InConcert February 2020






Birthday Bash

February 20 to 23

StarWars In Concert:

Return of the Jedi

February 6 to 9

Boudleaux & Felice

Bryant Centennial


February 13

Dee Dee Bridgewater

& Bill Charlap

February 28

Winter Getaway

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From Darkness to Sight

From Darkness to Sight chronicles the remarkable life journey of Dr. Ming Wang,

Harvard & MIT (MD, magna cum laude); PhD (laser physics), a world-renowned

laser eye surgeon, philanthropist, and Kiwanis Nashvillian of the Year.

As a teenager, Ming fought valiantly to escape

one of history's darkest eras - China's

Cultural Revolution - during which millions of

innocent youth were deported to remote areas to

face a life sentence of poverty and hard labor. He

eventually made his way to the U.S. with $50 in

his pocket, where against all odds, he earned a

PhD in laser physics and graduated with the

highest honors from Harvard Medical School

and MIT.

Dr. Wang has performed over 55,000 eye

procedures including on over 4,000 physicians.

He has published 9 textbooks, holds several U.S.

patents, and performed the world's first laser

artificial cornea implantation. Drs. Ming

Wang and Joshua Frenkel are currently the

only surgeons in the state who performs

3D SMILE and 3D LASIK (18+), 3D

Implantable Contact Lens (21+), 3D Forever

Young Lens ( 45+ ), and 3D Laser Cataract Surgery

(60+). Dr. Wang established a non-profit charity,

which to date has helped patients from over 40

states in the U.S. and 55 countries, with all sight

restoration surgeries performed free-of-charge.




Hmard MIT (M 1:

PhD {laser ::ih·;':1

Major motion picture coming soon

Ming and his younger brother Ming-yu

JO 'Wa Minqxu

'With best wishes,


With President Ronald Reagan at The White House

Harvard & MIT (MD); PhD (laser physics)

Your Nashville Symphony

Live at the Schermerhorn



March 6 & 7

March 8*



March 12 to 14



An American Musical Adventure

with the Nashville Symphony

March 14 at 11 am



March 15*

March 19 to 21



March 22*

March 26 to 28

*Presented without the Nashville Symphony.








Orchestra Roster





Romantic Rhapsodies

January 30 to February 1



StarWars In Concert:

Return of the Jedi

with the Nashville Symphony

February 6 to 9



Boudleaux & Felice Bryant

Centennial Celebration

February 13



Valentine’s with

Patti LaBelle

and the Nashville Symphony

February 14



Beethoven’s Birthday


February 20 to 23



Dee Dee Bridgewater

& Bill Charlap

February 28


Board of

Directors Roster


Annual Fund:



Annual Fund:



Capital Funds Donors


Legacy Society


Staff Roster

The Nashville Symphony

inspires, entertains,

educates and serves

through excellence in

musical performance.



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Music Director

Martha & Bronson Ingram Music Director Chair


Assistant Conductor


Principal Pops Conductor


Chorus Director


Jun Iwasaki, Concertmaster

Walter Buchanan Sharp Chair

Erin Hall,

Acting Associate Concertmaster

Gerald Greer,

Acting Assistant Concertmaster

Mary Kathryn

Van Osdale,

Concertmaster Emerita

Denise Baker

Kristi Seehafer

John Maple

Alison Hoffman

Paul Tobias

Beverly Drukker

Anna Lisa Hoepfinger

Kirsten Mitchell

Isabel Bartles

Alicia Enstrom+


Carolyn Wann Bailey,


Jung-Min Shin

Acting Assistant Principal

Jessica Blackwell

Annaliese Kowert+

Jimin Lim

Zoya Leybin+

Benjamin Lloyd

Louise Morrison

Laura Ross

Esther Sanders+

Johna Smith


Daniel Reinker, Principal

Shu-Zheng Yang,

Assistant Principal

Judith Ablon

Hari Bernstein ◊

Emilio Carlo+

Bruce Christensen

Michelle Lackey Collins

Christopher Farrell

Tony Parce

Melinda Whitley

Clare Yang


Kevin Bate, Principal

James Victor Miller Chair

Xiao-Fan Zhang,

Acting Assistant Principal

Anthony LaMarchina,

Principal Cello Emeritus

Bradley Mansell

Lynn Marie Peithman

Stephen Drake

Christopher Stenstrom

Keith Nicholas

Andrew Dunn+


Joel Reist, Principal

Glen Wanner,

Assistant Principal

Matthew Abramo

Kevin Jablonski

Katherine Munagian

Tim Pearson+


Érik Gratton, Principal

Anne Potter Wilson Chair

Leslie Fagan,

Assistant Principal

Gloria Yun

Norma Grobman Rogers Chair


Gloria Yun

Norma Grobman Rogers Chair


Titus Underwood, Principal

Ellen Menking,

Assistant Principal

Roger Wiesmeyer


Roger Wiesmeyer


James Zimmermann,


Katherine Kohler,

Assistant Principal

Daniel Lochrie


Katherine Kohler


Daniel Lochrie


Julia Harguindey, Principal

Dawn Hartley,

Assistant Principal

Gil Perel


Gil Perel


Leslie Norton, Principal

Beth Beeson

Patrick Walle,

Associate Principal/3rd Horn

Hunter Sholar

Radu V. Rusu,

Assistant Principal/Utility Horn


Jeffrey Bailey, Principal

Patrick Kunkee, Co-Principal

Alexander Blazek


Paul Jenkins, Principal ◊

Derek Hawkes,

Assistant Principal


Steven Brown


Gilbert Long, Principal


Joshua Hickman, Principal


Sam Bacco, Principal ◊

Richard Graber,

Acting Principal


Licia Jaskunas, Principal


Robert Marler, Principal


Luke Bryson, Librarian

David Jackson,

Library Assistant




John Wesolowski





Joseph Demko


W. Paul Holt

* Seating Section Revolves + Replacement ◊ Leave of Absence






Martha & Bronson Ingram Music Director Chair

Giancarlo Guerrero is a six-time GRAMMY®

Award-winning conductor now in his 11th

season as Music Director of the Nashville

Symphony. Guerrero is also Music Director of the

Wrocław Philharmonic at the National Forum of

Music in Poland and Principal Guest Conductor of

the Gulbenkian Orchestra in Lisbon, Portugal. He

has been praised for his “charismatic conducting

and attention to detail” (Seattle Times) in “viscerally

powerful performances” (Boston Globe) that are

“at once vigorous, passionate and nuanced”


Through commissions, recordings and world

premieres, Guerrero and the Nashville Symphony

have championed the works of American composers

who are defining today’s musical landscape,

making Nashville a destination for contemporary

orchestral music. Guerrero has presented 11 world

premieres with the Nashville Symphony, including

the GRAMMY®-winning performance of Michael

Daugherty’s Tales of Hemingway and Terry Riley’s

The Palmian Chord Ryddle.

Guerrero’s rich discography with the Nashville

Symphony numbers 17 recordings, including

the 2019 Naxos release of Jonathan Leshnoff’s

Symphony No. 4 “Heichalos.” The work was

commissioned by the Nashville Symphony for the

Violins of Hope, a collection of restored instruments

that survived the Holocaust. This recording marks

the first time the instruments have been heard

on a commercially available album. Other albums

have been dedicated to the music of composers

as diverse as Jennifer Higdon, Richard Danielpour,

Joan Tower and Béla Fleck.

During the 2019/20 season, Naxos will release

recordings of Aaron Jay Kernis’ Symphony No. 4

and Christopher Rouse’s Concerto for Orchestra,

both recorded with the Nashville Symphony. As

part of his commitment to fostering contemporary

music, Guerrero, together with composer Aaron Jay

Kernis, guided the creation of Nashville Symphony’s

biennial Composer Lab & Workshop for young and

emerging composers.

Guerrero’s 2019/20 season will include return

engagements with the Boston Symphony,

Orquestra Sinfônica do Estado de São Paulo,

Deutsches Symphonie-Orchester Berlin, Bamberg

Symphony, Frankfurt Opera and Museums

Orchestra, and the New Zealand Symphony. In

January 2020, Guerrero will conduct the Wrocław

Philharmonic on a 12-city North American tour.

Guerrero has appeared with prominent

North American orchestras, including those of

Baltimore, Cincinnati, Chicago, Cleveland, Dallas,

Detroit, Houston, Indianapolis, Los Angeles,

Milwaukee, Montréal, Philadelphia, Seattle,

Toronto and Vancouver, as well as the National

Symphony Orchestra. He has developed a strong

international guest-conducting profile and has

worked in recent seasons with the Frankfurt Radio

Symphony, Brussels Philharmonic, Deutsches

Radio Philharmonie, Orchestre Philharmonique

de Radio France, Netherlands Philharmonic,

Residentie Orkest, NDR in Hannover, Orquesta

Sinfónica de Galicia and the London Philharmonic

Orchestra, as well as the Queensland Symphony

and Sydney Symphony in Australia. Guerrero

was honored as the keynote speaker at the 2019

League of American Orchestras conference,

where his address on transforming “inspiration

and innovation into meaningful action” was met

with a unified standing ovation.

Guerrero made his debut with Houston Grand

Opera in 2015 conducting Puccini's Madama




Butterfly. Early in his career, he worked regularly

with the Costa Rican Lyric Opera and has conducted

new productions of Carmen, La bohème and

Rigoletto. In 2008 he gave the Australian premiere

of Osvaldo Golijov's one-act opera Ainadamar at

the Adelaide Festival.

Guerrero previously held posts as the Principal

Guest Conductor of The Cleveland Orchestra

Miami (2011-2016), Music Director of the Eugene

Symphony (2002-2009), and Associate Conductor

of the Minnesota Orchestra (1999-2004).

Born in Nicaragua, Guerrero immigrated during

his childhood to Costa Rica, where he joined

the local youth symphony. As a promising young

student, he came to the United States to study

percussion and conducting at Baylor University in

Texas; he earned his master’s degree in conducting

at Northwestern, where he studied with Victor

Yampolsky. Given his beginnings in civic youth

orchestras, Guerrero is particularly engaged with

conducting training orchestras and has worked

with the Curtis School of Music, Colburn School

in Los Angeles, and Yale Philharmonia, as well

as with the Nashville Symphony’s Accelerando

program. In recent years, he has also developed

a relationship with the National Youth Orchestra

(NYO2) in New York, created and operated by the

Weill Institute of Music at Carnegie Hall.



Principal Pops Conductor

Enrico Lopez-Yañez is the Principal Pops

Conductor of the Nashville Symphony.

Appointed in 2019, he leads the Symphony’s

Pops Series and Family Series. Since working

with the Nashville Symphony, Lopez-Yañez has

conducted concerts with a broad spectrum

of artists, including Toby Keith, Richard Marx,

Jennifer Nettles, Renée Elise Goldsberry, Megan

Hilty, Hanson, Kenny Loggins and more.

During the 2019/20 season, Lopez-Yañez will

make appearances with the San Diego Symphony,

Indianapolis Symphony and Edmonton Symphony,

and return performances with the Detroit

Symphony, Rochester Philharmonic and Sarasota

Orchestra. He has appeared with orchestras

throughout the United States, including the Utah

Symphony, Omaha Symphony and Oklahoma City


As artistic director and co-founder of Symphonica

Productions, LLC, Lopez-Yañez curates and leads

programs designed to cultivate new audiences. An

enthusiastic proponent of innovating the concert

experience, he has created exciting education,

classical and pops concerts for orchestras across

the United States.

Sharing an equal love for opera, Lopez-Yañez

served as Assistant Conductor and Chorus Master

for the Berkshire Opera Festival, where his work

was met with rave reviews. He has led opera

gala concerts in San Diego and Aguascalientes

(Mexico), as well as a production of Madama

Butterfly with Main Street Opera in Chicago.

Lopez-Yañez is an active producer, composer

and arranger whose work can be heard on

numerous albums, including the UNESCO benefit

Action Moves People United and the children’s

music collection The Spaceship That Fell in My

Backyard, winner of the John Lennon Songwriting

Contest, Global Music Awards, Hollywood Music

and Media Awards, and more.

Lopez-Yañez previously held the position of

Assistant Conductor with the Nashville Symphony

and Omaha Symphony. He holds a Master’s in

Music from the University of Maryland and received

a Master’s in Music and his Baccalaureate from

UCLA, where he graduated summa cum laude.

For more information, visit


Conductors continue on page 17

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Present your ticket from tonight’s show to receive a

complimentary VIP amuse-bouche from the chef.

Offer expires 09/01/20. Offer applies to one amuse per table per night.




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Assistant Conductor

Nathan Aspinall

begins his role as

Assistant Conductor

of the Nashville Symphony with the 2019/20

season. Previously, he was Assistant Conductor

of Jacksonville Symphony. On a tour of South

Florida with pianist Bezhod Abduraimov, he

led performances of Shostakovich’s Symphony

No. 5 and Rachmaninoff’s Piano Concerto No. 3.

