcoran received her Bachelor of Music in vocal performance from The Boston Conservatory, and she received her Master of Music in instrumental conducting from Indiana University. She currently serves on the faculty at the New York Summer Music Festival.

ASSOCIATE CONDUCTOR

KELLY CORCORANRESIDENT CONDUCTOR

ALBERT-GEORGE SCHRAMAlbert-George Schram, a native of the Netherlands, has served as Resident Conductor of the Nashville Symphony since 2006. While he has conducted on all series the orchestra offers, Schram is primarily responsible for its Bank of America Pops Series.

Schram’s longest tenure has been with the Columbus Symphony Orchestra, where he has worked in a variety of capacities since 1979. As a regular guest conductor of the Charlotte Symphony Orchestra, Schram in 2002 opened the orchestra’s new permanent summer home, Symphony Park. From 1990 to 1996, he served as resident conductor of the Louisville Orchestra. The former Florida Philharmonic Orchestra appointed Schram as resident conductor beginning with the 2002/03 season.

In 2008 Schram was invited to conduct the Orquesta Sinfónica Nacional of Bolivia and the Orquesta Sinfónica UNCuyo in Mendoza, Argentina. His other foreign conducting engagements have included the KBS Symphony Orchestra and the Taegu Symphony Orchestra in Korea, and the Orchester der Allgemeinen Musikgesellschaft Luzern in Switzerland. He has returned to his native Holland to conduct the Netherlands Radio Philharmonic and the Netherlands Broadcast Orchestra.

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Schram’s studies have been largely in the European tradition under the tutelage of Franco Ferrara, Rafael Kubelik, Abraham Kaplan and Neeme Järvi. He received his initial training at the Conservatory of The Hague in the Netherlands, then later moved to Canada to undertake studies at the universities of Calgary and Victoria. His training was completed at the University of Washington.

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Bella Napoli: The only authentic Pizzeria in Nashville, using only the freshest ingredients imported from Napoli, Italy. Located in the heart of Edge Hill Village at 1200 Villa Place Nashville (615) 891-1387 bellanapolipizzeria.com

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It doesn’t just steal the scene. It changes the show.

2012 Range Rover evoque

Introducing the revolutionary Range Rover evoque, the lightest and most fuel efficient Range Rover

yet. It’s an entirely new look for the land Rover family—smaller and more agile for the demands of

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evoque arouse in you? Find out when you test drive yours at Land Rover nashville.

www.LandRovernashville.com3 cadillac Drive | Brentwood 615-986-6000

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7679-LRN-TPAC-Evoque_F.indd 1 10/27/11 2:33 PM

FIRST VIOLINS*Jun Iwasaki, Concertmaster Walter Buchanan Sharp ChairGerald C. Greer, Associate Concertmaster Erin Hall, Assistant ConcertmasterMary Kathryn Van Osdale, Concertmaster EmeritaDenise BakerKristi SeehaferJohn MapleDeidre Fominaya BaccoAlison GoodingPaul TobiasBeverly DrukkerAnna Lisa Hoepfinger Kirsten MitchellErin LongIsabel Bartles

SECOND VIOLINS*Carolyn Wann Bailey, PrincipalZeneba Bowers, Assistant PrincipalKenneth BarndJessica BlackwellRebecca ColeRadu GeorgescuBenjamin LloydLouise MorrisonLaura RossLisa ThrallJeremy WilliamsRebecca J Willie

VIOLAS*Daniel Reinker, PrincipalShu-Zheng Yang, Assistant PrincipalJudith AblonHari BernsteinBruce ChristensenMichelle Lackey CollinsChristopher FarrellMary Helen LawMelinda WhitleyClare Yang

CELLOS*Anthony LaMarchina, PrincipalJulia Tanner, Assistant Principal James Victor Miller ChairBradley MansellLynn Marie PeithmanStephen DrakeMichael SamisMatthew Walker

CELLOS*Christopher StenstromKeith NicholasXiao-Fan Zhang

BASSES*Joel Reist, PrincipalGlen Wanner, Assistant PrincipalElizabeth Stewart Gary Lawrence, Principal EmeritusKevin JablonskiJoe Ferris II

FLUTESErik Gratton, Principal Anne Potter Wilson ChairAnn Richards, Assistant PrincipalNorma Grobman Rogers

PICCOLONorma Grobman Rogers

OBOESJames Button, PrincipalEllen Menking, Assistant PrincipalRoger Wiesmeyer

ENGLISH HORNRoger Wiesmeyer

CLARINETSJames Zimmermann, PrincipalCassandra Lee, Assistant PrincipalDaniel Lochrie

E-FLAT CLARINETCassandra Lee

BASS CLARINETDaniel Lochrie

BASSOONSCynthia Estill, PrincipalDawn Hartley, Assistant PrincipalGil Perel

CONTRA BASSOONGil Perel

HORNSLeslie Norton, PrincipalBeth Beeson

HORNSKelly Cornell, Associate Principal/3rd HornHunter SholarRadu V. Rusu, Assistant 1st Horn

TRUMPETSJeffrey Bailey, PrincipalPatrick Kunkee, Co-PrincipalGary Armstrong+, Assistant Principal Preston Bailey, Acting Assistant Principal

TROMBONESLawrence L. Borden+, PrincipalSusan K. Smith, Acting PrincipalPrentiss Hobbs, Acting Assistant Principal

BASS TROMBONESteven Brown

TUBAGilbert Long, Principal

TIMPANIWilliam G. Wiggins, Principal

PERCUSSIONSam Bacco, PrincipalRichard Graber, Assistant Principal Trent Leasure

HARPLicia Jaskunas, Principal

KEYBOARDRobert Marler, Principal

LIBRARIANSD. Wilson Ochoa, PrincipalJennifer Goldberg, Librarian

ORCHESTRAPERSONNELMANAGERSAnne Dickson RogersCarrie Marcantonio, Assistant

*Section seating revolves+Leave of Absence

2011/12 NASHVILLE SYMPHONY ORCHESTRA

GIANCARLO GUERREROMusic Director

ALBERT-GEORGE SCHRAMResident Conductor

GEORGE L. MABRYChorus Director

KELLY CORCORANAssociate Conductor

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It doesn’t just steal the scene. It changes the show.

2012 Range Rover evoque

Introducing the revolutionary Range Rover evoque, the lightest and most fuel efficient Range Rover

yet. It’s an entirely new look for the land Rover family—smaller and more agile for the demands of

the urban landscape, with all of the poise and presence you expect from a land Rover. Inside, you’ll

find the latest in entertainment and navigation technology, artfully subtle led ambient lighting, and

every luxury comfort consideration—including land Rover’s signature focus on headroom. What does

evoque arouse in you? Find out when you test drive yours at Land Rover nashville.

www.LandRovernashville.com3 cadillac Drive | Brentwood 615-986-6000

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7679-LRN-TPAC-Evoque_F.indd 1 10/27/11 2:33 PM

67InConcert

Janet Ayers Julian B. Baker, Jr. Russell W. Bates Scott Becker James L. Beckner Rob Bironas David L. Black Julie BoehmJames B. Boles Jack O. Bovender, Jr. William H. Braddy III, CFP Anastasia Brown Ann Carell Rebecca Cole *Lisa Cooper *Susannah C. Culbertson *Ben L. CundiffCarol DanielsBob DennisDavid Steele Ewing Bob EzrinJohn D. Ferguson Ben FoldsJohn Gawaluck Amy Grant Carl Grimstad Carl Haley, Jr.

Billy Ray Hearn C. Keith Herron Lee Ann Ingram Martha R. Ingram Clay Jackson Ruth E. Johnson Elliott Warner Jones, Sr. Larry LarkinKevin P. Lavender Mary Helen Law *Zachary Liff Ellen Harrison Martin *Robert A. McCabe, Jr.Robert E. McNeilly III Eduardo Minardi Gregg Morton Peter Neff Victoria Chu PaoCharles R. PruettJennifer PuryearJesse B. Register Wayne J. RileyNorma Rogers *Anne L. Russell Michael Samis *Mike Schatzlein, M.D. James C. Seabury III

Kristi Seehafer *Nelson ShieldsBeverly K. Small Renata SotoBruce D. SullivanBrett Sweet Louis B. Todd Van TuckerJay TurnerSteve Turner Mark WaitJeffery Walraven Johnna Watson Ted Houston Welch William Greer Wiggins *Jeremy Williams *William M. Wilson Clare Yang *Shirley Zeitlin James Zimmermann*

Young Leaders Council InternAmy Richardson

*Indicates Ex Officio

DIRECTORSOFFICERS

ROSTERS

2011/12 BOARD OF DIRECTORS

James C. GoochBoard Chair

Edward GoodrichBoard Chair Elect

John T. RochfordBoard Vice Chair

David Williams II Board Treasurer

Betsy WillsBoard Secretary

Alan D. Valentine *President & CEO

JUNE 201268

EXECUTIVEAlan D. Valentine, President and CEOKaren Fairbend, Executive Assistant to the President and CEOMark A. Blakeman, V.P. of Orchestra and Building Operations and General ManagerSarah Jones, Assistant to the V.P. of Orchestra and Building OperationsMichael Kirby, V.P. of Finance and Administration and CFOJim Mancuso, V.P. of Artistic AdministrationJonathan Norris, SPHR, V.P. of Human Resources

ARTISTIC ADMINISTRATIONEmma Smyth, Manager of Artistic AdministrationValerie Nelson, Manager of Pops & Special ProgramsEllen Kasperek, Artistic Administration Assistant Andrew Risinger, Organ Curator

BOX OFFICE/TICKETINGKimberly Darlington, Director of Ticket ServicesEmily Shannon, Box Office ManagerTina Messer, Ticket Services SpecialistMissy Hubner, Ticket Services Assistant

COMMUNICATIONSJonathan Marx, Director of CommunicationsLaurie Davis, PublicistNancy VanReece, Social Media Strategist and Website Manager

DATA STANDARDSTony Exler, Director of Data StandardsSheila Wilson, Sr. Database Associate

DEVELOPMENTErin Wenzel, Sr. Director of DevelopmentEmily Sullivan, Director of Individual GivingHayden Pruett, Major Gifts OfficerMaribeth Stahl, Director of Corporate Relations and GrantsKristy Reuter, Benefit Fulfillment CoordinatorSara Hanahan, Development Events Manager

EDUCATIONBlair Bodine, Director of Education and Community EngagementAndy Campbell, Education and Community Engagement Program ManagerKelley Bell, Education and Community Engagement Assistant

FINANCEKaren Warren, ControllerMildred Payne, Accounts Payable and Payroll ManagerSheri Switzer, Senior AccountantSteven McNeal, Staff AccountantDebra Hollenbeck, Buyer/Retail Manager

FOOD, BEVERAGE AND EVENTSSteve Perdue, Director of Food, Beverage and EventsRoger Keenan, Executive ChefRyan Slattery, Executive Sous ChefHiroju LaPrad, Sous ChefBruce Pittman, Catering & Events Sales ManagerKayanne Jones, Catering and Events ManagerHays McWhirter, Catering and Events Manager

Lacy Lusebrink, Food and Beverage ManagerCollin Husbands, Food, Beverage and Events CoordinatorJohnathon McGee, Food and Beverage SupervisorAnderson S. Barns, Beverage ManagerGarland Smith, Beverage Supervisor

HUMAN RESOURCESAshley Skinner, PHR, Human Resources ManagerKathleen McCracken, Volunteer ManagerMartha Bryant, Receptionist and Human Resources Assistant