Kevin Wilt of the Palm Beach Daily News said

of the performance, “In recent years the Kravis

Center has heard performances by the Chicago

Symphony, the Royal Philharmonic, The Philadelphia

Orchestra and more. This one was just as polished

as any of those.”

During the 2018/19 season, Aspinall led

Jacksonville Symphony in two masterworks

subscription programs and a tour with organist

Cameron Carpenter. He was selected as one of

two conducting fellows at the Tanglewood Music


Festival during the summer of 2019.

Formerly, Aspinall held the position of Young

Conductor with the Queensland Symphony

Orchestra in Australia, where he assisted Chief

Conductor Johannes Fritzsch and visiting guest

conductors, and where he conducted concerts

for the orchestra’s education series. He studied

French horn and conducting at the University of

Queensland and upon graduation was awarded

the Hugh Brandon Prize. In 2012, he attended

the Aspen Music Festival, where he was awarded

the Robert J. Harth Conducting Prize.

Aspinall has guest-conducted several symphony

orchestras, as well as the Queensland Conservatorium

Chamber Orchestra. Festival appearances and

masterclasses have included the Cabrillo Festival

of Contemporary Music, Oregon Bach Festival

and the Tanglewood Music Center Conducting

Seminar. He studied Orchestral Conducting at

New England Conservatory in Boston.

Now entering his

fourth season as

director of the Nashville

Symphony Chorus,

Dr. Tucker Biddlecombe has raised the bar of

excellence for Nashville’s premier choral ensemble

through intense musical preparation, diverse

programming and community building. Under

his direction, the Chorus has expanded to 170

members and recently toured Prague, Czech

Republic, performing Orff’s Carmina Burana. He

also serves as Associate Professor and Director

of Choral Studies at Vanderbilt University’s Blair

School of Music, where he directs the Vanderbilt

Chorale and Symphonic Choir and teaches courses

in choral conducting and music education.

Biddlecombe’s work with the Nashville

Symphony has included chorus preparation for

the world-premiere recording of John Harbison’s

Requiem (Naxos) and concert performances of

choral orchestral masterworks by Stravinsky, Ravel,

Haydn, Verdi, Handel and Mahler. He conducts

the orchestra and chorus in performance during

the annual Voices of Spring concert. In 2018

the Vanderbilt Chorale released its first solo


Chorus Director

album, Music in the Listening Place (Navona),

with Gramophone UK noting that the Chorale

“launch into each track with the earnest passion

that only university music students can innocently

and genuinely provide.” Biddlecombe made his

Carnegie Hall debut in 2019 conducting Morten

Lauridsen’s Lux Aeterna.

A passionate advocate of music education and

a veteran teacher, Biddlecombe is active in school

music programs, working with teachers as a side-by

side coach with Metro Nashville Public Schools. In

2019 he completed a residency with the Central

Conservatory in Beijing, China, where he was

honored to work with student and professional

choral educators. He is in demand as a conductor

and clinician, having served as a clinician to choirs

in 25 states.

A native of Buffalo, New York, Biddlecombe is

a graduate of SUNY Potsdam and Florida State

University, where he completed doctoral studies

in choral conducting and music education with

André Thomas. He resides in Nashville with his

wife Mary Biddlecombe, Artistic Director of the

Blair Children’s Chorus.














Symphony No. 3 in F major, Op. 90 - 33 minutes

Allegro con brio


Poco allegretto






Rhapsody No. 1 for Violin and

Orchestra- 10 minutes




This concert will last one hour and 55 minutes,

including a 20-minute intermission.

This concert is being recorded for future

broadcast. To ensure the highest-quality

recording, please keep noise to a minimum.


Romanian Rhapsody in D major,

Op. 11, No. 2- 11 minutes


Rhapsody No. 2 for Violin and

Orchestra- 11 minutes





Romanian Rhapsody in A major,

Op. 11, No. 1- 11 minutes





Beethoven’s dominating position in the music of the 19th century was both an inspiration

and a serious problem for composers like Johannes Brahms. Through great effort, Brahms

eventually found his own voice as a symphonist. His Third Symphony is a work of special

genius that shows the extraordinarily original and individual approach he developed.

You might also see the Beethoven’s-looming position in orchestral music as a metaphor for

the domination of a Austro-Germanic repertoire in American concert programming. Against

this gravitational pull, composers like Belá Bartók and George Enescu mined the authentic

folk musics of Eastern Europe for the material they transformed into glorious virtuoso

vehicles in the pairs of rhapsodies that comprise the rest of this program.


Symphony No. 3 in F major, Op. 90

Born on May 7, 1833, in

Hamburg, Germany;

Died on April 3, 1897,

in Vienna

First performance:

December 2, 1883, with Hans

Richter leading the Vienna

Philharmonic in its premiere on

in Vienna





33 minutes

First Nashville Symphony


January 15, 1957, with music

director Guy Taylor

Johannes Brahms took years to overcome

the paralyzing effect of Beethoven’s

symphonic achievement — what was left to

be done in the genre after that? — patiently

working toward the breakthrough of his First

Symphony, which he unveiled in 1876. Its

success emboldened the now middle-aged

composer with confidence, and he went on to

produce his Second Symphony with remarkable

speed. After another pause of several years,

Brahms returned to the genre with his Third

Symphony in F major. Despite attempts by the

composer’s enemies to disrupt the premiere,

the work earned an enthusiastic reception.

Yet as the official Brahms canon eventually

took shape, the Third came to be regarded as

one of the most elusive of his compositions, rich

in subtleties and paradoxes — the connoisseur’s

Brahms. The critic Eduard Hanslick, an

important advocate of the composer in these

years, observed: “Many music lovers will prefer

the titanic force of the First Symphony; others,

the untroubled charm of the Second. But the

Third strikes me as being artistically the most

nearly perfect.”

Undue emphasis on the “Beethoven

problem” by Brahms’ contemporaries tended

to obscure how truly original his approach to

the symphony was. This had happened with

the First (which echoed both Beethoven’s

“Ode to Joy” and the fate-filled power of his

Fifth Symphony), while the relaxed lyricism of

Brahms’ Second Symphony evoked comparisons

with Beethoven’s Sixth, the “Pastoral.” Similarly,

Brahms’ Third Symphony — even according

to its original conductor — was said to share

a “heroic” quality with Beethoven’s own Third

Symphony, the Eroica.




Yet for all its moments of surging, dynamic

passion, Brahms’ Third is remarkably antiheroic.

Its sound world is saturated with

deliciously unexpected moments of inwardlooking

intimacy. More fundamentally, the

Third subverts the ultimate “heroic” paradigm

of an aggressively victorious conclusion. That

each of the preceding movements ends quietly

only emphasizes the novelty of its ethereal

closure, which predates the famously subdued

endings of Tchaikovsky’s “Pathétique” and

Mahler’s Fourth and Ninth Symphonies.


The opening ranks among the most

striking in the literature, with three

sustained chords that lead right into the first

theme proper, launching what sounds like

an epic journey in fully “heroic” mode. As

it happens, the Third is the briefest, most

compact of Brahms’ four symphonies. Instead

of taking a far-ranging journey, it will come

full circle to end with a variant on this gesture.

As for those first three ascending chords, they

outline a basic musical figure that is part of

the score’s DNA.

A famous bit of lore holds that Brahms

had devised a personal code for his status

as a bachelor: F-A-F, cor-responding to the

initials of the phrase “frei aber froh” (“free/

unattached but happy”), which represents the

Third’s three-note motto. Brahms scholars

have debunked the validity of this particular

association, but, in purely musical terms,

the F-A-F motif does serve as a significant

unifying element.

The sweeping first theme is connected to

another personal element: Brahms’ memories

of his former mentor Schumann. Here, the

reference is to the grand opening theme of the

latter’s “Rhenish” Symphony, weaving a kind

of homage into the Third. But the music is

unmistakably Brahmsian, and his style shapes

every parameter.

The same holds for the fertile lyricism of the

Third, which is among the most exquisitely

tuneful of Brahms’ works: savor, for example,

the exquisite grace of the second theme, which

is initially sung by clarinet and bassoon. This

undergoes some surprising transformations —

even borrowing the more passionate character

of the first theme — before the movement

winds down to a subdued close.

The two middle movements, which feature

some of Brahms’ subtlest orchestral touches,

reinforce the wistful, autumnal character often

associated with the Third. The Andante brings

the earlier clarinet-bassoon combination to the

fore. Together, these instruments present the

chorale-like main theme, as well as the second

one, which “disappears” but returns later in

the final movement. Instead of a scherzo,

Brahms offers a poignant intermezzo (in C

minor to the Andante’s C major). Its chief

melody imitates the rhythm of breathing, as

if alternately inhaling and exhaling its sighs.

New rhythmic figures flicker through the

intervening middle section.

The final movement begins in F minor, with

a mysteriously meandering theme given by

the strings in unison. Its suppressed quality

contrasts with the violent outbursts that

follow, but Brahms continually implies new

connections and links between the various

musical ideas.

Eventually, the second theme from the

Andante reappears, preparing the way for the

return to the beginning in the highly original

coda. In fact, it’s possible to think of the Third

as a single “super-movement” made of four

large sections. Brahms swerves back to F

major and prepares for the recall of the final

measures. With a sense of inevitability that

doesn’t resort to the ham-fisted rhetoric of a

Big Statement, the symphony’s opening theme

lands into place and gently spirals downward

through the strings.

The Symphony No. 3 is scored for 2 flutes, 2 oboes,

2 clarinets, 2 bassoons, contrabassoon, 4 horns,

2 trumpets, 3 trombones, timpani and strings.




Born on March 25, 1881,

in Nagyszentmiklós in the

Habsburg Empire (now

Sînnicolau Mare, Romania)

Died on September 26, 1945,

in New York City


Rhapsodies No. 1 and 2

First performance:

Rhapsody No. 1: November 1, 1929, in

Königsberg, with Josef Szigeti as the soloist

and Hermann Scherchen conducting;

Rhapsody No. 2: November 26, 1929, in

Budapest, with Zoltán Székely as the soloist

and Ernő Dohnányi conducting


1928-29 (No. 2

revised 1944-45)



21 minutes


Béla Bartók’s two Rhapsodies for violin,

which date from the late 1920s, exemplify

the evolution of the Hungarian composer’s

thinking about the use of folk material and

its capacity for renewing modern musical

language — rather than serving as a nostalgic

nod to the past. Toward the end of a decade

in which he had composed some of the most

radically challenging scores of his career,

Bartók seems to have recognized the audience’s

need for more readily accessible material.

The Rhapsodies were conceived as versatile

vehicles for performance as well: Bartók

initially composed these pieces for violin

and piano, but then prepared versions for solo

violin and orchestra and even for string trio;

he additionally published a cello and piano

version of the Rhapsody No. 1.

The Rhapsodies are not mere transcriptions

of appealing folk tunes, neatly packaged for the

concert hall. Bartók focused great attention

on how to distill the flavor and spirit of his

authentic sources. He also made them vehicles

for virtuoso performance, evoking folk styles

of fiddle playing, as well as the artistry he

would further explore in his Second Violin

Concerto, from 1938.

By casting these pieces as “rhapsodies,”

Bartók moreover reclaimed a genre type that

had been popularized by his fellow Hungarian

Franz Liszt in the Hungarian Rhapsodies. Th e

First Nashville Symphony


These are the orchestra’s first


two-part structure associated with this type

of rhapsody — beginning with a slow section

that segues into a virtuosically whirling fast

one — derives from the so-called verbunkos,

a form of traditional dance music used in the

mid-19th century to lure recruits into the

Austro-Hungarian military.

Bartók brushes aside the Romantic tropes

with which this genre had become encrusted

— tropes that can even be found in his own

early works in the genre. He draws instead

on the fresh perspective he gained from his

extensive research into authentic folk music

sources from Eastern Europe and beyond.



he standard verbunkos dance unfolds in

two parts, moving from a slow preliminary

section (lassú) to a fast-paced, wildly virtuosic

movement (friss). The authentic folk style,

which Bartók painstakingly replicates, also

refers to specific melodic and rhythmic

contours, such as the typically assertive dotted

rhythm of the first theme in the lassú that

opens the Rhapsody No. 1.

Bartók drew on his store of Romanian folk

material for five of the six melodies used in

this piece, while only one (in the middle part

of the lassú) is of Hungarian origin. The first

tune in the sequence comprising the friss




section resembles (purely by accident) the

beginning of “Simple Gifts,” the Shaker melody

Aaron Copland later adapted for Appalachian

Spring. The Rhapsody No. 1 contains the

only instance in Bartók’s oeuvre that calls

(optionally) for a cimbalom, the hammered

dulcimer associated with Magyar and other

Central-Eastern European folk culture. The

Classical form of the rondo — in which the

main theme is contrasted with a series of

intervening episodes — is superimposed onto

the slow first movement of the Rhapsody

No. 2, followed by a rich offering of no fewer

than seven dance tunes in the fast movement.

In this evening’s performance, we hear the

alternate ending that Bartók provided for the

Rhapsody No 1.

In addition to solo violin, the Rhapsodies are

scored for 2 flutes (2nd doubling piccolo), 2 oboes,

2 clarinets (2nd doubling bass clarinet), 2 bassoons,

2 horns, 2 trumpets, trombone, tuba, percussion,

cimbalom (for Rhapsody No. 1) and strings.


Romanian Rhapsodies No. 1 in A major and No. 2 in D major

Born on August 19, 1881, in Liveni

Vîrnav, Romania (a village since

renamed after the composer)

First performance:

March 8, 1903, in Bucharest, with the

composer conducting.

Died on May 4, 1955, in Paris





22 minutes


First Nashville Symphony


Rhapsody No. 1 was first performed on

December 11, 1952, with music director

Guy Taylor; Rhapsody No. 2 was first

performed on December 2-3, 1968,

with music director Thor Johnson

There is an instructive irony in the fact

that this music, so closely identified

with a particular national origin, was in fact

composed in the cosmopolitan capital of

Paris, where George Enescu had come from his

native Romania to study at the Conservatoire.

A versatile performer, he was also a busy

conductor and pianist, but he became especially

associated with the violin and was the teacher

of such legendary figures as Yehudi Menuhin

and Arthur Grumiaux.

Born in 1881 into a large family in northern

Romania, where he was the only child

to survive infancy, Enescu was regularly

compared to Mozart and ranks among the

most extraordinary child prodigies in music

history. He gained admission to the Vienna

Conservatory at age 7 — by then he was both

playing violin and composing — and headed

to Paris in 1895 to continue his studies.

Enescu was only 16 when his Op. 1 suite

Poème Roumain was premiered in Paris. In

1901, at age 20, he wrote his pair of Romanian

Rhapsodies for orchestra, which were first heard

in reverse order (according to the composer’s

preference) in a concert in Bucharest in 1903.

These were published together as Op. 11. There

is a tantalizing reference in some documents to

a “Third Rhapsody in G minor,” also allegedly

part of this publication, but no evidence for

such a score exists.

The First Rhapsody in particular gained

great popularity — it’s easy to understand

why — causing Enescu later to complain that it




eclipsed interest in his subsequent development

as a composer.

Enescu would spend much of his life shuttling

between his base in Paris (where he is buried)

and Romania. Yet for all his identification as

the proud musical voice of his native country,

he was a widely traveled cosmopolitan and

developed a deep interest in world music as



Enescu’s fresh approach makes the language

of both Romanian Rhapsodies especially

engaging. He drew from actual Romanian

folk tunes for his musical material, but he also

sought to imitate the effects of folk playing in

his instrumentation, which features numerous

notable solos. Each rhapsody contains

quotations from Romanian folk song and draws

on Eastern European scales and intervals that

sounded “exotic” to Parisian audiences. The

episodic nature of the music also conveys an

improvisatory air, though Enescu’s method of

composition was, in fact, carefully calculated.

The musicologist Maria Zlateva explains

that the more extroverted Rhapsody No. 1

is distinguished by its use of popular dance

idioms, which gradually increase in speed, to

present “colorful episodes portraying festive

scenes from rural life,” while No. 2 is more

focused on “the realm of song, only periodically

interrupted by dance rhythms.”

The composer Pascal Bentoiu observed that

“Ensescu succeeds in materializing the most

profound Romanian expression not because

he might have used certain melodic cells

derived with scientific certainty from folk

music, but because of his enormous capacity

for sentimental solidarity…for Einfühling


In addition to solo violin, the Romanian Rhapsodies

are scored for 3 flutes (3rd doubling piccolo),

2 oboes (2nd doubling English horn), 2 clarinets,

2 bassoons, 4 horns, 2 trumpets, 2 cornets in

Rhapsody No. 1, 3 trombones, timpani, percussion,

2 harps and strings.

— Thomas May is the Nashville Symphony’s

program annotator.





Lawrence Foster

celebrates his

seventh year as music director of Opéra de

Marseille in the 2019/20 season, as well as his

first as artistic director and chief conductor of

the National Polish Radio Symphony Orchestra.

Known for his exhilarating and expressive

performances in a wide range of music, he

enjoys a major career spanning the U.S., Europe

and Asia. He is a champion of the music of

Enescu, and his interpretations are renowned

for their faithfulness to the score.

Foster begins his tenure with the National

Polish Radio Symphony at the prestigious

Enescu Festival, performing music by Adrian

Pop, Chopin and Lutosławski. During the

season he conducts the complete Schumann

symphonies, the piano concertos of Liszt,

Berlioz’s Roméo et Juliette, and a concert

performance of Ravel’s L’heure espagnole. He

takes part in Beethoven’s 250th anniversary

year with the Third and Ninth symphonies, and

he conducts repertoire ranging from Vivaldi,

Mozart and Mendelssohn to Tchaikovsky,




Enescu and Bartók.

Foster’s opera season opens at Opéra de

Marseille with Die Zauberflöte. As a guest

conductor he returns to Oper Frankfurt

for Britten’s Peter Grimes and to Opéra de

Monte-Carlo for Kurt Weill’s Street Scene.

He has conducted in major opera houses

around the world, with highlights including

Troilus and Cressida at the Royal Opera House

Covent Garden, recorded for EMI; the first

performance of Berg’s Lulu at Houston Opera;

and Enescu’s Oedipe at the Deutsche Oper,

also recorded for EMI.

Following his successful 10-year tenure as

artistic director and chief conductor of the

Gulbenkian Orchestra, he now serves as its

conductor laureate. He has also held music

directorships with the Orquestra Simfònica

de Barcelona, Orchestre Philharmonique de

Monte Carlo, Houston Symphony, Orchestre

de Chambre de Lausanne, Orchestre et Opéra

National de Montpellier and the Aspen Festival

Music School.

Born in Los Angeles to Romanian parents,

Foster served as artistic director of the Georg

Enescu Festival from 1998 to 2001. In 2003

he was decorated by the Romanian president

for services to Romanian music.




Jun Iwasaki

was appointed

concertmaster of the Nashville Symphony

by music director Giancarlo Guerrero at the

beginning of the 2011/12 season. A graduate of

the Cleveland Institute of Music’s prestigious

Concertmaster Academy, he has been hailed

for his combination of dazzling technique and

lyrical musicianship. In a review of Iwasaki’s

performance at the Mimir Chamber Music

Festival, the Fort Worth Star Telegram called

him “the magician of the evening. He could

reach into his violin and pull out bouquets of

sound, then reach behind your ear and touch

your soul.”

Prior to joining the Nashville Symphony,

Iwasaki served as concertmaster of the Oregon

Symphony from 2007-11, and he performed

with that ensemble at the first annual Spring

For Music Festival in 2011. Throughout his

career, he has appeared with numerous other

orchestras, including the Tokyo Symphony

Orchestra, Columbia Symphony Orchestra,

Blossom Festival Orchestra, Rome (Georgia)

Philharmonic, New Bedford Symphony,

Canton Symphony, Richardson Symphony,

Cleveland Pops Orchestra, Plano Symphony

Orchestra and the Cleveland Institute of Music

Orchestra. In addition, he has served as guest

concertmaster of the São Paulo Symphony

Orchestra in 2015, Santa Barbara Symphony

in 2010 and National Arts Center Orchestra

in Ottawa in 2006. He served in the same

position with the Canton (Ohio) Symphony

Orchestra from 2005-07.

In addition to teaching at Vanderbilt

University’s Blair School of Music, Iwasaki

is the artistic director of Portland Summer

Ensembles in Portland, Oregon, a workshop for

young musicians focusing on chamber music.






with the Nashville Symphony







Feature Film with Orchestra


Mark Hamill

Harrison Ford

Carrie Fisher

Billy Dee Williams

Anthony Daniels as C-3PO


David Prowse

Kenny Baker

Peter Mayhew

Frank Oz

Directed by Richard Marquand

Produced by Howard Kazanjian

Story by George Lucas

Screenplay by Lawrence Kasdan

and George Lucas

Executive Producer: George Lucas

Music by John Williams



President, Disney Music Group: Ken Bunt

SVP/GM, Disney Concerts: Chip McLean

Music Preparation: Mark Graham, Matthew Voogt,

Joann Kane Music Service

Business Affairs, Disney Concerts:

Darryl Franklin, Gina Lorscheider

Supervising Technical Director:

Alex Levy – Epilogue Media

Film Preparation: Ramiro Belgardt

Operations, Disney Concerts: Brannon Fells,

Royd Haston

Business Affairs, Lucasfilm: Rhonda Hjort, Chris Holm

Business Affairs, Warner-Chappell: Scott McDowell

Disney Music Library

This concert will last two hours and 30 minutes,

including a 20-minute intermission.



MPAA PG Rating

Original Motion Picture Soundtrack

Presentation licensed by Disney Concerts in association

with 20th Century Fox, Lucasfilm Ltd., and Warner/

Chappell Music. All rights reserved.

26 FEBRUARY 2020




A Diamond Anniversary Love Story in Song





CHRIS SCRUGGS, steel guitar






Proceeds will benefit The Heads Up Penny

Foundation and the Nashville Symphony's

education programs



Selections to be announced from the stage.

This concert will last approximately two hours,

including a 20-minute intermission.



Husband and wife,

and legendary

lyrical partners, Boudleaux

and Felice Bryant, the first

professional songwriters

of Nashville, have sold over half a billion

records and shaped the soundtrack of millions

of lives with hits including “Bye Bye Love,”

“Wake Up Little Susie,” “All I Have to Do Is

Dream,” “Love Hurts,” “Rocky Top,” “Country

Boy” and many more.

The Bryants wrote more than 6,000 songs,

more than 900 of which were recorded and

performed by artists working in many different

musical genres, including The Beach Boys,

Tony Bennett, The Osborne Brothers, Ray

Charles, Kenny Chesney, Jimmy Dickens,

Bob Dylan, the Everly Brothers, the Grateful

Dead, Joan Jett, Gram Parsons, Phish, Eddie

Vedder, Simon & Garfunkel and countless

others. They were elected to the Nashville

Songwriters Hall of Fame in 1972, the National

Academy of Popular Music’s Songwriters Hall

of Fame in 1986 and the Country Music Hall

of Fame in 1991.

In 2019, the Americana Music Association

awarded the Bryants a lifetime achievement

award, and the Country Music Hall of Fame

debuted a personal exhibit of writing journals

and other career artifacts, which will be on

display through August 2, 2020. In November,

BMI recognized “Rocky Top” with the inaugural

Evergreen Award, which highlights one-ofa-kind

songs that have left an unforgettable

imprint on our lives and an enduring legacy

through the years.









singer-songwriter Jamey Johnson

is “one of the greatest country singers of our

time,” according to The Washington Post. He

is one of only a few people in the history of

country music to win two Song of the Year

Awards from both the CMA and ACM.

Johnson’s 2008 album That Lonesome Song

was certified Platinum, and his ambitious 2010

double album, The Guitar Song, received a

Gold certification. He has received tremendous

praise from The New York Times, Rolling Stone,

The Wall Street Journal and other publications.

In 2012, the Alabama native released the

GRAMMY®-nominated Living for a Song: A

Tribute to Hank Cochran, which paired him

with Willie Nelson, Alison Krauss, Emmylou

Harris, Ray Price, Elvis Costello, George Strait,

Vince Gill and Merle Haggard. In 2013, the

Nashville Scene’s 13th annual Country Music

Critics’ Poll named it the year’s best album.

In 2011, the same poll named Johnson’s The

Guitar Song as the year’s best album, and

Johnson as best male vocalist, best songwriter

and artist of the year.




In his nearly five

decades in the music

business, Steve Tyrell has achieved success as a

singer, producer, musical supervisor and radio

host. His performances in Father of the Bride

and Father of the Bride II helped Tyrell reinvent

and repopularize classic pop standards for a

modern-day audience. All 10 of his albums of

American standards have achieved Top Five

status on Billboard’s Jazz charts, with his latest,

A Song for You, reaching No. 1.

Tyrell has had the pleasure of singing for

three out of the last four presidents, and for

heads of state including Israeli Prime Minister

Benjamin Netanyahu, President Juan Manuel

Santos of Colombia and Archbishop Desmond

Tutu, as well as at Buckingham Palace.

Tyrell’s work in the studio as a record

producer has included collaborations with such

diverse and legendary artists as Rod Stewart,

Diana Ross, Ray Charles and Linda Ronstadt.



As The War and

Treaty, Michael

and Tanya Trotter have

been compared to Ike and Tina Turner, and

they recently earned the Americana Music

Association’s 2019 Emerging Act of the Year.

Funky bass lines, keys, lap steel, acoustic

strings and stripped-down percussion create

a swampy Southern soul bed for the couple’s

transcendent vocals.

Michael is a wounded warrior who found

his voice while serving in Iraq, when he was

pulled from the frontlines to write songs for

the fallen. Tanya is drawn to singing’s power

to take another’s pain away. This tour-de-force

duo swaggers with confidence only gained by

artists who are wholly, proudly, themselves.