I.T.Dan Sanders, Director of Information TechnologyTrenton Leach, Software Applications Developer Chris Beckner, Desktop Support Specialist

MARKETING Ronda Combs Helton, Sr. Director of MarketingMisty Cochran, Director of Advertising and PromotionsSarah Vickery, Sales ManagerMeredith Benning, Promotions & Sales CoordinatorJessi Menish, Graphic DesignerAshley May, Graphic Design Associate

PRODUCTION AND ORCHESTRA OPERATIONSTim Lynch, Sr. Director of Operations and Orchestra ManagerAnne Dickson Rogers, Orchestra Personnel ManagerCarrie Marcantonio, Assistant Orchestra Personnel ManagerD. Wilson Ochoa, Principal LibrarianJennifer Goldberg, LibrarianJohn Sanders, Chief Technical EngineerBrian Doane, Production ManagerMitch Hansen, Lighting Director Michelle Griesmer, Assistant Lighting DirectorGary Call, Audio EngineerMark Dahlen, Audio EngineerW. Paul Holt, Stage ManagerJosh Walliser, Stage and Production Assistant

PATRON SERVICESKristen Drake, Director of Patron Services Patron Services Specialists:Darlene Boswell, Dennis Carter, Phil Shay, Daniel Tonelson, Judith Wall Jackie Knox, Manager of Marketing AssociatesEric Adams, Assistant Manager of Marketing AssociatesMarketing Associates: Linda Booth, Toni Conn, James Calvin Davidson, Gina Haining, Mark Haining, Lloyd Harper, Rick Katz , Deborah King, Cassie Nowels, Misha Robledo, Dustin Skilbred

VENUE MANAGEMENTEric Swartz, Associate V.P. of Venue ManagementCraig Colunga, Director of SecurityDanny Covington, Chief EngineerRaay Creech, Facility Maintenance TechnicianKenneth Dillehay, Facility Maintenance TechnicianWade Johnson, Housekeeping ManagerKevin Butler, HousekeeperDeAndrea Mason, HousekeeperTony Meyers, House Manager

2011/12 NASHVILLE SYMPHONY STAFF

69InConcert

STUDIO TENN PRESENTS

LIVE ON STAGE AT THE FRANKLIN THEATRE

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w e s t h a v e n R e a l t y o f f i c e o p e n D a i l y1 0 0 1 w e s t h av e n B lv D . , s u i t e 1 0 0 | f R a n k l i n , t n 3 7 0 6 4

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Patricia Piccinini. The Long Awaited, 2008. Silicone, fi berglass, human hair, leather, plywood, fabric; 59 7/8 x 31 1/2 x 36 1/4 in. Collection of Penny Olive. Courtesy of the Artist. Photography by Graham Baring

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71InConcert

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A Leader Among LeadersThe Alexis de Tocqueville Society was founded in Nashville in 1981 by Dr. Thomas F. Frist, Jr. The Society now circles the globe with 26,000 members contributing $500 million annually to United Way’s most critical work. Following are the members of Nashville’s 2010 Alexis de Tocqueville Society, Alpha Chapter with years of membership denoted.

2010 Alexis Tocqueville Society, Alpha Chapter MembersMr. and Mrs. Kent Adams, 6Mr. and Mrs. David G. Anderson, 12Mr. and Mrs. W. Michael Arthur, 5Jim and Janet Ayers, 16Dr. Jeffrey R. Balser, 3Mr. and Mrs. H. Lee Barfield II, 17Carol and Barney Barnett, 8Mr. Russell W. Bates, 8Mr. and Mrs. James S. Beard, 15Dr. and Mrs. Robert Daniel Beauchamp, 5Mr. and Mrs. Francis J. Bedard, 8Mr. and Mrs. Jeffrey Belser, 8Mr. and Mrs. Phil and Amberly Billington, 6Mr. and Mrs. W. Perry Blandford, 4Mr. and Mrs. Frederick L. Blank, 6Mr. and Mrs. Brad Blevins, 9Mr. and Mrs. J. William Blevins, 16Michael and Resha Blivens, 1Linda and David Bohan, 4Mr. and Mrs. Jack O. Bovender, Jr., 21Mr. and Mrs. Richard M. Bracken, 14Mrs. James C. Bradford, Jr., 23Mr. and Mrs. Edward H. Braman, 3Mr. and Mrs. Michael T. Bray, 6Mr. and Mrs. Laurance H. Brewster, 3David and Jenny Briggs, 3Mr. and Mrs. Henry Clay Bright III, 3Mr. and Mrs. Martin S. Brown, 24Mr. and Mrs. Frank M. Bumstead, 10Mr. and Mrs. John R. Burch, 24Julie and Matt Burnstein, 5Diane and Kyle Callahan, 10Mr. and Mrs. John P. Campbell III, 10Mr. and Mrs. Victor Campbell, 19David and Elizabeth Cannady, 4Mrs. Monroe J. Carell, Jr., 14Bill and Trudy Carpenter, 10Mr. and Mrs. Michael Carter, 5Mr. and Mrs. William J. Carver, Jr., 6Mr. Fred J. Cassetty, 7Yonnie and Curt Chesley, 5Mr. and Mrs. Thomas G. Cigarran, 11Mr. and Mrs. John W. Clay, Jr., 16Mr. and Mrs. William S. Cochran, 25Mr. J. Chase Cole, 10Mr. and Mrs. Wiley B. Coley III, 5Mr. and Mrs. Charles W. Cook, Jr., 17Mr. and Mrs. John H. Crosslin, 5Kevin and Katie Crumbo, 5Harvey and Helen Cummings, 19Mr. and Mrs. Brownlee O. Currey, Jr., 30Professor Richard Daft and Dorothy Marcic, 3Mr. and Mrs. Frank Daniels III, 4Mr. and Mrs. Ralph Davis, 5Mr. and Mrs. Hilton Dean, 12Mayor Karl F. Dean and Ms. Anne Davis, 4Mr. and Mrs. Dennis T. Delaney, 11Elizabeth and Robert Dennis, 6Mr. and Mrs. Sam B. DeVane, 4Mr. and Mrs. Eric Dewey, 3Mr. and Mrs. Jeffrey T. Dobyns, 3Margaret and Steve Dolan, 10Mr. and Mrs. Cullen E. Douglass, 6Mr. and Mrs. Emanuel Eads, 3Mr. and Mrs. Mark J. Eddy, 12Cassie and Tom Edenton, 12

Mr. and Mrs. Charles A. Elcan, 16Mr. and Mrs. Jason Epstein, 4Mrs. Irwin B. Eskind, 27Dr. and Mrs. Jeffrey B. Eskind, 16Mr. and Mrs. DeWitt Ezell, Jr., 18Mr. and Mrs. Mark V. Ezell, 4Bob and Amanda Farnsworth, 9Mr. and Mrs. Ernest T. Felts, Jr., 3Mr. and Mrs. John D. Ferguson, 8Mr. and Mrs. Edmund B. Fitzgerald, 21Mr. and Mrs. Gene Fleming, 17Tom and Judy Foster, 6Mr. Sam O. Franklin III, 16Mr. and Mrs. David Freeman, 4Dr. and Mrs. Robert A. Frist, 19Dr. and Mrs. Thomas F. Frist, Jr., 30The Honorable and Mrs. William H. Frist, 19Mr. and Mrs. William R. Frist, 10Mr. and Mrs. Herbert A. Fritch, 6Mr. Mario J. Gabelli, 8Mr. and Mrs. John Gawaluck, 11Mr. and Mrs. Gerard V. Geraghty, 7Mr. and Mrs. Kenneth W. Gerdesmeier, 6Mr. and Mrs. Frank Gordon, 4Mr. and Mrs. Joel C. Gordon, 30Robert and Julie Gordon, 4Mr. and Mrs. Dennis Green, 4Kristen and Chad Greer, 6Steve Groom, 2Landis B. Gullett Lead Annuity Trust, 16Mr. and Mrs. James S. Gulmi, 10Scott and Kathy Hadfield, 3JB and Shawn Haile, 1Mr. and Mrs. James C. Hailey, 17Mr. Charles J. Hall, 4Russ and Elvia Harms, 8Robert L. and Caitlin S. Harris, 4Mr. and Mrs. Spencer Hays, 19Mr. and Mrs. Samuel N. Hazen, 11Mrs. Phyllis G. Heard, 2Mr. and Mrs. E. Anthony Heard III, 9Drs. Robert and Alexandra Hendricks, 2Ms. Sherri M. Henry, 6Mr. J. Reginald Hill, 10Damon and Carrie Hininger, 6Mr. and Mrs. James D. Hinton, 12Mr. and Mrs. Dan W. Hogan, 6Ms. Angela Rene Hoke, 1Mr. and Mrs. William Holleman, 3Mr. and Mrs. C. O. Holliday, Jr., 1Mr. and Mrs. Henry W. Hooker, 30The Houghland Foundation, 29Carol and Ad Hudler, 1Ms. Angela H. Humphreys, 4Mr. Franklin Y. Hundley, Jr., 3Mr. and Mrs. James V. Hunt, Sr., 9Mr. and Mrs. David B. Ingram, 14Martha R. Ingram, 30Mr. and Mrs. John R. Ingram, 15Mr. and Mrs. Orrin H. Ingram, 16Mr. and Mrs. Gordon E. Inman, 5Mr. and Mrs. Donald J. Israel, 19Mr. and Mrs. Clay T. Jackson, 14Mr. and Mrs. Granbery Jackson III, 11Mr. and Mrs. Clint Jennings, 2Mr. and Mrs. James L. Johnson, 17Mr. and Mrs. R. Milton Johnson, 12Roy and Marty Jordan, 7Mr. and Mrs. Leonard L. Kindig, 3

Robin and Bill King, 24Mr. and Mrs. Larry Kloess, 8Mr. and Mrs. Ronald F. Knox, Jr., 14Mr. Kumar Kolin, 1Mr. Kevin P. Lavender, 1Mr. and Mrs. Fred W. Lazenby, 23Irving E. Lingo, Jr. and Karin Demler, 3Mr. Robert S. Lipman, 14Sam and Mary Ann Lipshie, 3Estate of Clare H. Loventhal, 10Mr. and Mrs. C. Stephen Lynn, 16Barbara and Kenny Lyons, 8Mr. and Mrs. Myles A. MacDonald, 5Mr. and Mrs. David J. Malone, Jr., 19Mr. and Mrs. Chip Manning, 3Mr. and Mrs. Stephen P. Masie, 3Ms. Cheryl White Mason, 5Mrs. Jack C. Massey, 30Ms. Margaret C. Mazzone, 3Ms. Maeve E. McConville, 5Mr. and Mrs. Frank W. McGregor, 3Betsy Vinson McInnes, 12Mr. and Mrs. Robert McNeilly, Jr., 9Mr. and Mrs. R. Clayton McWhorter, 24Mr. and Mrs. Scott McWilliams, 8Mr. and Mrs. James R. Meadows, Jr., 11Lynn and Ken Melkus, 17Mr. and Mrs. Kevin S. Millen, 2Andrew Woodfin Miller Foundation, 20Mr. and Mrs. Richard L. Miller, 1Mr. and Mrs. Robert Miller, 3Ms. Mary Mirabelli and Mr. Steven Cristanus, 6Mr. Kevin N. Monroe, 2Mr. Donald R. Moody, 5Mr. and Mrs. A. Bruce Moore, Jr., 14Mr. and Mrs. Joseph D. Moore, 19Mr. and Mrs. William P. Morelli, 10Gregg F. and Cathy T. Morton, 4Mr. and Mrs. Charles E. Nash, 8Troy and Kimberly Nunn, 4Philip and Carolyn Orr, 4Mr. and Mrs. Eric Paisley, 6Mr. and Mrs. James N. Parrott, 6Ms. Mary Parsons, 6Mr. and Mrs. William V. Parsons, Jr., 9Mr. and Mrs. Paul Martin Paslick, 5Mr. Steven A. Pate, 5Mr. and Mrs. Hal N. Pennington, 10Mr. and Mrs. James W. Perkins, Jr., 29Mr. and Mrs. Clay Petrey, 3Craig E. Philip and Marian T. Ott, 11Leigh and David Pickett, 1Mr. and Mrs. Sid Pilson, 13Mr. and Mrs. Marshall T. Polk III, 9Mr. and Mrs. Charles R. Pruett, 10Mr. and Mrs. Mel Purcell, 4Mr. Larry Quinlan, 6Mr. and Mrs. Art Rebrovick, 13Mr. and Mrs. Ben L. Rechter, 7Mr. and Mrs. Ben R. Rechter, 29Mr. and Mrs. Mark R. Rechter, 7Mr. and Mrs. Colin Reed, 5Bonnie and Gary Reid, 2Mr. and Mrs. Paul A. Rein, 4Ken and Michelle Rideout, 3Dr. and Mrs. Wayne J. Riley, 4Mr. and Mrs. Stephen S. Riven, 20Mr. and Mrs. Kenneth L. Roberts, 27Mr. and Mrs. Bailey P. Robinson III, 16

Mr. and Mrs. John T. Rochford III, 16Mr. and Mrs. Douglas J. Rohleder, 6Mr. Anthony A. Rose, 22W. Andrew and Sabrina Ruderer, 2Anne and Joe Russell, 22Mr. and Mrs. Floyd Rutan, 5Mr. and Mrs. Bill B. Rutherford, 9Mr. and Mrs. William Paul Rutledge, 10The Scarlett Family Foundation, 4Mr. and Mrs. Joe Scarlett, 11Tim and Beth Scarvey, 6Mr. and Mrs. James Schmitz, 4Mr. and Mrs. David G. Sehrt, 4Mr. and Mrs. Richard Shallcross, 10Michael and Lisa Shmerling, 13Mr. and Mrs. W. Lucas Simons, 23R. Timothy Sinks, 3Mr. and Mrs. Barry R. Smith, 3Mr. and Mrs. Jeffrey Smith, 3Mr. and Mrs. Wayne T. Smith, 10Grant and Suzanne Smothers, 1Joe and Joanne Sowell, 2Mr. and Mrs. Robert E. Spieth, 6Mr. and Mrs. Charles Sprintz, 10Mr. and Mrs. Joe N. Steakley, 14Mr. John M. Steele, 12John and Beth Stein, 4Mr. and Mrs. Donald W. Stinnett, 5Mr. and Mrs. Don Street, Jr., 12Mr. and Mrs. J. Michael Sullivan, 9David and Mona Tehle, 1Mr. and Mrs. Steve Thomas, 6Mrs. Kim Bradley Thomason, 3Robin and Overton Thompson, 1Mr. and Mrs. John C. Tishler, 3Ms. Claire Whitfield Tucker, 12Mr. and Mrs. Cal Turner, 24James Stephen Turner Family Foundation, 3Juan and Elizabeth Vallarino, 2Mr. and Mrs. Lee F. Van Dyke, 3Mr. and Mrs. David T. Vandewater, 16Mr. and Mrs. Fred Viehmann, 18Mr. and Mrs. Jay Wallace, 12Mr. and Mrs. Johnson B. Wallace, Jr., 12Brian and Christy Waller, 6Ms. Leigh Walton, 1Mr. Brian Ampferer Ward, 9Mr. and Mrs. Robert Waterman, 14Mr. and Mrs. Jonathan Weaver, 9Marti and Brian Webster, 1Colleen and Ted Welch, 18Betty and Bernard Werthan Foundation, 30Mrs. John Warner White, 24Mr. and Mrs. David Williams II, 4Ms. Noel B. Williams, 13Mr. and Mrs. Ridley Wills II, 30Dan Wilson and Linda Dickert Wilson, 3Mr. and Mrs. Brad Withrow, 3Mr. and Mrs. Kevin Witt, 4Mr. and Mrs. Alan R. Yuspeh, 11Mrs. Robert K. Zelle, 28Chancellor Nicholas S. Zeppos, 3Raymond and Etta Zimmerman, 30Dana A. Zukierski, 1

Eight members prefer to remain anonymous.

If you would like to inquire about membership in this elite group of leaders, you may do so by contacting Celeste Wilson at: [email protected] or 615.780.2403

*United Way of Metropolitan Nashville at Work Here.

1 1 1

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VIRTUOSO SOCIETY Gifts of $10,000+

Anonymous (2)David & Diane BlackMr.* & Mrs. J. C. Bradford Jr.Mr. & Mrs. John ChadwickMac & Linda CrawfordJanine & Ben CundiffMr. & Mrs. Frank A. Daniels III

Mr. & Mrs. Albert F. Ganier IIIJames C. Gooch & Jennie P. SmithGiancarlo & Shirley GuerreroPatricia & H. Rodes HartMrs. Martha R. IngramDr. & Mrs. Howard S. Kirshner

The Martin FoundationMr. & Mrs. Cano OzgenerMr. & Mrs. Ben R. RechterAnne & Joe RussellMr. & Mrs. James C. Seabury IIIMargaret & Cal TurnerMr. & Mrs. Steve Turner

Anonymous (1)Mr. & Mrs. James AyersJudy & Joe BarkerRussell W. BatesMr. James B. BolesMr. & Mrs. Jack O. Bovender Jr.Ann Scott CarellMr. & Mrs. Richard W. CarltonKelly & Bill ChristieMr. & Mrs. Tom F. ConeHilton & Sallie DeanMr. & Mrs. Robert J. DennisMarty & Betty DickensDee & Jerald DoochinMr. & Mrs. Jere M. ErvinAnnette S. EskindThe Jane & Richard Eskind & Family Foundation

Marilyn EzellAllis Dale & John GillmorEd & Nancy GoodrichCarl & Connie HaleyMrs. Harold HassenfeldMr. & Mrs. Billy Ray HearnHelen & Neil HemphillMrs. V. Davis HuntMr. & Mrs. David B. IngramLee Ann & Orrin IngramKeith & Nancy JohnsonRobin & Bill KingChristine Konradi & Stephan HeckersRalph & Donna KorpmanJim LewisZachary Liff

Robert Straus LipmanMr. & Mrs. Robert A. McCabe Jr.Sheila & Richard McCartyDr. Ron McDowThe Honorable Gilbert S. MerrittEdward D. & Linda F. MilesRichard & Sharalena MillerGregg & Cathy MortonAnne & Peter NeffDr. Harrell Odom II & Mr. Barry W. CookBurton Jablin & Barron PattersonHal & Peggy PenningtonMr. & Mrs. Philip M. PfefferMr. & Mrs. Charles R. PruettCarol & John T. Rochford

The Roros FoundationJoe & Dorothy ScarlettDr. & Mrs. Michael H. SchatzleinMr.* & Mrs. Nelson SeveringhausRonald & Diane ShaferNelson & Sheila ShieldsMr. & Mrs. Irvin SmallMr. & Mrs. Earl S. SwenssonDr. John B. ThomisonMr. & Mrs. Louis B. Todd Jr.Alan D. & Connie F. ValentinePeggy & John WarnerMs. Johnna Benedict WatsonMr. & Mrs. Julian Zander Jr.Mr. Nicholas S. Zeppos & Ms. Lydia A. Howarth

STRADIVARIUS SOCIETY Gifts of $5,000 - $9,999

Anonymous (2)Clint & Kali AdamsMrs. R. Benton Adkins Jr.Shelley AlexanderDr. & Mrs. Elbert Baker Jr.Dr. & Mrs. Robert O. BegtrupDr. & Mrs. H. Victor BrarenMr.* & Mrs. Arthur H. Buhl IIIAnn & Frank BumsteadMrs. Patricia B. BuzzellPhilip & Melanie CavenderMr. & Mrs. Terry W. ChandlerDorit & Don CochronRichard & Kathy CooperMr. & Mrs. James H. Costner

Mr. & Mrs. Justin Dell CrosslinAndrea Dillenburg & Ted KrausDonna & Jeffrey EskindMr. & Mrs. Robert A. EzrinBob & Judy FisherJohn & Lorelee GawaluckHarris A. GilbertAmy Grant & Vince GillSuzy HeerMr. & Mrs. Robert C. HiltonMs. Cornelia B. HollandMr. & Mrs. Donald J. IsraelMr. & Mrs. John F. JacquesAnne KnauffMr. & Mrs. Michael A. Koban Jr.

Mr. & Mrs. Fred W. LazenbyDr. Arthur M. MellorF. Max & Mary A. MerrellDrs. Mark & Nancy PeacockEric Raefsky, M.D. & Ms. Victoria HeilMr. & Mrs. Gerald A. RiskAnne & Charles RoosMr. & Mrs. Scott C. SatterwhiteDebbie & Albert-George SchramMr. & Mrs. J. Ronald ScottMr. & Mrs. Rusty SiebertMr. & Mrs. Martin E. SimmonsDr. Michael & Tracy StadnickMr. & Mrs. Brett Sweet

Pamela & Steven TaylorDrs. Pilar Vargas & Sten H. VermundMr. & Mrs. Jeffery C. & Dayna L. WalravenJonathan & Janet WeaverCarroll Van West & Mary HoffschwelleCraig P. Williams & Kimberly SchenckDr. Artmas L. WorthyShirley Zeitlin

GOLDEN BATON SOCIETY Gifts of $2,500 - $4,999

INDIVIDUALS

ANNUAL FUND

The Nashville Symphony is deeply grateful to the following individuals who support its concert season and its services to the community through their generous contributions to the Annual Fund. Donors as of April 27, 2012

JUNE 201276

THANK YOU

CONDUCTOR’S CIRCLEGifts of $1,500 - $2,499Anonymous (3)Jeff & Tina AdamsJames & Glyna AderholdDr. Paige AkersDr. Alice & Mr. Richard C. ArnemannJon K. & Colleen AtwoodJames M. Bailey Jr.Mr. & Mrs. H. Lee Barfield IIBarbara & Mike BartonBetty C. BellamyDr. Eric & Elaine BergFrank M. Berklacich, MDMr.* & Mrs. Harold S. BernardMark & Sarah BlakemanJulie & Dr. Frank BoehmDennis & Tammy BoehmsMr. & Mrs. Robert Boyd Bogle IIIMr. Jamey Bowen & Mr. Norman WellsDan & Mindy BrodbeckMr. & Mrs. Martin S. Brown Jr.Mr. & Mrs. Paul J. BuijsmanDrs. Rodney & Janice BurtChuck & Sandra CagleMichael & Jane Ann CainMr. & Mrs. Gerald G. CalhounBrenda & Edward CallisMr. & Mrs. William H. CammackJan & Jim CarellAnn & Sykes CargileClint & Patty CarterMichael & Pamela CarterFred CassettyErica & Doug ChappellBarbara & Eric ChazenJames H. Cheek IIICatherine ChitwoodM. Wayne ChomikMr. & Mrs. Sam E. ChristopherMr. George D. Clark Jr.Esther & Roger CohnEd & Pat ColeChase ColeMarjorie & Allen* CollinsMr. & Mrs. Charles W. Cook Jr.Roger & Barbara CottrellMr. & Mrs. Roy J. CovertMr. & Mrs. Donald S. A. CowanJames L. & Sharon H. CoxDr. & Mrs. James CraftonDrs. Paul A. & Dorothy Valcarcel CraigKimberly L. DarlingtonJohn & Natasha DeaneSandra & Daryl DemonbreunThe Rev. & Mrs. Fred DettwillerMr. & Mrs. Glenn EadenDr. & Mrs. E. Mac EdingtonRobert D. EisensteinDavid Ellis & Barry WilkerDr. Meredith A. EzellMr. & Mrs. John FergusonT. Aldrich FineganJohn David & Mary Dale Trabue FitzgeraldJohn & Cindy Watson Ford