28 FEBRUARY 2020




native son of

A Nashville, Chris

Scruggs comes from

a long line of legendary country music

performers and is one of the world’s few

living masters of non-pedal steel guitar. He

was raised listening to the compositions of

the great Felice and Boudleaux Bryant, and

discovered the steel guitar artistry of Jerry

Byrd as a teenager.

“The lifelong influence I have felt, from

both the Bryant and Byrd legacies, makes this

once-in-a-lifetime opportunity to perform

Polynesian Suite live, and in its entirety, a

crowning career moment,” Scruggs says.

Scruggs has worked live and in the studio

with an eclectic range of performers, from rock

greats like Michael Nesmith, Roger McGuinn

and Chris Hillman, to country and Americana

icons like Charlie Louvin, Jim Lauderdale and

Ray Price. He is currently a member of Marty

Stuart’s Fabulous Superlatives.


The University of

Tennessee Marching

Band, known as the

“Pride of the Southland,”

has represented The University of Tennessee

and the State of Tennessee since its organization

following the Civil War. What began as a

small all-male band attached to the Military

Department on the Knoxville campus has

grown to a 350-member marching band

known worldwide for its outstanding musical

performance and precision marching.

The ensemble made its first appearance at

a UT football game in 1902, and underwent

considerable change in the 1940s, introducing

female musicians into the band and expanding

its halftime show performances. It was during

this era that a Knoxville sportswriter dubbed

the band the “Pride of the Southland.”

In 1972, band director Dr. W.J. Julian

introduced a new song to Neyland Stadium

crowds – “Rocky Top!” – which became

the school’s unofficial fight song, and also

established countless other traditions that

continue to this day.



The Milk Carton

Kids began sticking

together in 2011, when

Los Angeles natives Joey Ryan and Kenneth

Pattengale decided to pull the plug on their

respective solo careers and join forces. That

spring, Prologue introduced the duo's blend

of harmony-driven folk and unplugged


What followed was a multi-year blur of

milestones, from GRAMMY® nominations

to TV appearances to a near-infinite string of

tour dates. The Milk Carton Kids performed

their concerts the same way they recorded

their songs — huddled around the same

microphone, guitars in hand, capturing the

magic of the moment — and that raw intimacy

helped draw audiences' attention.

Their latest release, The Only Ones, finds

the duo revisiting their acoustic roots from

new angles and experimenting with longer

song structures. Featuring some of their best

work to date, the album shines its light on the

warm blend of Ryan and Pattengale's voices

and the interplay of their guitars, creating

both a revival of something familiar and an

embrace of something fresh.







he McCrary Sisters

T sing a unique style of

gospel. Influenced by classic soul, Americana,

blues and R&B, these sisters bring an

indescribable joy to singing. Dynamic, powerful

and thrilling are just a few words to describe

The McCrary Sisters’ live performances.

Steeped in tight soulful harmonies, the Sisters

will have the audience dancing in the aisles

celebrating life with words of hope and love.

Ann, Deborah, Regina and Alfreda are the

daughters of the late Rev. Samuel McCrary —

one of the original members of the legendary

gospel quartet The Fairfield Four. The daughters

were raised in harmony, singing at home and

at their father’s church, but word soon spread

of their individual accomplished voices and

each began sharing the family vocal legacy as

solo artists with a wide range of performers

including Bob Dylan, Elvis, Isaac Hayes and

Stevie Wonder.

In 2011, the Sisters officially formed

their own group and have since recorded or

performed with Delbert McClinton, Black

Keys, Martina McBride, Eric Church, Patty

Griffin, Buddy Miller, Jonny Lang, Robert

Randolph, The Winans, Donnie McClurkin,

Rosanne Cash, Carrie Underwood, Hank

Williams Jr., Dr. John, Widespread Panic,

Sheryl Crow, Maren Morris, Gregg Allman

and many more.

Live at the Schermerhorn

March 8 March 22

TICKETS: 615.687.6400 |

30 FEBRUARY 2020


Valentine’s with


and the Nashville Symphony




This performance made possible

by Mr. Michael Carter, Sr. &

Mrs. Pamela Carter.

Selections to be announced from the stage.

This concert will last approximately two hours,

including a 20-minute intermission.


JOHN STANLEY, piano/musical director

STANTON LEWIS, keyboards

DANNY NIXON, keyboards







BRENDA ROY, background vocals

DEBBIE HENRY RAMSEY, background vocals

ANTHONY WILLIAMS, background vocals/percussion




Beautiful” simply

does not describe

the incomparable force known to the world

as Patti LaBelle. As time continues to evolve,

the soulful songbird’s name has become

synonymous with grace, style, elegance and

class. Belting out classic rhythm and blues,

pop standards and spiritual sonnets have

resulted in the versatility for which she is

known and revered.

It is a small wonder that LaBelle has time

for anything else in between recording and

touring. She has written six books including,

Don’t Block the Blessings and her most recent,

Desserts LaBelle. Several years ago, she

introduced Patti’s Good Life, a successful food

line that includes a variety of pies, cobblers

and cakes. She has also starred in a highly

rated cooking show, Patti LaBelle's Place, on

the Cooking Channel. In 2017, she released

her first jazz album, Bel Hommage, on her

own record label, GPE Records. And most

recently, she expanded the Patti’s Good Life

line to include frozen comfort foods

Her work as a humanitarian is just as

legendary. She remains an advocate for

adoption, diabetes, cancer, HIV/AIDS and

many other causes and nonprofit initiatives.

While she has reached the heights of success

throughout her 50-plus-year career, she has

also endured and survived personal strife.

Within a 10-year period, she lost her mother,

three sisters and best friend to diabetes and

cancer. In 1994, she was diagnosed with

diabetes and shortly thereafter became a

spokesperson for the American Diabetes


The same motivation that saw Patricia

Louise Holte blossom from a choir member to

lead vocalist for Patti LaBelle & The Bluebelles,

and later into a solo artist, is the same energy

that keeps her fire burning at 75 years young.















Leonore Overture No. 3, Op. 72A - 14 minutes


Concerto No. 1 in C major for Piano

and Orchestra, Op. 15 - 36 minutes

Allegro con brio


Rondo: Allegro

Barry Douglas, piano



Symphony No. 3 in E-Flat major,

Op. 55, “Eroica” - 47 minutes

Allegro con brio

Marcia funebre: Adagio assai

Scherzo: Allegro vivace

Finale: Allegro molto





This concert will last 2 hours and 10 minutes,

including a 20-minute intermission.

This concert is being recorded for future

broadcast. To ensure the highest-quality

recording, please keep noise to a minimum.





Part of what enabled Beethoven to become “Beethoven” — the larger-than-life figure

we know today — was the fact that he lived through an era of dynamic transformation.

According to John Clubbe in his brand-new biography of the composer, the decades from

1790 to 1810 “appeared to mark the beginning of a new stage” in human history…. Poets and

musicians differentiated and refined the inner life.” It was precisely during these decades

that Beethoven set out from his native Bonn to settle in Vienna and composed many of the

works for which he is still best known. The three pieces we hear on this program all date

from these years. The First Piano Concerto (in fact, the second to be completed) reminds

us of Beethoven’s roots in the Classical style forged by the geniuses he was up against —

Mozart and Haydn — while also revealing the uniqueness of his approach. The name he gave

to his Third Symphony, Eroica, is typically used to describe the “heroic” style that Beethoven

went on to forge — not from scratch, to be sure, but through a profoundly personal and at

times revolutionary rethinking of what he had learned from his predecessors. This style is

inherently theatrical, conveying a sense of individual struggle and triumph — as Beethoven’s

only opera, Fidelio, explicitly stages.


Leonore Overture No. 3, Op. 72a

Born on December 16, 1770,

in Bonn, Germany

Died on March 26, 1827,

in Vienna

First performance:

March 29, 1806, at the Theater

an der Wien in Vienna





14 minutes

First Nashville Symphony


April 29, 1947, with music

director William Strickland

Beethoven’s only opera dramatizes a regime

based on cruelty and injustice being

toppled through the power of courageous

love. It has lost none of its urgency as societies

careen from crisis to crisis. Merely performing

Fidelio can signal an implicit political or social

critique, for the walled grimness of its prison

setting has remained distressingly relevant.

With the slightest of allegorical touches, Fidelio

can seem convincingly “about” the Third Reich,

the Soviet gulag or the most contemporary

permutations of the fascist impulse.

The story of Fidelio is straightforward. Set

in a prison outside Seville, it centers around

the heroic plan of a noblewoman, Leonore,

to search for her husband, Florestan, who has

been “disappeared” as a political prisoner. His

actual crime is never specified, but it clearly

has to do with his opposition to the unjust

policies of the prison governor, Don Pizarro,

who has placed him in solitary confinement in

the lowest dungeon out of revenge. Using the

assumed identity “Fidelio,” Leonore disguises

herself as a man to gain access to the prison. In

the end, Pizarro’s atrocities are uncovered and

Florestan and his fellow prisoners are freed.

Beethoven referred to Fidelio as his “child of

sorrow” because it cost him so much struggle




to write — for the story meant so much to him.

But it was also troublesome because Beethoven,

not a man easily given to compromise, had to

accommodate the practical necessities of the

theater. The first version of the opera, given

on November 20, 1805 (the year the Eroica

was introduced to the public) was a failure.

Beethoven quickly withdrew it but introduced

a tighter, revised version the following spring.

The overture we hear was intended for that

production. Beethoven wrote still another

overture a couple years later for a production

in Prague that never materialized. Finally, in

1814 he created the version of the opera that

became most widely known, changing its name

from Leonore to Fidelio, and writing a much

more compact, brisk overture.


Leonore No. 3 turned out to be,

paradoxically, too dramatic for the opera

house. Adopting the “heroic” manner of the

recent Eroica, it encapsulates the very soul of

the drama in purely instrumental terms and

thus, Beethoven came to realize, overwhelms

the ensuing opera instead of preparing for

it. Gustav Mahler conducted a celebrated

production that ingeniously made a place

for the Leonore No. 3 during the scene change

before the triumphant finale in which the

prisoners are liberated. In any case, it has

long been a concert favorite as a symphonic

counterpart to the idealism expressed in the


The slow introduction descends — literally,

in a stepwise motion at the beginning — into

the despairing depths of the dungeon where

Florestan languishes but has a vision of hope

that his wife will save him. The musical material

is essentially taken from the point of view of

Florestan, who can be seen as an alter ego for

Beethoven (who was imprisoned, in his own

way, by deafness). Both muscular and nimble,

the main theme of the Allegro is Beethoven

at his most dramatic.

The hope anticipated earlier in the music

returns, but so do the shadows, eventually

leading to an extraordinary climactic moment

in which the atmosphere suddenly changes.

As he does in the opera itself, Beethoven

uses a trumpet fanfare to symbolize the

abrupt end of Pizarro’s corrupt power and

the prisoners’ coming liberation. In the final

pages, Beethoven achieves a remarkable effect

by overlaying a series of patterns that scurry

through the strings. These build tension to

an unbearable level before the dam bursts

and the full ensemble joins in unstoppable,

joyous excitement.

The Leonore Overture No. 3 is scored for pairs

of flutes, oboes, clarinets and bassoons; 4 horns;

2 trumpets; 3 trombones; timpani and strings.

Concerto No. 1 in C major for Piano and Orchestra, Op. 15

Composed: c. 1795, with later revisions before publication in 1801

Estimated length: 36 minutes

First performance:

Possibly during Beethoven’s first public

concert in Vienna, on March 29, 1795

As far back as his teenage years in Bonn,

we can find evidence of Beethoven’s

preoccupation with the concerto genre. He

tried his hand at composing a piano concerto

that, technically speaking, is the chronological

First Nashville Symphony performance:

January 31-February 2, 1980, with guest conductor

Jorge Mester and soloist Lydia Artymiw

“No. 1” (only a piano score survives), and the

work that officially became known as the Piano

Concerto No. 2 (Op. 17) has its origins in the

Bonn years as well. At this very time, Mozart

was producing his famous series of piano




concertos in Vienna. For Mozart, keyboard

concertos provided much-needed income

to support his new freelance career and kept

his name before the public. When Beethoven

resettled in 1792 in the “land of the clavier,”

as his predecessor once described Vienna, he

would repeat that pattern, relying on his talents

as a keyboard performer to build a reputation.

Contemporary diarists recorded the

spellbinding effect of Beethoven’s performances

in intimate recital-improvisations, which often

resulted in snapped strings and splintered

hammers, given the more delicate instruments

available at the time — Beethoven was

continually in search of a more expressive,

more robust keyboard.

Carl Czerny, a freakishly young prodigy

when Beethoven took him on as a pupil, later

recalled the charismatic impact made by his

famous improvisations: “There was something

wonderful in his expression in addition to

the beauty and originality of his ideas and

his spirited style of playing them.” Czerny

added that Beethoven “would burst into loud

laughter and banter his hearers” after seeing

how his playing had brought many of them

to tears. His fans became eager bystanders

during the keyboard duels to which Beethoven

challenged his rivals.