Tom & Judy FosterCathey & Wilford FuquaCarlene Hunt & Marshall GaskinsMr. & Mrs. Andrew GiacoboneLynette Gibbons & D. Cole GibbonsMr. & Mrs. Roy J. Gilleland IIIFrank GinanniTony & Teri GosseMr. & Mrs. C. David GriffinFrancis S. GuessDr. Edward HantelJanet & Jim HassonMr. & Mrs. John Burton HayesMr. & Mrs. Jeffrey N. HinsonJudith HodgesKen & Pam HoffmanMr. & Mrs. Henry W. HookerMr. & Mrs. Thomas W. HulmeDr. & Mrs. Stephen P. HumphreyJudith & Jim HumphreysMarsha & Keel HuntRodney Irvin FamilyMr. & Mrs. Clay T. JacksonDonald L. JacksonEllen & Kenneth JacobsLouis Johnson M.D.Norm & Barb JohnsonGeorge & Shirley JohnstonMr. & Mrs. Clark Powell JonesDr. & Mrs. David S. JonesJan Jones & Steve WilliamsDrs. Spyros Kalams & Lisa MendesRay & Rosemarie KalilMr. & Mrs. Bill G. KilpatrickMichael & Melissa KirbyTom & Darlene KlaritchMr. Richard B. KloeteWilliam C. & Deborah Patterson KochMs. Pamela L. KoernerMr. & Mrs. Gene C. KoonceMr. & Mrs. Edward J. KovachHeloise Werthan KuhnMr. & Mrs. Randolph M. LaGasseBob & Mary LaGroneRobert & Carol LampeLarry & Martha LarkinRichard & Diane LarsenSandi & Tom LawlessJon & Elaine LevineSally M. LevineJohn T. LewisRobert A. LivingstonElizabeth & Jim Mancuso

Shari & Red MartinRhonda A. Martocci & William S. BlaylockScott & Jennifer McClellanTommy & Cat McEwenMr. & Mrs. Martin F. McNamara IIIMr. & Mrs. Robert McNeilly Jr.Mr. & Mrs. Richard D. McRae IIIDr. Mark & Mrs. Theresa MessengerChristopher & Patricia MixonMr. & Mrs. William P. MorelliMs. Lucy H. MorganMatt & Rhonda MulroyJames & Patricia MunroLeonard Murray & Jacqueline MarschakLannie W. NealPat & John W. Nelley Jr.Ms. Agatha L. NolenJonathan Norris & Jennifer CarlatMr. & Mrs. Douglas Odom Jr.Representative & Mrs. Gary L. OdomDavid & Pamela PalmerVictoria & William PaoMr. & Mrs. William C. PfaenderDavid & Adrienne PistonMr. & Mrs. Gustavus A. Puryear IVDr. Gipsie B. RanneySharon Hels & Brad ReedDr. Jesse B. RegisterDrs. Jeff & Kellye RiceDrs. Wayne & Charlene RileyMr. & Mrs. John A. RobertsMr. & Mrs. Kenneth L. RobertsMargaret Ann & Walter Robinson FoundationJames & Patricia RussellMr. & Mrs. John J. SangervasiMr. & Mrs. Eric M. SaulDr. Norm Scarborough & Ms. Kimberly HewellMr. Paul H. ScarbroughDolores & John SeigenthalerDr. & Mrs. R. Bruce ShackAllen Spears* & Colleen SheppardBill & Sharon SheriffTom & Sylvia SingletonWilliam & Cynthia SitesGeorge & Mary SloanDrs. Walter Smalley & Louise Hanson

Giancarlo Guerrero with Cho-Liang Lin

77InConcert

THANK YOU

Suzanne & Grant SmothersK. C. & Mary SmytheJack & Louise SpannMr. & Mrs. Hans StabellChristopher & Maribeth StahlMr. & Mrs. James G. Stranch IIIBruce & Elaine SullivanFridolin & Johanna SulserAndrew Keith & Donna Dame SummarDr. Steve A. Hyman & Mr. Mark Lee TaylorAnn M. Teaff & Donald McPherson IIIDr. & Mrs. Clarence S. ThomasScott & Julie ThomasCandy TolerDr. & Mrs. Alexander TownesMr. & Mrs. Marshall TrammellChristi & Jay TurnerDeborah & Mark WaitMr. & Mrs. Martin H. WarrenArt & Lisa WheelerMr. & Mrs. Thomas G. B. WheelockCharles Hampton WhiteMr. & Mrs. Jimmie D. WhiteStacy WidelitzMr. & Mrs. David M. WildsMr. Donald E. WilliamsShane & Laura WillmonMs. Marilyn Shields-Wiltsie & Dr. Theodore E. WiltsieDr. & Mrs. Lawrence K. Wolfe

ENCORE CIRCLEGifts of $1,000 - $1,499Anonymous (7)Mark & Niki AntoniniMrs. Brenda BassMr. & Mrs. James BecknerMarti BellingrathMr. & Mrs. Raymond P. BillsBob & Marion BogenJean & David BuchananSharon Lee ButcherJohn E. Cain IIIMary & Joseph CavarraDr.* & Mrs. Robert ChalfantMrs. John Hancock Cheek Jr.Mr. & Mrs. W. Ovid CollinsJoe C. Cook IIIMr. & Mrs. Joe C. Cook Jr.Mr. & Mrs. J. Bradford CurrieGreg & Collie DailyMr.* & Mrs. Julian de la GuardiaM. Maitland DeLand, M.D.Mr. & Mrs. Kenton DickersonKimberly & Stephen DrakeLaura L. DunbarMr. & Mrs. Mike DyeMr. & Mrs. Thomas S. Edmondson Sr.Drs. James & Rena EllzyLaurie & Steven EskindRobert & Cassandra EstesMr. & Mrs. DeWitt EzellMs. Paula Fairchild

Drs. Robert & Sharron FrancisDr. & Mrs. John R. FurmanMr. & Mrs. J. George HarrisMr. Larry O. HelmsKeith & Kelly HerronCarrie & Damon HiningerMr. & Mrs. Richard HoltonRay HoustonHudson Family FoundationDonna & Ronn HuffBud IrelandMr. & Mrs. Toshinari IshiiPeter* & Marion KatzMr. & Mrs. James KelsoWalter & Sarah KnestrickRachel & John KuchteyDr. & Mrs. John W. Lea IVDr. & Mrs. T. A. LincolnDr. & Mrs. Christopher LindBurk & Caroline LindseyTim LynchSteve & Susie MathewsLynn & Jack MayRobert P. MaynardJim & Judi McCaslinRobert NessMr. & Mrs. Marvin NischanDr. Casey NobleInka & Richard OdomAlex S. PalmerDr. Edgar H. Pierce Jr.Mr. & Mrs. Paul E. PrillMr. & Mrs. Doyle R. RippeeMr. & Mrs. Stephen RivenMr. & Mrs. David L. RollinsGeorgianna W. RussellDavid SampsellPaula & Kent SandidgeSamuel A. Santoro & Mary M. ZutterDr. & Mrs. John S. SergentDr. & Mrs. Andrew ShinarMr. & Mrs. Brian S. SmallwoodMr. & Mrs. Ronald M. SohrMr. & Mrs. David B. StewartJane Lawrence StoneJames B. & Patricia B. SwanNorman & Marilyn TolkJoe & Ellen TorrenceThomas L. & Judith A. TurkWilliam E. Turner Jr.Dr. & Mrs. Robert W. WahlMike & Elaine WalkerMr. & Mrs. William G. WigginsMr. & Mrs. Mark A. WilliamsMr. & Mrs. William M. Wilson

CONCERTMASTERGifts of $500 - $999Anonymous (10)Jerry AdamsDon & Judi ArnoldJeremy & Rebecca AtackMr. & Mrs. James E. AuerJeff & Carrie BaileyMr. & Mrs. Thomas N. BainbridgeMr. & Mrs. Richard W. Baker

Mr. & Mrs. Edwin BartonMr. & Mrs. Thomas E. BatemanKatrin T. BeanDr. & Mrs. R. Daniel BeauchampBernice Amanda BelueMike & Kathy BensonDr. & Mrs. Ben J. BirdwellMr. Rob BironasRalph & Jane BlackRandolph & Elaine BlakeMr. & Mrs. Bill BlevinsDr. & Mrs. Marion G. BolinMr. & Mrs. William E. BoyteWilliam H. Braddy IIIMr. & Mrs. Stephen BraunBerry & Connie BrooksDr. & Mrs. Glenn BuckspanMrs. Michelle H. BurgessDr. Roger & Mrs. Donah BurgessMr. & Mrs. Richard BurksGene & Jamie BurtonJohn & LuAnnette ButlerJames ButtonDrs. Robert & Mirna CaldwellJanet C. CampMr. Kirk C. CampbellMr. Thomas R. CampionMichael & Linda CarlsonMr. & Mrs. William F. Carpenter IIIMr. & Mrs. John L. ChambersDr. & Mrs. Robert H. ChristenberryStarling Davis Clark & David F. ClarkJay & Ellen ClaytonSallylou & David CloydDr. & Mrs. Alan G. CohenMr. & Mrs. Domer CollinsWilliam & Margaret ConnorPaul & Alyce CookeMr. Randy M. CooperMarion Pickering CouchMs. Susannah C. CulbertsonTenchia CuppMr. Douglas A. DarsowMariaGabriella Giro & Jeff DavidsonDr. & Mrs. Ben DavisMr. & Mrs. Charles E. DavisMr. Shawn DelpMark & Barbara DentzSuzanne Day DevineMr. & Mrs. Arthur DeVooghtWally & Lee Lee DietzMr. & Mrs. Marcus D. DominguezDr. Alan W. Dow IITere & David DowlandMs. Katie DoyleMr. Frank W. DrakeDr. Jane Easdown & Dr. James BoothDr. & Mrs. William H. Edwards Sr.Dr.* & Mrs. Lloyd C. ElamDr. John & Janet ExtonBill & Dian S. Ezell