As had been the case with Mozart, the

concerto format proved useful to Beethoven

because it showcased his art not just as a

composer, but also as a performer — at least

before his deafness reached the point when he

could no longer function as a concert pianist.

He was the soloist for four of his five piano

concertos. The first three of these, in particular,

incorporate many of the tricks of the trade

Beethoven had learned from Mozart — along

with several strategies learned from his teacher

Haydn (a teacher with whom the student had

a rapport that notoriously lacked harmony).

It’s tempting to accuse Beethoven (and, some

decades later, Chopin) of deliberately setting

out to confuse posterity, since in each case their

“First Piano Concerto” was chronologically

the second to be composed. Though he had

completed his Concerto No. 2 in B-flat prior

to this one, Beethoven made a savvy choice

to hold off on publishing it so that the more

overtly brilliant Concerto in C major would be

his first publication in the genre — and make

it clear that he was the real heir to Mozart, a

dazzling new talent to whom attention must

be paid.



n the lengthy opening movement, Beethoven

makes sure to evoke the poised grandeur of

Mozart’s C major concertos, but he cleverly

teases us with a deceptively quiet initial

statement of the first theme. The militaristic

pomp and march-like character of the first and

third themes, emphasized by assertive trumpets

and drums, make them close cousins. A lyrical

second theme intervenes, but Beethoven has

another trick in store: he makes us wait until

the solo piano partners with the orchestra

before allowing us to hear this melody unfold

to completion. In other words, nothing will

be rote or predictable here. At the same time,

it’s a good way of indicating how Beethoven is

thinking big in this first movement, creating

architecture on the grand scale.

The soloist’s entrance is strangely oblique.

In his fascinating study of all the Beethoven

concertos, the musicologist Leon Plantinga

points out that, throughout this entire

movement, the piano comments and elaborates

on the first theme but never actually quite plays

the theme itself. Characterizing the rapport

Beethoven sets up between the soloist and

orchestra, he writes: “It is as if the mass of the

orchestra is easily roused to overt, forceful

action, while its leader favors a more nuanced,

artful approach.”

Beethoven takes the section in which these

themes are developed as an occasion for

a genuinely unusual harmonic odyssey, a

fantasy of hushed suspense that continually

reveals new angles on what had seemed such




obvious and straightforward material. This

culminates in a notoriously tricky right-hand

octave sweep down the keyboard to launch the

reprise. Here, and in an enormous alternative

cadenza Beethoven later penned, we can

probably obtain a good impression of what

one of his wildly ranging improvisations must

have sounded like.

The Largo showcases Beethoven’s undeniable

gift for serene melody — its delivery and

ornamentation are also important components

of the virtuoso’s toolkit — and settles in a

reposeful A-flat major far afield from the busy

C major of the outer movements. Though

he lightens the orchestral texture (no flutes

or oboes, let alone trumpets and drums),

Beethoven actually generates a new sound

world, thanks in part to the solo clarinet’s role

as a soulful partner for the piano’s rhapsodic

meditations. This movement demands the

utmost in what Czerny described as Beethoven’s

“cantabile expression” and “refined tone and

elegant delivery.”

If Beethoven puts his own stamp on Mozart’s

archetypal concerto in the first two movements,

the finale represents an extreme take on

Haydn’s vigorously earthy humor. Listen for the

contrasting central episode, a very scenic detour

in A minor full of interesting new flavors. As for

the main rondo tune itself, a catchy ear worm,

Beethoven restates its three reappearances with

delightfully engaging theatricality — above

all, before his final orchestral statement of this

tune, when the soloist strays into nearby but

dangerously dissonant B major, as if trying

to get everybody in trouble before the flute

gingerly leads everyone back to the sure path of

C major. In the coda, Beethoven unexpectedly

introduces a brief spell of wistful nostalgia —

only to pull the carpet out from underneath

such indulgence with a final orchestral flourish.

In addition to solo piano, the Concerto is scored

for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns,

2 trumpets, timpani and strings.




Barry Douglas has

established a major

international career since winning the Gold

Medal at the 1986 Tchaikovsky International

Piano Competition. As artistic director of the

chamber orchestra Camerata Ireland and the

Clandeboye Festival, he continues to celebrate

his Irish heritage while also maintaining a

busy international touring schedule that has

included appearances with major orchestras

around the world.

Career highlights include recital tours

in the United Kingdom and U.S. and new

collaborations with both the Endellion

String Quartet and the Borodin Quartet, as

well performances of Tchaikovsky with the

RTE Orchestra (Dublin), Ulster Orchestra

(Belfast), London Symphony Orchestra and St.

Petersburg Philharmonic, all marking the 30th

anniversary of his Tchaikovsky International

Competition win.

An exclusive Chandos recording artist,

Douglas has released critically acclaimed

recordings of all of Brahms’ solo piano works,

as well as the solo piano works of both Schubert

and Tchaikovsky. He has also released two

albums that feature his own arrangements of

Irish folk music.

Douglas founded Camerata Ireland in 1999

to celebrate and nurture the very best of

young musicians from both Northern and the

Republic of Ireland. In addition to striving for

musical excellence, one of the orchestra’s aims

is to further the peace process in Ireland by

promoting dialogue and collaboration through

its musical education programs. He regularly

tours with the ensemble throughout the world

and visited the U.S. in the spring of 2018.

Douglas received the Order of the British

Empire (OBE) in the 2002 New Year’s Honours

List for services to music.




Symphony No. 3 in E-flat major, Op. 55 “Eroica”

Composed: 1802-04

Estimated length: 47 minutes

First performance:

In the summer of 1804, in a private performance at the estate of

Beethoven's patron Prince Franz Joseph von Lobkowitz, to whom

he dedicated the work. The first official public performance

followed in Vienna on April 7, 1805.

First Nashville Symphony


November 29, 1949,

with music director

William Strickland

The Eroica is rightly described as a giant

advance in the history of Western music.

But along with its central historical significance

in claiming a lofty new position for symphonic

music, the Eroica is closely connected to

the personal breakthrough it represents in

Beethoven’s own life. The music is part of his

creative response to the profound crisis of his

early 30s, shortly after the turn of the 19th

century. What Beethoven probably hoped

was a passing phase of troubled hearing,

which had been tormenting him for several

years, in fact marked the onset of permanent

deafness, an appalling nightmare for an active

musician. In the summer of 1802, doctor’s

orders were to take it easy and spend some

time in Heiligenstadt, then a distant suburb,

peacefully removed from the hectic pace of

Vienna. The promised cure, however, didn’t

happen, and Beethoven’s despair led him to

contemplate suicide.

The so-called Heiligenstadt Testament is the

moving confessional letter that the composer

penned in the form of a will that autumn.

Beethoven recounts in it the reasons for his

depression, how he had felt the need to keep

his growing deafness hidden from the world

and was misunderstood as “misanthropic” by

nature. He then explains his determination to

continue living, prompted by an overpowering

conviction of artistic mission: “It seemed

impossible to leave the world until I had

produced all that I felt called upon me to

produce, and so I endured this wretched

existence.” This renewed sense of purpose

went hand in hand with a desire to forge what

Beethoven was calling “a new path” in music.

This new attitude bore fruit in the Third

Symphony, which soon absorbed Beethoven.

Almost everything about this symphony

indicates that the stakes have been raised to

a higher level. Its only “traditional” aspect

is the instrumentation, which calls on the

standard forces used by Mozart and Haydn in

their mature symphonies, with the exception

of three horns instead of two. What are some

examples of this sea change? They extend from

the large-scale architecture of the work, which

dramatically expands the dimensions of the

symphony, to shocking shifts in harmonic

thought and an intensification of familiar

devices, such as changes in volume.

A quick word on the famous French

connection: the story goes that Beethoven’s

admiration for Napoleon Bonaparte as a

heroic force for revolutionary change soured

when the French leader had himself crowned

emperor in December 1804. Yet while the

idealistic Beethoven abhorred tyranny and

did in fact violently scratch out his original

dedication from the title page of the score,

he hadn’t categorically ruled out the practical

advantages of such a dedication (at the time he

was considering resettling in Paris). In the end,

he published the work as a “Heroic Symphony”

(Sinfonia Eroica), which was “composed to

celebrate the memory of a great man.”





All manner of imagery has been invoked

to get to the heart of this urgent music.

The first movement has been said to suggest

scenarios ranging from a metaphoric battlefield

(with the assertive opening chords as “cannon

shots,” etc.) to the tireless energy of early

industrialism. What is unmistakable is the

driving, epic force that resonates. The famous

“surprise” note of C-sharp (outside the home

key of E-flat major), which appears when the

cellos come to rest as they state the first theme,

is an emblem for this musical eagerness to

encounter experience head on, no matter

where it leads.

And this certainly includes pain along with

joy, although the music as a whole seems to

be reaching for an optimistic outlook. Unlike

the Fifth Symphony, which achieves drama via

intense compression, the Eroica uses expansion

to convey this sense of experience: through

distant keys, a plenitude of thematic material

and a swelling of the form traditionally used

for the opening movement of a Classical

symphony. The thrilling coda, for example, is

no longer a quick wrap-up, but an enormous

counterweight to the development of ideas

preceding it.

Beethoven writes a monumental funeral

march rather than a lyrical slow movement,

a meditation on death to follow the epic life

journey of the opening movement. Mahler

would later turn to this as a template for some

of the marches in his own symphonies. Here,

Beethoven balances public mourning against

private grief. Notice the “personal” sound of

the oboe, highlighted as a leading character

in each of the four movements, set against the

more formal public rhetoric of the strings.

Where Beethoven introduced pain into

the surging course of the first movement, he

reverses the pattern here: a bright streak of

hope intrudes (again, introduced by the oboe)

before the march returns to its tragic C minor,

now unfolding in a fugue of overpowering

majesty. The final pages of the march are

almost cinematic, as Beethoven suggests an

individual mourner breaking down, unable to

go on, while the crowd eventually proceeds.

In place of a classical minuet, the Scherzo

brings a return to the surging life force of the

first movement, yet on a more elementary level.

Beethoven focuses on the inherent tension —

and playfulness — of pairs of chords jostling

against a backdrop of triple meter. The reason

behind his choice of three horns becomes

apparent when that section gets its spotlight

in the echoing calls of the trio.

Capping the Eroica is a marvelously

innovative final movement made up of

variations: not only on a theme (the tune

introduced a few minutes in by the oboe),

but on the simpler bass line underpinning

it as well, which we hear as a sort of teasing

prelude. Beethoven had used the theme in

several earlier compositions, including a

ballet titled The Creatures of Prometheus, and

that mythological reference adds yet another

dimension to the Eroica. Some see the defiant

god Prometheus, who endured terrible suffering

to bring humanity enlightenment, as the true

hero of the work. Beethoven reconsiders this

previously used musical material in the light

of the “new path” we have heard throughout

the Eroica. This unassuming tune is revealed

to contain enormous potential, from the

chattering virtuosity of the flute to the nobly

triumphant climax for the entire orchestra,

which wells into a frightening reminiscence

of the tragic depths of the Funeral March. In

his ingenious transformations, Beethoven

uncovers the creative self as the true hero of

the music.

The Eroica is scored for pairs of flutes, oboes,

clarinets, and bassoons; 3 horns; 2 trumpets;

timpani and strings.

— Thomas May is the Nashville Symphony’s

program annotator.



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Selections to be announced from the stage.

This concert will last approximately

90 minutes.





Over the course of a

multifaceted career

spanning four decades, GRAMMY®- and Tony

Award-winning jazz giant Dee Dee Bridgewater

has ascended to the upper echelon of vocalists,

putting her unique spin on standards, as well as

taking intrepid leaps of faith in re-envisioning

jazz classics. Ever the fearless voyager, explorer,

pioneer and keeper of tradition, Bridgewater

most recently won a GRAMMY® in 2010 for

Best Jazz Vocal Album, for Eleanora Fagan

(1915-1959): To Billie With Love From Dee Dee.

Bridgewater’s career has always bridged

musical genres. She earned her first professional

experience as a member of the legendary Thad

Jones/Mel Louis Big Band, and throughout the

’70s she performed with such jazz notables as

Max Roach, Sonny Rollins, Dexter Gordon

and Dizzy Gillespie. After a foray into the

pop world during the 1980s, she relocated

to Paris and began to turn her attention

back to jazz. Signing with Universal Music

Group as a producer — Bridgewater produces

all of her CDs — she released a series of

critically acclaimed titles, beginning with

Keeping Tradition in 1993. All but one

of Bridgewater’s albums, including her

double-GRAMMY®-winning tribute to Ella

Fitzgerald, Dear Ella, have received

GRAMMY® nominations.

Bridgewater also pursued a parallel career

in musical theater, winning a Tony Award

for her role as “Glinda” in The Wiz in 1975.

Having recently completed a run as the lead

role of Billie Holiday in the off-Broadway

production of Lady Day, her other theatrical

credits include Sophisticated Ladies, Black

Ballad, Carmen, Cabaret and the off-Broadway

and West End productions of Lady Day,

for which Bridgewater received a British




Laurence Olivier nomination for Best Actress

in a Musical.

As a Goodwill Ambassador to the United

Nations’ Food and Agriculture Organization

(FAO), Bridgewater has appealed for

international solidarity to finance global

grassroots projects in the fight against world

hunger. She was recently honored with a stage

dedication in her name at the new People’s

Health New Orleans Jazz Market. In 2017,

Bridgewater was the recipient of an NEA Jazz

Masters Fellows Award.




One of the world’s

premier jazz pianists,

Bill Charlap has performed and recorded with

many leading artists of our time, ranging from

jazz masters Phil Woods and Wynton Marsalis

to singers Tony Bennett and Barbra Streisand.

Since 1997, he has led the Bill Charlap Trio

with bassist Peter Washington and drummer

Kenny Washington, now recognized as one of

the leading jazz groups.

Charlap is the artistic director of New York

City’s Jazz in July Festival at the 92nd Street

Y, and he has produced concerts for Jazz at

Lincoln Center, the JVC Jazz Festival and the

Hollywood Bowl. A two-time GRAMMY®

nominee, Charlap is married to renowned

jazz pianist Renee Rosnes. In the spring of

2010, the pair released Double Portrait, their

acclaimed duo piano recording on the Blue

Note label.

According to Time magazine, “Charlap

approaches a song the way a lover approaches

his beloved…. When he sits down to play, the

result is an embrace, an act of possession. The

tune rises, falls, disappears and resurfaces

in new forms as Charlap ranges over the

keyboard with nimble, crisply swinging lines,

subtly layered textures, dense chords and spiky


Live at the Schermerhorn



April 24



June 5

TICKETS: 615.687.6400 |




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their generous contributions to the Annual Fund and support for Special

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Pamela Carter

Chair Elect

Kevin Crumbo

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Sutton Brewer

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Russell Bates


Hank Ingram


Alan D. Valentine

President & CEO

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Nicholas Deidiker


Allison Reed

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Hank Ingram

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Andrew Hard


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Communications Chair

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42 FEBRUARY 2020


Jay Jones, Chair

Ric Potenz, Chair Emeritus



Backstage Post-Concert Toast

January 31

Insider’s Access Event: Learn About Viola

February 26

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receive access to

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March 12-14

complimentary drinks, special

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access, exclusive invitations

and behind-the-scenes

April 24

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is offered with an annual

May 13

gift of $3,000 and purchase of

4+ concerts. Visit for more information.

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Dr. and Mrs. Charles E. Daley III ◊

Myrtianne Downs ◊

Stephen & Kimberly Drake ◊

Mr.* & Mrs. Glenn Eaden

Dr. Mac & Brenda Edington

Drs. James & Rena Ellzy ◊

Mr. Owen T. Embry ◊

Mr. M. Bradshaw Darnall III

Dr. Noelle Daugherty &

Dr. Jack Erter ◊

Victor Evans

Dr. Meredith A. Ezell

Ms. Paula Fairchild ◊

Mr. & Mrs. Will Fischer ◊

Dr. Arthur C. Fleischer

& Family ◊

John & Barbara Fletcher ◊

Mr. & Mrs. Pete Franks ◊

Mrs. Karyn Frist

Cathey & Wilford Fuqua ◊

Dr. Ronald E. Galbraith &

Mrs. Faith H. Galbraith ◊

Ms. Harper Ganick

Mr. & Mrs. Mike Gann ◊

Harris A. Gilbert ◊

Mr. & Mrs. Roy J. Gilleland III ◊

Mr. Amos R. Glass ◊

Andrew & Alene Gnyp ◊

Mr. & Mrs. Steve T. Greene ◊

Mr. Gerald C. Greer and

Dr. Scott Hoffman

Dr. & Mrs. Benjamin D. Griffin

Karen & Daniel Grossman

& Family ◊

John & Libbey Hagewood ◊

Mr. & Mrs. Gregory Hagood

Mrs. Robbie J. Hampton ◊

Ted Hanson ◊

Dr. Edward Hantel ◊

Suzy Heer ◊

Mr. & Mrs. Robert E. Henry ◊

Ms. Cornelia B. Holland ◊

Mr. and Mrs.

Christopher T. Holmes

Drs. Robert Hines* &

Mary Hooks ◊

Mr. & Mrs. Donald J. Israel ◊

Mr. & Mrs. Clay T. Jackson ◊

Mr. & Mrs. John F. Jacques ◊

Janet & Philip Jamieson ◊

Mr. & Mrs. Lou Jennings ◊

George & Shirley Johnston ◊

Mr. Mountaine M. Jonas ◊

Ms. Amanda K. Kane ◊

Mr. and Mrs. John S. Kendall

Mrs. Edward C. Kennedy

William Killebrew

Tom & Darlene Klaritch ◊

Mr. & Mrs. David J. Klintworth ◊

Anne Knauff ◊

Walter & Sarah Knestrick ◊

Jack T. & Sophie Knott ◊

Mr. & Mrs. Michael A. Koban Jr. ◊

Ms. Pamela L. Koerner ◊

Mr. & Mrs. Edward J. Kovach ◊

Mrs. Nona Jane Kroha ◊

Kevin & Nicole Krushenski ◊

Mr. Paul H. Kuhn, Jr. ◊

Mr. & Mrs. Mike LaDouceur ◊

Robert & Carol Lampe

Mr. & Mrs. Thomas W. Land

Mr. Edward Lanquist ◊

Martha & Larry Larkin ◊

Kevin & May Lavender

Dr. Michelle Law ◊

Mr. & Mrs. Joseph C. Lentini ◊

Hon. & Mrs. Thomas R. Lewis ◊

Marye & Bill Lewis ◊

Dr. & Mrs. Nicholas Lippolis ◊

Mr. Brent D. Longtin &

Mr. Douglas A. Darsow ◊

Mr. & Mrs.* George Luscombe II ◊

Mr. John Maddux ◊

Ms. Orlene Makinson ◊

Mr. and Mrs. David L. Manning

Lynn & Jack May ◊

Mr. & Mrs. Chet Melvin ◊

Dr. Mark &

Mrs. Theresa Messenger ◊

Ms. Jennifer L. Michaeli

Laurie Miller ◊

Mr. David K. Mitchell ◊

Mr. & Mrs. S. Moharreri ◊

Mr. & Mrs. James Moore ◊

Bill & Cindy Morelli

Dr. & Mrs. Kelvin A. Moses ◊

Matt & Rhonda Mulroy ◊

James & Patricia Munro ◊

Mr. & Mrs. Joseph L. Nave Jr. ◊

Mr. and Mrs. Michael S. Neal

Leslie & Scott Newman ◊

Dr. Agatha L. Nolen ◊

Mr. & Mrs. Robert J. Notestine

Dr. John A. Oates Jr.* &

Meredith S. Oates ◊

Mr. & Mrs. John Ohlinger ◊

David & Pamela Palmer ◊

Susan Holt & Mark Patterson ◊

Drs. Teresa & Phillip Patterson ◊

Mr. Richard M. Patterson

Dr. & Mrs. Dale Pilkinton

Donna and Tom Priesmeyer ◊

Dr. Zeljko & Tanya Radic ◊

Mr. & Mrs.

W. Edward Ramage ◊

Allison Reed & Sam Garza ◊

Mr. & Mrs. Alexander T. Renfro ◊

Mr. James E. Richfield

Mr. & Mrs. Stephen Riven ◊

Dr. Robert & Taylor Robinson ◊

44 FEBRUARY 2020


Misha Robledo

Bill & Sharon Sheriff ◊

Dr. Steve A. Hyman &

Mary Hoffschwelle ◊

Anne & Charles Roos ◊

Mr. and Mrs. Brian S. Smallwood

Mr. Mark Lee Taylor ◊

Mr. James L. White ◊

Ms. Sara L. Rosson &

Dr. Neil & Ruth Smith ◊

Mr. & Mrs. Jerry Thursby ◊

Stacy Widelitz ◊

Ms. Nancy Menke ◊

K.C. & Mary Smythe ◊

Dr. & Mrs. Alexander Townes ◊

Mr. & Mrs. Ridley Wills III

Ms. Mary Frances Rudy ◊

Mr. Jason P. Somerville &

Martha J. Trammell ◊

Mr. and Mrs. William M. Wilson

Samuel A. Santoro &

Mr. Eric Cook ◊

Mrs. Catherine W. Turner

Mr. and Mrs.

Mary M. Zutter ◊

Clark Spoden & Norah Buikstra ◊

Mr. James N. Vickers &

Joseph J. Wimberly IV

Mr. & Mrs. Eric M. Saul ◊

Christopher & Maribeth Stahl ◊

Mr. Brian Schafer ◊

Mr. and Mrs. William S. Wire II

Dr. & Mrs. Timothy P. Schoettle

Mr. & Mrs. Joe N. Steakley

Mr. & Mrs. William H. Wade ◊

Mr. & Mrs. Marvin L. Wood ◊

Peggy C. Sciotto ◊

Mr. & Mrs. Barry Steele ◊

Dr. & Mrs. Martin H. Wagner ◊

Ira Work ◊

Dr. & Mrs. Stephen Seale ◊

Mr. and Mrs. Thomas R. Steele

James & Greta Walsh ◊

Dr. Artmas L. Worthy ◊

Dr. & Mrs. Robert A. Sewell ◊

Robert & Virginia Stewart ◊

Dr. & Mrs. Mark Wathen ◊

Donna B. Yurdin ◊

Joan Blum Shayne ◊

Deborah &

Talmage M. Watts &

Mr. Craig Zimberg &

Allen Spears* &

James Stonehocker ◊

Debra Greenspan Watts ◊

Ms. Tara Sawdon ◊

Colleen Sheppard

Mr. & Mrs. James G. Stranch III ◊

Carroll Van West &

Dr. & Mrs. Victor L. Zirilli ◊

CONDUCTOR’S CIRCLE Gifts of $1,500 - $2,999

Anonymous (6)

Jeff & Tina Adams

Drs. Wendell S. & Paige Akers

Mr. & Mrs. Roger Allbee

Lisa & Mr. Gerry Altieri

Ms. Jennifer McNew Appelt

Ms. Deborah Arvin

Ms. Peggy Mayo Bailey

Mr. Ron Balcarras

Mr. & Mrs. John Bearden

Craig & Angela Becker

Mrs. Raymond P. Bills

Randolph & Elaine Blake

Dr. & Mrs. Marion G. Bolin

Gene & Donna Bonfoey

Dan & Mindy Brodbeck

Berry & Connie Brooks

Jean & David Buchanan

Mr. Brian Carden

Dr. Robert J. Carroll

Bill & Chris Carver

Vickie & Buzz Cason

David & Pam Chamberlin

Mr. & Mrs. Terry W. Chandler ◊

Mr. & Mrs. Robert W. Chasanoff

Barbara & Eric Chazen

Mr. & Mrs. Sam E. Christopher

Cindy & Doug Cobb

Amy & Overton Colton

Greg & Mary Jo Cote

Katherine C. Daniel

Linda & Ben Davis ◊

Dr. & Mrs. Eric Delpire

Carol & Harold Donaldson

Peter & Kathleen Donofrio

Ms. Linda Kartoz-Doochin &

Mr. Michael Doochin

Kathryn Applegate Duffer

Mr. & Mrs.* DeWitt Ezell

John & Debbie Farringer

John David &

Mary Dale Trabue Fitzgerald

Ann D. Frisch

Mr. & Mrs. Stephen A. Frohsin

Dr. & Mrs. John R. Furman

Mr. & Mrs. Stuart Garber

Carlene Hunt &

Marshall Gaskins

John & Lorelee Gawaluck ◊

Mr. Norman B. Gillis

Mr. & Mrs. Fred C. Goad Jr.

James C. Gooch &

Jennie P. Smith

Richard A. Green

Dr. Gary S. Gutow

John & Melissa Halsell

The Evelyn S. & Jim Horne

Hankins Foundation

Jim & Stephanie Hastings

Mr. & Mrs. John Burton Hayes

Lisa & Bill Headley

Mr. & Mrs.

Marion W. Hickerson III

Mr. Kevin E. Hickman

Mr. & Mrs. Benjamin H. Hill ◊

Dr. Elisabeth Dykens &

Dr. Robert Hodapp

Mr. and Mrs.

Hampton A. Holcomb Jr.

Mrs. Henry W. Hooker*

Mr. & Mrs. Ephriam H. Hoover III

Bruce & Diane Houglum

Hudson Family Foundation

Mr. & Mrs. John Huie

Bud Ireland

Donald L. Jackson

G. Brian Jackson &

Roger E. Moore

Mr. David James &

Ms. Jeri Thomson

Barry & Suzanne Jennings

Mary Loventhal Jones

Mr. and Mrs. Russell A. Jones Jr.