ANNUAL FUND

JUNE 201278

THANK YOU

Ms. Marilyn FalconeMichael & Rosemary FedeleDr. Arthur C. Fleischer & FamilyArt & Charlotte FogelRandy & Melanie FordPatrick & Kimberly ForrestMr. & Mrs. Jeffery J. ForsheeMs. Deborah F. Turner & Ms. Beth A. FortuneMr. & Mrs. David B. FoutchMs. Elizabeth A. FranksRobert & Peggy FryeSuzanne J. FullerDr. David & Kimberly FurseJohn & Eva GebhartDr. & Mrs. Harold L. GentryMr. & Mrs. H. Steven GeorgeBryan D. GravesRichard & Randi GreenCathey & Doug HallRenée & Tony HalterleinJay & Stephanie HardcastleDr. & Mrs. Thomas L. HardyFrank & Liana HarrellKent & Becky HarrellDr. & Mrs. Jason HaslamMr. & Mrs. Doug HausemanMrs. Estela R. HayesLisa & Bill HeadleyJohn Reginald HillMr. & Mrs. Jim HittElizabeth Dykens PhD & Robert Hodapp PhDKen & Beverly HornerAllen, Lucy & Paul HoviousMargie & Nick* HunterMr. & Mrs. David HusemanSandra & Joe HuttsRobert C. Jamieson MDLee & Pat JenningsJack Jezioro & Ellen MenkingBob & Virginia JohnsonRuth E. JohnsonMary Loventhal JonesMrs. Robert N. JoynerDr. Barbara F. KaczmarskaMr. & Mrs. Michael KaneMrs. Edward C. KennedyJohn & Eleanor KennedyTeresa F. KerseyJane KerstenPatricia Lee & Orville KronkMr. & Mrs. Thomas W. LandMr. & Mrs. Samuel W. LavenderMr. & Mrs. Irving LevyDrs. Walt & Shannon LittleThe Howard Littlejohn FamilyCarolyn & Fred LoeffelSamuel C. LoventhalDrs. Amy & George LynchWilliam R. & Maria T. MacKayJames & Gene ManningMr. & Mrs. Michael R. MannoMr. & Mrs. Richard MaradikSteve & Carrie Marcantonio & Family

Mimsye & Leon MayDrs. Ricardo Fonseca & Ingrid MayerMr. & Mrs. Charles R. McCartySandra & Ken McDonaldMr. John M. McDougalJoey & Beth McDuffeeDr. & Mrs. Alexander C. McLeodCatherine & Brian McMurrayEd & Tracy McNallyDan & Mary MecklenborgHerbert & Sharon MeltzerDrs. Randolph & Linda MillerDr. & Mrs. Kent B. MillspaughMr. Conley MinnickDr. Jere MitchumDiana & Jeff MobleyDr. & Mrs. Charles L. MoffattMs. Gay MoonCynthia & Richard MorinSteve & Laura MorrisLynn MorrowMs. Patricia A. MoseleyMargaret & David MossLucille C. NaborsLarry & Marsha NagerMr. & Mrs. Thomas J. NagleMr. & Mrs. Joseph L. Nave Jr.Jane K. NorrisChris & Leslie NortonVirginia O’BrienD. Wilson OchoaMr. & Mrs. Russell Oldfield Jr.Patricia J. OlsenMr. & Mrs. Jack OmanMr. Sergio OraDan & Helen OwensDr. & Mrs. Harry L. PageMs. Kathern W. ParkerMr. & Mrs. M. Forrest ParmleyDrs. Teresa & Phillip PattersonSteve A. PerdueLinda & Carter PhilipsBarbara Gregg & Robert PhillipsDrs. Sherre & Daniel PhillipsFaris & Robert PhillipsKeith & Deborah PittsMr. John PopeMs. Elizabeth M. PotocsnakDr. & Mrs. James L. PottsGeorge & Joyce PustTom & Chris RashfordMr. Edwin B. RaskinCharles H. & Eleanor L. Raths

Mr. & Mrs. David RawlingsFranco & Cynthia RecchiaMs. Allison R. Reed & Mr. Sam GarzaMr. Gregory M. ReedCandace Mason ReveletteMrs. Julie A. RoeDr. & Mrs. Jorge RojasMargaret H. RollinsLaura RossMr. & Mrs. Dick SammerSamuel L. & Barbara SandersGeoffrey & Sandra SandersonCooper* & Helen SchleyPam & Roland SchnellerDr. & Mrs. Timothy P. SchoettleDrs. Carl & Wendy SchofieldDr. Kenneth E. Schriver & Dr. Anna W. RoePeggy C. SciottoOdessa L. SettlesMax & Michelle ShaffJoan Blum ShayneDr. & Mrs. Nicholas A. Sieveking Sr.Betty B. SiskPamela SixfinDavid & Robin SmallSmith Family FoundationMr. & Mrs. Kevin Scott SmithRichard & Molly Dale SmithMrs. Myrtis F. SmithDr. Robert Smith & Barbara RamseyMr. & Mrs. S. Douglas SmithMr. & Mrs. James H. SpaldingMs. Maggie P. SpeightDr. & Mrs. Anderson Spickard Jr.Mr. & Mrs. Joe N. SteakleyDr. & Mrs. Robert SteinElizabeth Stewart & James GrosjeanDr. & Mrs. William R. StewartJean StumpfMr. Donald T. Sullivan Jr.Craig & Dianne SussmanLorraine Ware & Reid ThompsonMartha J. TrammellVan TuckerMs. Rita R. VannLarry & Brenda VickersDr. & Mrs. Martin H. Wagner

Instrument Petting Zoo

79InConcert

THANK YOU

Kay & Larry WallaceTalmage M. WattsMrs. William C. Weaver IIIDr. Medford S. WebsterBeth & Arville WheelerMr. & Mrs. Fred WheelerHarvey & Joyce WhiteMr. & Mrs. Thomas F. WhiteVicki Gardine WilliamsGary & Cathy WilsonEdward & Mary E. WomackMr. & Mrs. Stephen F. Wood Sr.Shu-Zheng & Li Li YangRoy & Ambra Zent

FIRST CHAIRGifts of $250 - $499Anonymous (29)Drs. Shannon Snyder & Oran AaronsonJudith AblonThe Rev. Dr. & Mrs. W. Robert AbsteinBen & Nancy AdamsChip AlfordDr. & Mrs. John AlgrenMr. & Mrs. Roger AllbeeCarol M. AllenDr. Joseph H. AllenNewton & Burkley AllenMr. & Mrs. John AllpressAdrienne AmesWm. J. & Margery AmonetteKen & Jan AndersonNewell Anderson & Lynne McFarlandMs. Teresa Broyles-AplinMr. & Mrs. Carlyle D. AppleMr. & Mrs. George Armistead IIIMr. Aaron ArmstrongPatricia & Jay ArmstrongMrs. Margaret ArnoldTodd & Barbara ArrantsCandy Burger & Dan AshmeadGeralda M. AubryMr. & Mrs. Gerald AverbuchGrace & Carl AwhJanet B. BaggettMr. & Mrs.* F. Clay Bailey Jr.James M. & Kim M. BaileyDrs. Ferdinand & Eresvita BalaticoDr. & Mrs. Billy R. BallardSusan F. & Paul J. Ballard

Ms. René Balogh & Mr. Michael HinchionMr. & Mrs. J. Oriol BarenysDr. Beth S. BarnettDr.* & Mrs. Thomas C. BarrWilliam & Sharon BaxterMrs. Teresa A. BeardMs. Traciee D. BeardenSusan O. BelcherMark H. BellRon & Sheryl BellMr. & Mrs. W. Todd BenderMr. & Mrs. Richard M. BerryMs. Helen R. Blackburn-WhiteMrs. Andrea BoelyDavid L. BoneDavid BordenkircherMs. Donna R. BostickJerry & Donna BoswellRobert E. BosworthMr. Brian BoxerMr. David G. BoydDon & Deborah BoydMr. & Mrs. Douglas G. Bradbury IIIJeff & Jeanne BradfordDr. Joel F. BradleyMr. & Mrs. James F. BrandenburgMr. Mark D. BranstetterJere & Crystal BrassellRobert & Barbara BraswellDr. Daniel K. BregmanMary Lawrence BreinigPhil & Pat BressmanJamie A. BrewerBetty & Bob BrodieKathy & Bill BrosiusMr. & Mrs. Charles H. BrownMs. Roxanne BrownBurnece Walker BrunsonMrs. Margaret J. BrysonT. Mark & D. K. BufordLinda & Jack BurchGeraldine & Wilson ButtsDr. & Mrs. Daniel M. BuxbaumDr. & Mrs. Robert ByrdRuth M. ByrdsongJulia C. CallawayClaire Ann CalongneMr. Richard A. CalvinBratschi CampbellGary E. CanadayMr. Mark J. CappellinoMr. & Mrs. W. Hill CarlenDr. Wayne CarpenterKaren CarrRonald & Nellrena CarrMr. & Mrs. Edwin CarterValleau & Robert M. CaruthersBill & Chris CarverKent CathcartEvelyn LeNoir ChandlerDean & Sandy ChaseRenée ChevalierMrs. Robert L. ChickeyMark & Bette ChristofersenNeil Christy & Emily Freeman

Dr. André & Ms. Doreatha H. ChurchwellMr. Daryl ClaggettCouncilman & Mrs. Phil ClaiborneDrs. Walter & Deborah ClairDr. Paul B. Clark Jr.Steven & Donna ClarkMr. & Mrs. Roy Claverie Sr.Ms. Christy ClevelandMr. & Mrs. Neely B. Coble IIIMisty Cochran & Josh SwannMr. & Mrs. Robert T. ColemanMs. Peggy B. ColsonLaura & Kyle CookseyRenette I. CorenswetNancy K. CorleyElizabeth CormierMs. Laura Crafton-SizemoreMr. & Mrs. George Crawford Jr.Dr. & Mrs. Jeff L. CreasyMr. & Mrs. David CrecraftR. Barry & Kathy CullenMs. Dana R. CurtisMr. Brian B. CuylerRev. Frederick L. DaleKatherine C. DanielJames & Maureen DanlyKim & Roy DanoMr. Robby DasherJanet Keese DaviesAdelaide S. DavisMr. Joshua M. DavisMs. Maria de la CruzMr. Karl Dean & Ms. Anne DavisAnn DeolHenry & Catherine DePhillipsNatalie R. Dickson & Aaron T. RaneyDr. Joseph & Ambassador Rachel DiggsMr. & Mrs. John H. DinkinsMs. Shirley J. DodgePeter & Kathleen DonofrioMichael Doochin & Linda Kartoz-DoochinKristen & David DrakeElizabeth Tannenbaum & Carl DreifussKathleen & Stephen DummerMrs. Kristi D. DunhamBob & Nancy DunkerleyKathryn & Webb EarthmanMr. & Mrs. Douglas EasterlingPatricia & Larry EastwoodMs. Susan S. EdwardsDan & Zita ElrodDr. & Mrs. Ronald B. EmesonMs. Kaaren EngelMr. Phillip M. EnglehartMs. Ann EppersonDr. Jack W. ErterDr. & Mrs. James EttienMs. Claire EvansDr. Ann Evers & Dr. Gary SmithSteven & Katie EzellDrs. Charles & Evelyn FancherDana FerrisMr. Vincent Fesmire