Mr. & Mrs. W Evans Kemp Jr.

William C. &

Deborah Patterson Koch ◊

Linda R. Koon

Mr. & Mrs.

Randolph M. LaGasse

Mr. & Mrs.*

Samuel W. Lavender

John & Barbara Lawless

Mr. & Mrs. John M. Leap ◊

Sally M. Levine ◊

Katherine C. Follin and Robert

Straus Lipman ◊

Mrs. Travis B. Loller &

Mr. James A. Nichols ◊

Captain Nathan Marsh

Metro Fire Fighter

Ms. Helen J. Mason

Steve & Susie Mathews

Mr. and Mrs. Cary A. McClure

Ms. Kathryn McDaniel

Dr. Hassane Mchaourab

Mr. & Mrs. Michael McIlwain

Mr. Steve Merryman

Ingrid Meszoely MD

Mr. & Mrs. Michael G. Miller ◊

Joseph & Julia Moore

Mr. & Mrs.Timothy L. Morris

Kaatz, Binkley, Jones &

Morris Architects, Inc.

Margaret & David Moss

Anne & Peter Neff

Mary & Gudger Nichols

Virginia O'Brien

Mr. & Mrs.* Douglas Odom Jr.

Judy Oxford & Grant Benedict

David Oxley, MD FACS

Catherine & John Perry

Claude Petrie Jr.

Robert & Laura Pittman

Carol Armes & Bob Pitz

Mr. Charles H. Potter Jr.*

Mr. & Mrs. Thomas F. Potter

Brad S. Procter

Nancy Ray

Delphine and Kenneth Roberts

David & Karin Roland

Barry & Melissa Rose Peoples

Robert Lawrence Sadler, Sr.

Paul H. Scarbrough

Judy & Hank Schomber

Mrs. Alexandrino Severino

Drs. Walter E. Smalley Jr. &

Louise Hanson

Mrs. Ione Smith

Mr. & Mrs. Kevin Scott Smith ◊

Nan E. Speller & Dan Eisenstein

Stuart & Shirley Speyer

Sid Stanley

Mr. & Mrs. Thomas H. Stearns

Pamela & Steven Taylor

Mr. and Mrs.

T. Stephen C. Taylor

Mr. & Mrs. David B. Thomas Sr.

Larry & Paula Throneberry

Ms. Janice E. Ticich

Norman & Marilyn Tolk

Mila & Bill Truan

Thomas L. & Judith A.* Turk

Rodney Irvin Family ◊

Larry & Brenda Vickers

Kris & G. G. Waggoner

Mike & Elaine Walker

Kevin & Elizabeth Warren

Mr. & Mrs. Herbert Wiesmeyer

Marilyn Shields-Wiltsie &

Dr. Theodore E. Wiltsie

Wood Family Trust

Berje Yacoubian &

Kathy Wade-Yacoubian

Mr. Jeffery A. Zeitlin

Glenn & Heather Zigli

* denotes donors who are deceased ◊ denotes donors who are Governing Members




ENCORE CIRCLE Gifts of $1,000 - $1,499

Anonymous (10)

Jerry Adams

Carol M. Allen

Adrienne Ames

Candy Burger & Dan Ashmead

Mr. & Mrs. John S. Atkins

Mr. & Mrs. J. Oriol Barenys

Mrs. Brenda Bass

Dr. & Mrs. David M. Bayer

Katrin T. Bean

Annie Laurie & Irvin* Berry

Dr. Diane Rae & Mr. Greg Berty

Ms. Christa M. Bowdish

Mr. & Mrs. John R. Braden

Robert & Barbara Braswell

Mr. James I. Brown &

Ms. Lindella Johnson

Mr. & Mrs. Eugene N. Bulso Jr.

Gina & Sam Burnette

Howard & Karen Burris

Mr. & Mrs.

William F. Carpenter III

Dean & Sandy Chase

Renée Chevalier

Dr. Amy Chomsky

Ms. Christine Quinn

Mr. & Mrs. Ernest Clevenger III

Teri & Alan Cohen

Esther & Roger Cohn

Chase Cole

Joe & Judy Cook

Nancy Krider Corley

Ms. R. Suzanne Cravens

Dr. & Mrs. Glen W. Davidson

Drs. Maria Gabriella Giro &

Jeffrey M. Davidson

Barbara* & Willie K. Davis

Dr. & Mrs. Henry A. DePhillips

Mr. & Mrs. Rodger Dinwiddie

Dr. Tracey E. Doering

Mr. & Mrs. Frank W. Drake

Joe & Shirley Draper

Mr. & Mrs. Samuel Driggins

Laura L. Dunbar

Mr & Mrs. Mike Dungan

Melissa Eckert

Mr. & Mrs.

Thomas S. Edmondson Sr.

Susan H. Edwards

Dr.* & Mrs.

William H. Edwards Sr.

Bill & Dian S. Ezell

Dr. Kimberly D. Ferguson

Mr. & Mrs. Keith D. Frazier

John C. Frist Jr., M.D.

Chris & Mandy Genovese

Gregory George &

Mary E. Fortugno

Erin Gillaspie

Dr. Fred & Martha Goldner

W.L & Lynn Gray

Dr. & Mrs. John D. Hainsworth

Elinor Hall

Pam Hamrick

Andrew & Ally Hard

Mr. and Mrs. Michael J. Havens

Michael & Catherine Hayes

Dr. & Mrs.

Douglas C. Heimburger

Ms. Doris Ann Hendrix

Mr. Bradley Hickman

Ms. Jere R. Hinman

Sonny Gichner

Mr. & Mrs. Mark Hommrich

Drs. Richard T. & Paula C.* Hoos

Ken & Beverly Horner

Mr. David Huckabee

Donna & Ronn* Huff

Mr. & Mrs. Robert J. Huljak

Mr. & Mrs. Thomas W. Hulme

Mr. & Mrs. David Huseman

Mr. & Mrs. Steven L. Jackson

Margaret &

Richard Bruce Jennings

Susan & Evan Johnston

Mr. & Mrs. Tarpley Jones

Mr. & Mrs. Michael Kane

George C. King

William & Bethany Kroemer

Dr. Karen Duffy &

Mr. Henry E. Kromer

Tim Kyne

Joyce K. Laben*

Mr. Jerry Lackey

Rob & Julia Ledyard

John & Mary Leinard

Mr.* & Mrs. Irving Levy

William R. & Maria T. MacKay

Mr. & Mrs. Ben T. Martin

Dr. & Mrs.* Raymond S. Martin

Mr. and Mrs.

James L. Martineau

Mr. & Mrs. Jonathan Marx

Bob Maynard

Dr. Wendell McAbee

Ron & Karen Meers

Eric & Denise Mericle

Bruce & Bonnie Meriwether

F. Max & Mary A. Merrell

Mr. & Mrs. Anthony Meyers

Mr. Michael Mishu

Rev. Dr. & Mrs.*

Charles L. Moffatt

Ms. Gay Moon

James & April Moore

Lynn Morrow

Mr. & Mrs. Gregory J. Mueller

Teresa & Mike Nacarato

Mr. Chase Neely

Mr. Robert O'Quin

Ms. Susan Palmer

Mr. & Mrs. Tim & Sue Palmer

Janie E. Parmley

Clint Parrish

Mr. & Mrs. Jimmy Powell Jr.

Ms. Deborah Putnam

Tom & Chris Rashford

Paul & Gerda Resch

Candace Mason Revelette

Mr. Allen Reynolds

Don* & Connie Richardson

Dr. & Mrs. Jorge Rojas

Richard Rosenthal &

Audrey Anderson

Ms. Caroline Rudy

G. Kyle Rybczyk

David Sampsell

Mr. Paul Sanderson

Mrs. Cooper Schley

Dr. & Mrs.

Stephen J. Schultenover

Dr. & Mrs. John S. Sergent

Hon. Wayne C. Shelton

Ms. Diane M. Skelton

Ashley N. Skinner

George & Mary Sloan

Susan Diane Sloan

Dr. & Mrs. Norman Spencer

Nashville Symphony Crescendo Club & City Winery Present:

Wine & Woodwinds

Enjoy a musical wine tasting featuring members of your Nashville Symphony

and curated pairings chosen by City Winery’s winemaker, Robert Kowal,

in collaboration with our musicians.

February 19

46 FEBRUARY 2020


Dr. & Mrs. Robert E. Stein

Mr. Michael P. Tortora

Marie Holman Wiggins

Mary Yarbrough &

Dr. Martha Walker-Stratton

Dr. & Mrs. Michael Tyler

Diana T. Wilker

Terry Wharton

Hope & Howard* Stringer

Dr. & Mrs. Robert W. Wahl

Craig P. Williams &

Dr. & Mrs. Donald Yurdin

Bruce & Elaine Sullivan

Mr. and Mrs. John M. Wallick

Kimberly Schenk

Ms. Jane Zeigler

Craig & Dianne Sussman

Dr. & Mrs. John J. Warner

Mr. & Mrs. Rick Wilson

Clay & Kimberly Teter

Ms. Libby R. Werthan

Mr. & Mrs. William (Dan) F. Wolf

Torrence Family Fund

Dr. & Mrs. Joseph A. Wieck

Brian & Mary Jessica Woodrum

CONCERTMASTER SOCIETY Gifts of $500 - $999

Anonymous (19)

Henry J. Abbott

Ben & Nancy* Adams

Jeffrey H. Adams

Ms. Arnelle S. Adcock

Newton & Burkley Allen

Mr. Geoff Amateau

Betty Anderson

Newell Anderson &

Lynne McFarland

Judith Andrews

Mr. & Mrs. Carlyle D. Apple

Geralda M. Aubry

Mr. & Mrs. James E. Auer

Philip E. Autry, DMA

Dr. Joseph Awad & Jane Gilliam

Lawrence E. Baggett

Mr. Omar S. Bakeer

Mr. Bradford Baldauf

Ms. Emiko S. Baldwin

Dr. & Mrs. Jere Bass

Mr. & Mrs. David L. Bata

Mr. & Mrs. Royce A. Belcher

Rick & Stephanie Belcher

Carl W. Berg

Mr. Calvin Bishop

Rick & Abby Blahauvietz

Marilyn Blake

Mr. Kevin L. Bowden &

Candice Ethridge

Dr. Scott B. Boyd

Mr.* & Mrs. William E. Boyte

Ms. Linda W. Bramblett

Dr. Joe P. Brasher

Bob & Linda Brewer

Pamela Brown & Lynn McCraney

Steven & Jill Brown

David Bruce

Richard Bruehl & Nancy Stott

Martha S. Bryant

Dr. & Mrs. Glenn Buckspan

Mr. & Mrs. G. Rhea Bucy

Ben F. Burns III

Mr. & Mrs. Carl Bush

Ms. Constance L. Caldwell

Ms. Marguerite E. Callahan

Mrs. Julia C. Callaway

Dr. & Mrs.

W. Barton Campbell

Mr. & Mrs. Luther Cantrell Jr.

Dr. & Mrs. Michael A. Carter

Mr. & Mrs.

Christopher John Casa Santa

Mrs. Gay Chamberlain

Mrs. Sharon Charney

Dr. & Mrs.

Robert H. Christenberry

Donna P. Clark

Mr. & Mrs. John W. Clay Jr.

Mr. & Mrs. T. Kent Cochran

Colonel (ret.) Dr. &

Mrs. James R. (Conra) Collier

Marion Pickering Couch

Mr. & Mrs. Richard Courtney

Mr. & Mrs. Brennis Craddock

Mr. & Mrs. George Crawford Jr.

Mr. & Mrs. Buddy R. Curnutt

Mr. Timothy D. Curtis &

Adam N. Castellarin

Mr. & Mrs. Robert Y. Dale

Dr. & Mrs. Brett W. Darwin

Andrew Daughety &

Jennifer Reinganum

Thomas G. Davidson

Janet Keese Davies

Mr. Frank C. Davis

Steve & Julie Davis

William Davis &

Catherine Colbert

Dr. & Mrs. Ben Dehner

Mr. & Mrs. Joe H. Delk

Mrs. Keith C. DeMoss

Ms. Laura Denison

Anne R. Dennison

Mr. & Mrs.* J. William Denny

Bob Dozier

Mr. Carl Dreifuss &

Mrs. Elizabeth G. Tannenbaum

Dr. Robert E. Dudley

Mr. Michael L. Duffer

Mr. & Mrs. John C. Egyed

Mrs. Clara Elam

The S. Brent Elliott Family

Dr. William E. Engel

Dr. & Mrs. James Ettien

David & René Evans

Dr. John & Janet Exton

Frank & Shirley Fachilla

Alex & Terry Fardon

Mr. & Mrs. Joseph Fell

Anita Schmid & Tyree Finch

Béla Fleck

Dr. Evon Flesberg &

Mr. Norm Nelson

Andrew & Mary Foxworth Sr.