ANNUAL FUND

Bassist Glen Wanner

JUNE 201280

THANK YOU

Jill Denmark & William Fialkowski MDMr. & Mrs. Billy W. FieldsJanie & Richard FinchMrs. Jackie M. FlavellMs. Deborah G. FlowersCathy & Kent FourmanMrs. Katherine H. FoxAndrew & Mary FoxworthMr. & Mrs. J. Richard FranzJim W. FreelandScott & Anita FreistatMs. Heather FunderburgDr. Henry FusnerLois & Peter FyfeBill & Ginny GableJim & Michiko GaittensDr. & Mrs. Ronald E. GalbraithMr. & Mrs. Kevin GangawareMr. & Mrs. Philip GanskeMs. Susan M. GantMr. & Mrs. George C. GardenMiss Ailish GarrettMr. & Mrs. Jerry GarrettAlan & Jeannie GausMr. Scott A. German & Ms. Tammie ShannonEm J. GhianniMr. & Mrs. Stewart J. GilchristMs. Dianne R. GillespieMr. Andre L. GistWilliam & Helen GleasonLinda & Joel GluckMr. Charles S. GoldenMs. Susan T. GoodwinZachary & Martha GoodyearMr. Benjamin L. GordonMr. & Mrs. William M. GraceyTom & Carol Ann GrahamAntonio M. Granda M.D.Roger & Sherri GrayJohn F. Gregory IIIR. Dale & Nancy G. GrimesMr. & Mrs. Russell D. GroffMary Beth & Raul GuzmanDr. & Mrs. John D. HainsworthMs. Leigh Ann HaleScott, Kathy & Kate HallKatherine S. HallMr. Robert T. HallMr. & Mrs. Robert M. Hamilton Jr.Walter H. White III & Dr. Susan Hammonds-WhiteMs. Sara HanahanMr. & Mrs. Harry M. HannaMr. & Mrs. Richard W. HanselmanJoel T. HargroveDr. John B. & Kathleen E. HarkeyCindy HarperDr. & Mrs. Frank P. HarrellMrs. Edith HarrisDickie & Joyce HarrisMr. & Mrs. Jay HartleyMr. James S. HartmanDr. Morel Enoch & Mr. E. Howard HarveyRobert & Nora Harvey

David & Judith Slayden HayesPeggy R. HaysFred & Judy HelferDoug & Becky HellersonKent & Melinda HendersonMs. Doris Ann HendrixLiz HensonMr. David HilleyMr. & Mrs. Robert C. HilmerMr. & Mrs. Donald HofeSean HoganJim & Kim HolbrookAurelia L. HoldenDr. Nancy D. HollandWilliam HollingsFrances HoltPaul HoltMr. & Mrs. Robert E. HooperDrs. Richard T. & Paula C. HoosGeorge & Joan HornbergerSamuel H. HowardMr. Adam L. HuddlestonMs. Edith B. HudsonDr. & Mrs. Louis C. Huesmann IIDr. Nedra Huggins-WilliamsMr. & Mrs. Robert HuljakThe Hunt Family FoundationMichael & Evelyn HyattMrs. Beverly HydeDr. & Mrs. Roger IresonDr. Anna M. JacksonMs. Laura R. JacksonMr. & Mrs. Donald E. JacobsMr. & Mrs. Alan R. JavorckyJoyce E. JohnsonMary & Doug JohnstonFrank & Audrey JonesMr. & Mrs. Michael JonesMr. Patrick D. JonesSarah Rose JonesMrs. Cynthia A. KeathleyMs. Georgia KeelingJeffrey & Layle KenyonRobert KernsMr. & Mrs. Brock KiddBill & Becca KillebrewKathleen & Don KingMrs. Amanda L. KirkpatrickLouise & Joe KitchellEdward & Rosemary KnishMr. & Mrs. Rick KoelzDavid & Judy KolzowSanford & Sandra KrantzMr. Daniel L. LaFevorDr. Kristine L. LaLondeNancy & Edd LancasterMr. & Mrs. Joseph A. LawrenceMrs. Douglas E. LeachTrenton & Shellie LeachRob & Julia LedyardDr. & Mrs. George R. LeeJ. Mark LeeMr. & Mrs. Michael LeJeuneDorothy & Jim LeschRalph G. LeverettMichael & Ellen LevittJohn & Marge LewisMr. Marvin J. LiebergotMr. & Mrs. Monty S. Ligon

Mr. & Mrs. John LillieMack & Katherine LinbaughJoanne L. Linn, M.D.*Dr. & Mrs. John L. LloydJean & Steve LockeKim & Mike LomisKim & Bob LooneyFrances & Eugene LotochinskiDavid & Nancy LouckyThomas H. LoventhalJ. Edgar LoweMr. & Mrs. Jay LowenthalMr. & Mrs. James C. Lundy Jr.Revs. James & Michelle LunsfordGeorge & Cathy LynchJeffrey C. LynchPatrick & Betty LynchSharron LyonMr. & Mrs. Peter C. MacDonaldMr. John MadduxAnne & Joe MadduxMr. & Mrs. Robert A. MaierMr. Mikal MalikMr. & Mrs. Eric J. MandersSheila MannMr. Joshua P. ManningBeverly Darnall MansfieldDavid & Leah MarcusAbraham, Lesley & Jonathan MarxDr. & Mrs. Ralph MassieFrank & Laura MastrapasquaSue & Herb MatherMr. & Mrs. John D. McAlisterCallum, Julia & A. J. McCaffreyMrs. Joanne Wallace McCallMs. Carolyn McClerkinDr. & Mrs. Robert W. McClureKathleen McCrackenPeg & Al McCreeMary & John McCulloughBob McDill & Jennifer KimballMr. & Mrs. Edwin A. McDougleDr. & Mrs. James B. McKee Jr.Dr. & Mrs. Timothy E. McNutt Sr.Sam & Sandra McSeveneyMr. & Mrs. Michael R. McWherterMr. Michael A. MeadowsMs. Virginia J. MeeceMr. & Mrs. J. D. MeekRonald S. MeersMr. Paul MegeeJanis MeinertLinda & Ray MeneelyManfred & Susan MenkingSara MeredithBruce & Bonnie MeriwetherDr. & Mrs. Philip G. MillerDr. Ron V. MillerDr. Fernando Miranda & Dr. Patricia Bihl-MirandaMr. & Mrs. Steven MollAnthony & Ariane MontemuroDr. Michael F. Montijo & Mrs. Patricia A. Jamieson-MontijoJames & April MooreMr. David K. MorganMr. & Mrs. Jonathan MorphettDr. Erik B. Motsenbocker

81InConcert

THANK YOU

Mr. & Mrs. Charles MurchisonMr. John MurphyMr. & Mrs. Dwayne MurrayMr. & Mrs. J. William MyersAllen & Janice NaftilanMs. Carolyn Heer NashMr. James R. NealMr. Fred S. NelsonDr. & Mrs. Harold NevelsDr. John Newman & Ms. Rebecca LyfordLeslie & Scott NewmanWilliam & Kathryn NicholsonAl NisleyMrs. Caroline T. NolenJudy M. NortonMichael & Joanne NowlinMrs. Edith M. OathoutDr. & Mrs. Wills OglesbyHunt & Debbye OliverPhilip & Marilyn OllilaPhilip & Carolyn OrrDr. & Mrs. Ronald E. OverfieldJudy Oxford & Grant BenedictDr. & Mrs. James PaceTerry & Wanda PalusMr. & Mrs. Chris PanagopoulosDoria PanviniDr. Fritz F. ParlLisa & Doug Pasto-CrosbyMr. & Mrs. Gary K. PattersonGrant & Janet PattersonDr. & Mrs. W. Faxon PayneJohn & Lori PearceMr. & Mrs. Franklin D. PendletonAnne & Neiland PenningtonClaude Petrie Jr.Kenneth C. Petroni MDCharles & Mary PhyMr. & Mrs. James R. Pickel Jr.Mrs. Tanya M. PierceMs. Julie B. PlexicoViv & Don PocekMr. Van G. Pond Jr. & Mr. David GlasgowPhil & Dot PonderStanley D. PooleMr. Marico PortisMr. & Mrs. Thomas PriesmeyerEdria & David RagosinJoel & Elizabeth RainerMr. & Mrs. Ross RainwaterNancy & Harry RansomMr. & Mrs. Randall A. RawlingsNancy Ward RayMs. Bonnie D. ReaganDon & Kathy ReedMr. & Mrs. David R. ReevesLee Allen ReynoldsAl & Laura RhodesMr. & Mrs. Tate RichBarbara RichardsDon & Connie RichardsonMr. & Mrs. Michael RichardsonMrs. Jane H. RichmondMary RiddleMrs. Paul E. RidgeMargaret RiegelMr. George Ritzen

Mr. & Mrs. Brian RoarkMrs. Roscoe R. RobinsonMr. & Mrs. Doug RogersFran C. RogersDr. & Mrs. Bruce D. RogersMr. & Mrs. David C. RolandJudith R. RoneyMr. Aaron D. RosburgRodney & Lynne RosenblumEdgar & Susan RothschildJan & Ed RoutonMr. Edward J. RuckerMelissa M. & Philip R. RussMr. & Mrs. Robert RutherfordPamela & Justin C. RutledgeMichael Samis & Christopher StenstromJohn R. Sanders Jr.James & Susan SandlinDr. Neil S. SanghaniJack & Diane SassonMr. Donald D. SavoyMr.* & Mrs. Thomas W. Schlater IIIMr. & Mrs. Kenneth SchnaarsSheila SchottJack SchuettDr. & Mrs. Stephen J. SchultenoverMr. Roderick ScruggsMr. & Mrs. J. Douglas SeitersGene & Linda ShadeRichard & Marilyn ShadingerCaroline & Danny ShawMiss Alena ShostakMr. & Mrs. Steven SingletonDr. & Mrs. Manuel SirAlice SiskAshley N. SkinnerDr. & Mrs. David SloskyDallas & Jo Ann SmithSusan K. SmithJames T. & Judith M. SmytheMr. & Mrs. Robert SneedMarc & Lorna SobleNan E. SpellerThomas F. SpiggleMr. M. Clark SpodenMrs. Randolph C. St. JohnCaroline Stark & Lane DensonLelan & Yolanda StatomMr. & Mrs. Lemuel Stevens Jr.Richard & Jennifer StevensCAPT & Mrs. Charles E. Stewart Jr.Mr. & Mrs. Charles V Stewart IIIMr. & Mrs. Cyril StewartBob & Tammy StewartMr. Russell P. StoverTom & Gayle StroudGayle SullivanMr. & Mrs. James E. Summar Sr.Mrs. T. C. SummersThomas & Sarah SummersMr. & Mrs. Herbert SvennevikDr. Esther & Mr. Jeff SwinkMs. Amanda TallantDr. & Mrs. J. D. Taylor

Dr. Paul E. TeschanMr. & Mrs. Richard TheissDr. & Mrs. William ThetfordMrs. Lillian D. Thomas*Mr. & Mrs. Bob F. ThompsonDavid & Kathryn ThompsonMr. Marcus W. ThompsonRichard & Shirley ThrallMr. & Mrs. William J. TichiMr. & Mrs. William D. TidwellScott & Nesrin TiftLeon TonelsonMr. Michael P. TortoraMila & Bill TruanRichard, Kimiko, Jennifer & Lindsey TuckerMs. Junita TurnipseedDr. & Mrs. Michael TylerMrs. Mary A. Van DykenDr. Jan Van EysKimberly Dawn VincentMr. Steven B. WaldrepMr. & Mrs. Ron WalkerMr. & Mrs. Jack WallaceMrs. Bridgette K. WalshMr. & Mrs. Robert J. Warner Jr.Mr. & Mrs. Mark WathenShirley Marie WattsFrank & Jane WcisloH. Martin & Joyce WeingartnerDr. Matthew B. WeingerMr. Kevin L. WelshDr. J. J. WendelErin WenzelJoni WerthanGeorge & Julie WestFranklin & Helen WestbrookJ Peter R. WesterholmDr. & Mrs. William WhetsellLinda & Raymond WhiteMr. Michael T. Whitler & Mr. Mark WeberJonna & Doug WhitmanJoe WieckMs. Judith B. WiensMr. & Mrs. Herbert WiesmeyerRoger M. WiesmeyerMarie Holman WigginsMr. & Mrs. Spencer WigginsMr. Robert S. WilkinsonJerry & Ernie WilliamsFrank & Marcy WilliamsJeremy S. WilliamsJohn & Anne WilliamsSusan & Fred WilliamsAmos & Etta WilsonCarol Ann & Tommy WilsonThe Wing FamilyMs. Sandra WiscarsonDr. & Mrs. Robert S. Wood Jr.Mr. Michael T. WoodsMr. Howard F. WrightGary & Marlys WulfsbergKay & Randall WyattVivian R. & Richard A. WynnPatrick & Phaedra YachimskiMr. & Mrs. Michael A. ZibartJames & Candice Zimmermann

*denotes donors who are deceased

ANNUAL FUND

JUNE 201282

THANK YOU

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Celebrating the best Nashville has to offer in Arts &

Entertainment

For more information visit us online at:www.NashvilleArtsandEntertainment.com

and follow us on Twitter and Facebook

A Glover Group Entertainment Productionwww.GloverGroupEntertainment.com

615.373.5557

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The global poor deserve access to the protections of their own justice systems.

You can help us make it happen.

www.ijm.org

THANK YOU TO OUR FUNDERS

SUPPORT THE ARTS: BOLT THEM TO YOUR CAR!

In Tennessee, we’re fortunate to have the Specialty License Plate Program, which provides 70 percent of the funding for the Tennessee Arts Commission. When you purchase one of these license plates for your car, you are directly helping to support the arts! The Nashville Symphony is just one of more than 800 organizations that benefit from the Tennessee Arts Commission’s grant programs, which help to improve the quality of life in cities and rural communities across this great state.

If you love the arts, now is the perfect time to pre-order Tennessee’s new arts license plate. Featuring a snazzy, letterpress-inspired design by Nashville graphic designer Leslie Haines, these plates are only $35 each, of which 90 percent will go to the Tennessee Arts Commission!

Before this license plate can go into production, 500 people need to pre-order it before the end of the year. Visit StateYourPlate.org and pre-order yours today! You don’t need to renew your registration because your local County Clerk’s office will pro-rate your annual renewal fee once the plate is available!

The Nashville Symphony thanks you for your sup-port of the arts! Arts organizations can’t succeed in their missions without funds from local, state and national government agencies.

STATEYOURPLATE.ORG | DO IT TODAY!

The Nashville Symphony is deeply grateful to the following corporations, foundations and government agencies that support its concert season and its services to the community through generous contributions to the Annual Fund. Donors as of April 27, 2012.

ANNUAL FUND

CORPORATIONS, FOUNDATIONS & GOVERNMENT AGENCIES

PRINCIPAL PLAYERS Gifts of $25,000+

PRESIDENT’S COUNCIL Gifts of $75,000+

SEASON PRESENTERS Gifts of $100,000+

The Martin Foundation

GOVERNMENT

Metropolitan Government of Nashville and Davidson County

Mayor Karl F. Dean Metropolitan Council

Mike Curb FamilyFoundation

DIRECTORS’ ASSOCIATES Gifts of $50,000+

TM

JUNE 201286

N A S H V I L L EC O N V E N T I O N & V I S I T O R S B U R E A U

Nashville Symphony Orchestra League

ORCHESTRA PARTNERSGifts of $10,000 - $24,999ArtNowNashville.comAT&TBradley Arant Boult Cummings LLPCaterpillar Financial ServicesCoca-Cola Bottling Company ConsolidatedThe Cockayne Fund Inc.Ann Hardeman and Combs L. Fort FoundationGaylord Entertainment FoundationGriffin TechnologyThe HCA FoundationHearn Charitable FoundationKraftCPAs PLLCLifeWay WorshipNeal & Harwell, PLCPublix Super Markets CharitiesMary C. Ragland FoundationVSA – The International Organization on Arts and Disability MetLife FoundatioWells Fargo

ARTISTIC UNDERWRITERS Gifts of $5,000 - $9,999Aladdin Industries, LLCBDOClarcor Inc.Chet Atkins Music Education Fund of the Community Foundation of Middle TennesseeCorrections Corporation of AmericaCracker Barrel FoundationDavid YurmanFord Motor CompanyAnn and Gordon Getty FoundationLandis B. Gullett Charitable Lead Annuity TrustHi Fi BuysInterior Design Services, Inc.Monell’s RestaurantsNashville Convention & Visitors BureauOSHi FlowersThe Elizabeth Craig Weaver Proctor Charitable FoundationTennessee Christian Medical FoundationVSA Arts Tennessee

The Nashville Symphony is deeply grateful to the following corporations, foundations and government agencies that support its concert season and its services to the community through generous contributions to the Annual Fund. Donors as of April 27, 2012.

SCHOOL of MUSICBachelor of Arts Major in Music

Bachelor of Music Majors in Church Music, Commercial Music, Composition, Music Education, Music with an Outside Minor, Music Theory, Musical Theatre, Performance and Piano Pedagogy

Bachelor of Fine ArtsMajor in Musical Theatre

Master of Music Majors in Church Music, Commercial Music, Composition, Music Education, Pedagogy and Performance

DEPARTMENT of ARTBachelor of Arts Majors in Art and Art History

Bachelor of Fine Arts Majors in Art Education, Design Communications and Studio Art

DEPARTMENT of THEATRE & DANCEBachelor of Arts Major in Theatre and Drama

Bachelor of Fine Arts Majors in Theatre with an emphasis in Performance, Directing, Production Design or Theatre Education

Minor in Dance

Belmont junior and commercial music major Rayvon Owen performed in Belmont’s 2012 Commercial Music Showcase and played the role of of Seaweed in Belmont’s production of “Hairspray.” He is also a member of the ensemble Phoenix and currently writing new material for his upcoming EP. With the church as his musical foundation, Rayvon strives to reflect the character of Christ. A Christian, musician and seeking positive growth at every opportunity: this is how Rayvon is Belmont.

FROM SCHOOL OF MUSIC

TO MUSIC ROW

For more information, contact the CVPA Office:

(615) 460-6408 or WWW.BELMONT.EDU/CVPAMAJORS

beBELMONT.com

619 Due West Ave. • Madison, TNPh: 868-2600, Ext. 212 • www.goodpasture.org

Building Confidence, Intellectual Growth, and Spiritual Strength.

Creativity!

Come see the newGoodpasture, and

THE JOY OF

THANK YOU

BUSINESS PARTNER Gifts of $2,500-$4,999American General Life & Accident Insurance CompanyAmSurgBioVentures, Inc.City of BrentwoodDelta Dental of TennesseeFirst Baptist NashvilleGannett Foundation/ The TennesseanSchoenstein & CompanyVOGUEWashington Foundation

BUSINESS COUNCIL Gifts of $1,500 - $2,499BlueCross BlueShield of Tennessee Community TrustCarter Haston Real Estate Services Inc.Consolidated Pipe & Supply Co., Inc.The Hendrix FoundationJ. Alexander’s CorporationParamore | the digital agencyTennsco Corporation

BUSINESS LEADER Gifts of $1,000 - $1,499Anonymous (1)Marylee Chaski Charitable CorporationNeely Coble CompanyDZL Management CompanyDirect SolutionsEconomy Pencil Co.Heidtke & Company, Inc.Stor-N-LockKaatz, Binkley, Jones & Morris Architects, Inc.

BUSINESS ASSOCIATES Gifts of $500 - $999APEX & Robert E. Lee Moving & Storage, Inc.Black Box Network ServicesR. H. Boyd Publishing CorporationBMICapitol RecordsCedarStone BankThe CelebrationChaffin’s Barn Dinner TheatreD.F. Chase, Inc.Cornerstone Commercial Real Estate ServicesHaber CorporationPam Lewis & PLA MediaLoews Vanderbilt HotelNorthgate Gallery, Inc.RD Plastics Co., Inc.SESAC, Inc.Sigma Alpha Iota – Vanderbilt ChapterStansell Electric CompanySysco NashvilleVolunteer Barge & Transport, Inc.WBUZ Buzz 102.9 / WPRT The Game 102.5

BUSINESS FRIENDGifts of $300 - $499A-1 Appliance CompanyACP Special T’sV. Alexander & Co., Inc.Bloom Electric SupplyCooper SteelCourtyard by Marriott DowntownDancy’s, Nancy June BrandonDataMarketing Network, Inc.DBS & Associates Engineering, Inc.Hunter MarineIBIS Communications, Inc.INDUSCOJack Cawthon/Jack’s Bar B QueMeharry Medical CollegeNational Toxicology Specialists Inc.Prime Properties, Inc.David L. Battis / Edwin B. Raskin CompanyRiley Warnock & Jacobson PLCRobert’s Western WorldServitech Industries, Inc.Sharing Spree LLCMonte Turner/Turner and Associates Realty, Inc.Walker Lumber & Hardware Company

IN-KINDAjax Turner Company, Inc.American AirlinesAmerican Paper & Twine Co.American TuxedoBig Events, Inc.BranchesDulce DessertsThe Glover GroupHampton Inn & Suites Downtown Nashville, 4th AvenueMr. & Mrs. Billy Ray HearnMcQuiddy PrintingNashville Symphony Volunteer AuxiliaryOmni Beverage Co.Performance StudiosMr. James C. Seabury IIISteinway Piano GalleryMr. Thomas L. TurnerTyson Foods

HONORARYIn honor of Bette BerryIn honor of Eric Chazen’s 80th birthday In honor of Marion P. CouchIn honor of Jeanne CrossnoeIn honor of Bob Eisenstein’s 95th birthday

In honor of Harris Gilbert’s 80th birthdayIn honor of George* & Jo Hall’s 58 years of marriageIn honor of Martha IngramIn honor of Tom Patterson & Mike Eldred’s weddingIn honor of Dr. Lawrence K. Wolfe’s birthday

MEMORIALIn memory of Carole Slate Adams In memory of Jessica BloomIn memory of Betty BoatrightIn memory of Catherine Cook In memory of T. Earl & Nora Smith HintonIn memory of Dr. James HudsonIn memory of Davis HuntIn memory of Rodney IrvinIn memory of Peter KatzIn Memory of John KelingosIn memory of Kala Welch MacLeodIn memory of Mildred J. Oonkin memory of Babs ReinfeldIn memory of Betty RichardsIn memory of Dr. David L. WalkerIn memory of Ed Wanner

ANNUAL FUND

Violists Chris Farrell (front) and Bruce Christensen

JUNE 201288

THANK YOU

Destination therapy – a treatment option only available locally at saint thomas heart – gave

ruby howell a reason to sing again.

Through the combined care of the cardiac specialists at Saint Thomas Heart at Baptist Hospital and Saint Thomas Hospital, Ruby’s heart wasgiven new life by implanting a ventricular assist device (VAD) which helps the weakened heart pump blood throughout the body.

Saint Thomas Heart provides the only Joint Commission certified destination therapy program in the region. Call 888-655-LVAD (5823) to schedule a comprehensive heart failure evaluation with a board certified Saint Thomas Heart cardiologist.

Ruby HowellNashville, TNHeart Disease Survivor

MoreSurvivors.com

Client: Saint Thomas Health - CardiacJob No: STHC-36067Title: Ruby for Nashville Arts

Pub: Nashville Arts PlaybillSize: 7.125"x10.875"

a new lease on

LIFE

AmSouth FoundationJames W. Ayers - FirstBankBank of AmericaAlvin & Sally Beaman Foundation Lee A. Beaman, Trustee / Kelley Beaman, TrusteeMr. & Mrs. Dennis C BottorffAnn & Monroe* CarellCaremarkRxCaterpillar Inc. & Its EmployeesThe Community Foundation of Middle TennesseeMike Curb Family FoundationGreg & Collie DailyDollar General CorporationLaura Turner DugasThe Frist FoundationThe Grimstad & Stream FamiliesPatricia & H. Rodes HartMr. & Mrs. Spencer HaysHCA

Ingram Charitable FundGordon & Shaun InmanEllen Harrison MartinCharles N. Martin Jr.The Martin FoundationMr. & Mrs. R. Clayton McWhorterThe Memorial FoundationMetropolitan Government of Nashville & Davidson CountyAnne* & Dick RagsdaleMr. & Mrs. Ben R. RechterThe Grimstad & Stream FamiliesMargaret & Cal Turner Jr.James Stephen Turner

Charitable FoundationVanderbilt UniversityThe Vandewater Family FoundationMs. Johnna Benedict WatsonColleen & Ted WelchThe Anne Potter Wilson Foundation

A Time for Greatness, the Nashville Symphony’s endow-ment campaign, ensures a brilliant future for the orches-tra. Funds raised through A Time for Greatness are used to increase the orchestra’s financial capacity to support continuing artistic growth and program development, and sus-tain the orchestra’s expanded operations in Schermerhorn Symphony Center.

A TIME FOR GREATNESS CAMPAIGN

FOUNDERSGifts of $1,000,000+

ENDOWMENT CAMPAIGN

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JUNE 201290

AnonymousBarbara B. & Michael W. BartonJulie & Frank BoehmMr. & Mrs. Dennis C BottorffCharles W. CagleDonna & Steven ClarkMrs. Barbara J. ConderMr. & Mrs. Roy CovertAndrea Dillenburg & Ted KrausWilliam M. & Mildred P.* DuncanDeborah Faye DuncanAnnette & Irwin* EskindJudy & Tom FosterDr. Priscilla Partridge de Garcia & Dr. Pedro E. GarciaJames C. Gooch Billy Ray HearnJudith HodgesJudith S. HumphreysMartha R. IngramHeloise Werthan KuhnSally M. LevineJohn T. Lewis

Clare* & Samuel LoventhalEllen Harrison MartinDr. Arthur McLeod MellorCynthia & Richard MorinAnne T. & Peter L. NeffMr. & Mrs. Michael NowlinPamela K. & Philip Maurice PfefferJoseph PresleyEric Raefsky, MD & Victoria HeilDavid and Edria RagosinMr. & Mrs. Ben R. RechterFran C. RogersMr. & Mrs. Martin E. SimmonsIrvin & Beverly SmallMary & K.C. SmytheDr. John B. Thomison Sr. Louis B. ToddJudy & Steve TurnerAlan D. & Connie F. ValentineMrs. Johnna Benedict WatsonBarbara & Bud ZanderShirley ZeitlinAnne H. & Robert K.* Zelle

*deceased

When Schermerhorn Symphony Center opened to the public in 2006, we envisioned our concert hall serving many generations for decades to come. If you have that same vision for the Nashville Symphony, then a planned gift can become your ultimate demon-stration of commitment and support. You can help us plan for our future — and your own — through this creative approach to phi-lanthropy and estate planning, which allows you to make a signifi-cant contribution to the Nashville Symphony while also enjoying income and tax benefits for you and your family.

Great orchestras, like all great cultural institutions throughout history, are gifts to posterity; they are built and bestowed to succeed-ing generations by visionary philanthropists.

To find out more about planned giving opportunities, please visit: NashvilleSymphony.org/plannedgiving, or contact Hayden Pruett, Major Gifts Officer, at 615.687.6615

LEAVING A LEGACY, BUILDING A FUTURE

NASHVILLE SYMPHONY LEGACY SOCIETY

The Nashville Symphony Legacy Society honors those patrons who have included the Symphony in their estate planning

THANK YOU

ESTATE PLANNING

91InConcert

JUNE 201292

GUEST INFORMATION

ARPEGGIO

Open before all night-time series concerts and most special events, Arpeggio fea-tures a sumptuous four-course buffet in-cluding appetizer, soup station, four entrées

and dessert. The price is $38 with water and tea, not including tax and gratuity. Arpeggio is located in the East Lobby, and doors open two hours be-fore the performance. Reservations are preferred; please call 615.687.6400. For more information, visit NashvilleSymphony.org/Arpeggio.

RESTROOMS & WATER FOUNTAINS

Restrooms and water fountains are available on the Lounge Level, located one floor below the Main Lobby; on the east and west sides of the Founders and Balcony Levels; and outside the Mike Curb Music Education Hall on the Founders Level. Located on the Lounge Level, unisex restrooms are available for disabled guests needing special assistance.

COAT CHECK

To enhance the acoustical experience inside Laura Turner Concert Hall, guests are invited to check their coats at one of several complimentary coat-check locations on each seating level. The most convenient is on the Lounge Level, located one floor below the Main Lobby.

CAMERAS, CELL PHONES & OTHER DEVICES

Cameras or audio recording equipment may not be brought into any space where a rehearsal, performance or lecture is taking place. Cellular phones, beepers and watch alarms must be turned off prior to the start of any event.

LATE SEATING

As a courtesy to the performers and other audience members, each performance will have designated breaks when latecomers are seated. Those arriving after a performance begins will be asked to remain outside the entrance door nearest their ticketed seats until the appropriate break.

SYMPHONY CAFÉ

Located in the West Lobby, the Symphony Café offers breakfast and lunch on weekdays and ca-sual pre-concert dining in the evenings. Choose from a selection of gourmet soups, artisan sand-wiches and fresh salads in addition to Seattle’s Best coffee and espresso. Symphony Café is open 8 a.m. to 2 p.m. Monday through Friday. On con-cert evenings, the Café opens two hours prior to the performance. Free Wi-Fi is available.

BARS

Seven bars are located throughout the building offering premium spirits, cocktails, wine, beer, soft drinks and bottled water.

DINING AT THE SCHERMERHORN

VISTING THE SCHERMERHORN

93InConcert

PARKING & TRANSPORTATIONPARKING AT THE PINNACLE

Located directly across Third Avenue from the Schermerhorn, the Pinnacle at Symphony Place offers Symphony patrons pre-paid parking at a discount! To purchase, please call 615.687.6401.

VALET

Valet parking, provided by Parking Management Company, is available on Symphony Place, on the north side of the building between Third and Fourth avenues. We also offer pre-paid valet parking; for more details, call 615.687.6401.

CHAUFFEURED TRANSPORTATION

Grand Avenue, the official transportation pro-vider for the Nashville Symphony, offers town cars, sedans, limousines and bus transport for individuals and groups of all sizes. To make a res-ervation, please contact GrandAvenueLimo.com or 615.714.5466.

TICKET SALESThe Box Office is on the Fourth Avenue side of the building closest to Symphony Place. Tick-ets may be purchased with MasterCard, VISA, American Express, Discover, cash or local personal checks. Limited 15-minute parking is available on Fourth Avenue just outside the Box Office.

Regular Hours: 10 a.m.-6 p.m. Monday-Friday 10 a.m.-2 p.m. Saturday

Hours on Concert Days: 10 a.m. to intermission Monday-Saturday Call for hours on SundayTickets are also available by visiting Nash-villeSymphony.org or by phoning the Box Office at 615.687.6400.

CAN’T MAKE A CONCERT?

If you are unable to use your tickets, you may ex-change them for another performance, availability permitting, or you may donate them for a tax deduction. Tickets must be exchanged or donated by 6 p.m. on the day before the performance. Some restrictions may apply. Call 615.687.6401.

HOW MAY WE ASSIST YOU?CONCERT CONCIERGE

Have a question, request or comment? Please visit our Concert Concierge, which is available to help you with anything you might need during your visit. Located in the Main Lobby, Concert Concierge is open through the end of intermission.

SERVICES FOR GUESTS WITH DISABILITIES

Schermerhorn Symphony Center has been care-fully designed to be barrier-free and meets or exceeds all criteria established by the Americans with Disabilities Act (ADA). All public spaces, restrooms, meeting rooms, offices, backstage dressing rooms and orchestra lounge, and pro-duction control rooms will accommodate per-formers, staff and guests with disabilities. Interior signage and all elevators make use of Braille lettering for directional signs in both public and backstage areas, including all room signs.

An infrared hearing system is available for guests who are hearing impaired. Headsets are available at no charge on a first-come, first-served basis from the coat-check area on the Lounge Level, and from the Concert Concierge.

Accessible and companion seating are avail-able at all seating and price levels with excellent acoustics and sight lines to the stage. Trans-fer seating is also available to allow guests in wheelchairs to transfer easily to seats in the hall. Please arrange in advance for accessible seating by calling a customer service representative at 615.687.6400.

EMERGENCY MESSAGES

Guests expecting urgent calls may leave their name and exact seat information (seating level, door number, row and seat number) with any usher. Anyone needing to reach guests during an event may call the Security Desk at 615.687.6610.

LOST AND FOUND

Please check with the House Manager’s office for any items that may have been left in the build-ing. The phone number for Lost and Found is 615.687.6450.

MAP

LauraTurner

ConcertHall

BarBar

EastLobby

Symphony Cafe

WestLobby

SymphonyStore

BoxOffice

WestAtrium

EastAtrium

ConcertConcierge

MarthaRiversIngram

Courtyard

Loge

Hal

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allLoge Boxes

Bar

Security

Arpeggio

ORCHESTRA LEVEL LOW1ST FLOOR

JUNE 201294

LauraTurner

ConcertHall

OrchestraView

CurbRoom

Founders BoxesFo

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all

Foun

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Bo

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Bar

East GrandStaircase

West GrandStaircase

Founders Circle

Classical Conversations, additional bar & restrooms

located in third-floor Balcony Lobby

Bar

FOUNDERS LEVEL 2ND FLOOR

RESTROOMS

EXIT

STAIRS

ELEVATOR

COAT CHECK

FOOD

WIFIACCESS

CONCERTCONCIERGE

BoardRoom

95InConcert

SINGLE TICKETS

ON SALE!THE CHIEFTAINS

PINK MARTINI

CHRIS ISAAK

CHARLIE HADEN AND QUARTET WEST

FRIDAY, JULY 20

YOUR FIRST CHANCE TO BUY TICKETS TO ALL

UPCOMING CONCERTS IN OUR 2012/13 SEASON!

SPECIAL ONE-DAY OFFERS!

MAHLER’S EIGHTH

Lovers and Pranksters

HANDEL’S MESSIAH

HARMONIC CONVERGENCE

T C H A I K O V S K Y M E E T S T E C H N O

ALL THAT CLASSICAL JAZZ

FAIRY TALES AND FATE

U N C O M M O N F O L KB E E T H O V E N L I V E S U PSTA I R S

NashvilleSymphony.org | 615.687.6400

Documents

InConcert June July 2012