Judson & Leah Fredrickson

Dr. Alex B. Fruin

Dr. Paul O. Gaddis

Ms. Anne W. Gaither

Kathy & Marbut Gaston

Gatewood Consulting Services

Dr. & Mrs. Harold L. Gentry

Rick & Sara Getsay

Dr. Mark Glazer & Cindy Stone

Ms. Jennifer Goetz

Dr. James R. Goldenring & Ms.

Barbara M. Fingleton

Kathleen Gould

Brent & Pat Graves

Dr. Cornelia R. Graves

Mr. Michael P. Griffin

Judith & Peter Griffin

Mr. Willard W. Griffin Jr.

Richard & Carol Ann Haglund

Mr. Christopher Hamby

Walter H. White III &

Dr. Susan Hammonds-White

Mr. & Mrs. Joseph Hardy

H. Clay & Mary Harkleroad

Cindy Harper

Drs. Liana and Frank Harrell

Mr. & Mrs. J. George Harris

Jason & Carrie Haslam

Dr. Christopher H. Hawkins

Veronica Hawkins

H. Carl Haywood

Dr. James L. Head &

Dr. Anita R. Head

Doug & Becky Hellerson

Dennis & Leslie Henson

Gerald Hill

Robert C. & Shirley M. Hilmer

Mr. & Mrs. Jim Hitt

Mr. & Mrs. Donald Hofe

Robert Hoffman

Frances Holt

Mr. Richard D. Holtz

Allen, Lucy & Paul Hovious

Mrs. Charlotte E. Hughes

Mr. & Mrs. David Hunt

Margie Hunter

Dr. & Mrs. Timothy Hutchison

Roger T. Jenkins & Gayle Jenkins

Richard W. Jett

Hal & Dona Johnson

Bob & Virginia Johnson

Mr. & Mrs. Timothy K. Johnson

Mary & Doug Johnston

Dr.* & Mrs. Sam Jones

Byron and Carolyn Kamp

John & Eleanor Kennedy

Patrick B. Kennedy &

Jamie S. Amos

Jane S. Kersten

Mr. & Mrs. Brock Kidd

The Kimball Family

Mr. & Mrs. Kurt W. Koehn

Dr. Valentina Kon &

Dr. Jeffrey L. Hymes

Mr. Daniel Kula

Drs. Cheryl Laffer &

Fernando Elijovich

Mr. & Mrs. Joseph A. Lawrence

Mr. Joseph Y. Lee &

Ms. Erica Fetterman

Mr. Talmage Lefler

Mr. & Mrs. Jeremy R. Lemmon

Ted & Anne Lenz

Dorothy & Jim Lesch

Michael & Ellen Levitt

Ms. Delorse A. Lewis

Dr. Christopher &

Melissa Lind

Burk & Caroline Lindsey

Jeffrey & Lori Lipscomb

Richard & Tad Lisella

Chris & Elizabeth Long

Kim & Bob Looney

Mr. Enrico Lopez-Yanez

Mr. & Mrs. Denis Lovell

Kenyatta & Tracey Lovett

Mr. & Mrs. Jay Lowenthal

Jim & Debbie Lundy

Drs. Amy & George Lynch

Michael & State Representative

Susan Lynn

Herman & Dee Maass

Dr. & Mrs. Mark A. Magnuson

Ms. Sheila Mann

Mr. & Mrs. John F. Manning Jr.

Mr. Troy B. Marden &

Jerome Farris

Dr. Dana R. Marshall

Mr. & Mrs. Ronald C. Marston

Ms. Janice A. Jennings

Henry & Melodeene Martin

* denotes donors who are deceased ◊ denotes donors who are Governing Members




Curt & Cynthia Masters

John H. Mather M.D.

Dr. Nancy Brown &

Mr. Andrew May

Drs. Ricardo Fonseca &

Ingrid Mayer

Dr. James S. McBride

Dr. & Mrs. Alexander C. McLeod

Linda & Ray Meneely

Peter & Mecky Meschter

David & Lisa Minnigan

Dr. & Mrs. Guy B. Mioton

Dr. & Mrs. William M. Mitchell

Diana & Jeff Mobley

Marian R. Moore

Mr. and Mrs. Paul G. Moore

Mr. & Mrs. Jonathan Morphett

Andrew Moyer

Mary Jo & Dick Murphy

Mr. & Mrs. B. Dwayne Murray Jr.

Ms. Sheryl A. Mustain

Mr. and Mrs. J. William Myers

Ms. Kenya Nelson Stevens

Dr. & Mrs. Harold Nevels

Mrs. Beth Newell

Drs. John* & Margaret Norris

Mr. David W. Oglesby

Hunt* & Debbye Oliver

Karl M. Olsen

Mrs. Argie C. Oman

Frank & Betty Orr

Drs. Lucius & Freida Outlaw

Dr. & Mrs. Aydin Ozan

Dr. & Mrs. Harry L. Page

Mrs. Douglas J. Parsons

Ms. Jennifer C. Peters

Faris & Bob Phillips

Charles & Mary Phy

Mr. & Mrs. Charles Poole

Ms. Elizabeth M. Potocsnak

Ms. Cynthia M. Powell

Dr. & Mrs. Tim Powers

George & Joyce Pust

Ross & Suzanne Rainwater

Charles H. & Eleanor L. Raths

Mr. & Mrs. J. David Rawle

David Reynolds & Shei Dewald

Drs. Jeff & Kellye Rice

Barbara Richards

Mrs. Jane H. Richmond

Ms. Linda N. Rittenhouse

Dr. & Mrs. Ivan Robbins

Mr. & Mrs. John A. Roberts

Mr. & Mrs. Paul Robertson

Julie Roe, PhD

Marc R. Rogers

Rodney & Lynne Rosenblum

Ed & Jan Routon

Lauren & Christopher Rowe

Mr. Stephen Sachs

Mr. & Mrs.William B. Saunders

& Family

Robert Schlafly & Teri Arney

Mr. and Mrs. Roland Schneller

Jack Schuett

Mr. & Mrs. Robert Scott

Mr. Michael A. Seiler

Odessa L. Settles

Max & Michelle Shaff

Mr. & Mrs. Alan Sielbeck

Faye Silva

Mr. Heber Simmons III

Mr. & Mrs. John C. Slater

Dr. Robert Smith &

Barbara Ramsey

Mr. & Mrs. S. Douglas Smith

Mr. Robert Sneed

Mr. James H. Spalding

Dr. & Mrs. Anderson Spickard Jr.

Mr. & Mrs. William T. Spitz

Ms. Karen G. Sroufe

Dr. Ernest D. Standerfer

Ward Stein

Mr. & Mrs. Glenn C. Stophel

Gayle Sullivan

Frank Sutherland &

Natilee Duning

Dr. Becky E. Swanson

Eric & June Swartz

Mark S. Tallent

Mr. Philip S. Tatum

Mr. & Mrs. Daryle Teague

James Temple

Jeanne & Steve Thomas

Mr. & Mrs. Wendol R. Thorpe

Walter & Cindy Tieck

Mrs. Stephen C. Tippens

Mr. Lloyd Townsend Jr.

Mr. & Mrs. John A. Turnbull

Miss Laura Anne Turner

Frances Anne Varallo

Candace & William Wade

Mr. & Mrs. Jack Wallace

Kay & Larry Wallace

Mr. Kenneth F. Walters

Major & Yong Wang

Ms. Karen M. Warren

Gayle & David Watson

Franklin & Helen Westbrook

Linda & Raymond White

Jonna & Doug Whitman

Ms. Eleanor D. Whitworth

James L. Wilbanks III

Mr. & Mrs. David M. Wilds

Mr. & Mrs. Wayne P. Wilkinson

Mr. and Mrs.

Charles S. Williams

Judy S. Williams

Ben Williamson

Mr. & Mrs. John W. Williamson

Amos & Etta Wilson

Mary E. Womack

Mr. & Mrs. H. Lee Woosley III

Pam & Tom Wylly

Vivian R. & Richard A. Wynn

Mr. Richard S. Yadach

Mr. Mark A. Young

Dr. Michael Zanolli &

Julie K. Sandine

Roy & Ambra Zent

Mrs. Nancy O. Zoretic

* denotes donors who are deceased Individual Patrons continue on page 57





48 FEBRUARY 2020

Open an account

that gives back.

the philanthropy account

We believe in supporting a variety of needs

in our local community, and maintain a

desire to contribute when it’s needed and

where it’s needed. We’re proud to partner

with the Community Foundation of Middle

Tennessee to make this possible through

The Philanthropy Account and INSBANK’s

Philanthropic Fund.

» Money market account earns interest

at a competitive rate.

» Contribution made on your behalf

to the INSBANK Philanthropic Fund.

» Benefit two unique nonprofits every

six months.

» Create community awareness and

volunteer opportunities.

615.515.2265 I 866.866.2265 I

Create Your


At Christ the King, we provide a

traditional curriculum with innovative

learning opportunities for children

Pre-K to 8th grade.

A ministry of

Sometimes you want to

go where everybody knows

your name and they’re

always glad you came...

Join us.

Make new friends. Take a class.

Learn. Travel. Volunteer.

Access Resources. FiftyForward

has seven lifelong learning

centers in Middle Tennessee,

supportive care programs and

volunteer opportunities.

Learn more: or


Follow us on:

I am thriving because of FiftyForward Adult Day Services and the

help they offered me … I went from a living death to being revived. ”

— Larnetta

Encore Dining

Rodizio Grill The Brazilian Steakhouse

Rodizio Grill is Nashville’s authentic Brazilian Churrascaria (Steakhouse).

Guests feast on unlimited starters, a gourmet salad and side area and fresh

rotisserie grilled beef, lamb, chicken, pork and more carved table side.

Private and Banquet rooms available.

Reservations Accepted. Valet Parking. Locally Owned and Operated.

Ph: (615)730-8358. | 166 Second Ave. N. |

Melting Pot Fondue Restaurant

Where fun is cooked up fondue style.

Join us for Cheese and Chocolate fondue or the full 4-course experience.

Casually elegant – Always Fun. Open 7 Days for dinner.

Sundays after the Matinee. Valet Parking. Reservations Recommended.

Ph: (615)742-4970. | 166 Second Ave. N. |


At Sambuca, we think friends, family, food and fun are what life should be

about. Our philosophy is shared with all who walk into our restaurants.

Sambuca features savory new American food and modern cocktails that will

tempt any palate and nourish the soul. Our nightly live music will engage our

guests in the energetic vibe of the restaurant, reminding them to enjoy the

simple pleasures of life.

We throw a party ---a really great party---for our guests every night!

Ph: (615)248-2888 | 601 12th Ave. S. |


2019 production of Cinderella



From 12 months to 12th grade

Building Confidence, Intellectual

Growth and Spiritual Strength.

Drees Homes Main Office


©2018 The Drees Company.

All Rights Reserved. 20-0901-231 12/19




20-0901-231 • Nash Performing Arts Mag • 6.625 x 5.125

Photo by Francesco Scavullo

2019-20 shows










show dates and more at


Some shows contain mature content.

Event, date, time, guest artists, and repertoire

are subject to change. is the official online

source for buying tickets to TPAC events.

Tennessee Performing Arts Center

505 Deaderick Street



Join us for a BOLD


boasting not-to-be-missed



plus the return of audience-favorite



Coming in 2020-21

Details at TPAC.ORG

Book Your

Date Night






A D ocum entary by TEN /28


Substance U se D isorderand itse fecton recovery

"I can't express what my life would be

like without Hope Clinic... They were my

rock. Support and care like I've never

received from an organization before."

a Safe Place

for Tough Choices


Established in 1983, Hope Clinic for Women is a faith-based safe and confidential place

equipping women, men and families dealing with: unplanned pregnancies, access to women's

healthcare, prevention education, pregnancy loss and postpartum depression. We provide

support regardless of age, race, religion or ability to pay.

Over 2,700 clients will receive services from Hope Clinic this year.

You can join us in our mission of supporting the women, men, and

families of Nashville in receiving necessary medical care,

counseling, education, and practical support. Visit our website at to give today!




Annual $1.2 Million Budget




1810 Hayes Street, Nashville TN 37203 | | 615.321.0005

Creating Spaces to Nurture the Imagination

New Arts Performance center opening fall 2020

Soli Deo Gloria

Christ Presbyterian Academy / Preschool-12 / Christ-Centered Worldview /



In honor of Newman and

Johnathon Arndt

In honor of Cynthia Arnholt

In honor of Jack Briner

In honor of Henry Byington

In honor of the

Nashville Symphony Chorus

In honor of Katie Crumbo

In honor of Nathan William Davis

In honor of Eric Gratton

In honor of Brenda & David Griffin

In honor of Erin Hall

In honor of Steven M. Hoffman

In honor of Martha Rivers Ingram

In honor of Jay Jones' Birthday

In honor of

Elizabeth Nickerson "Tutter" McCabe

In honor of Kathleen McCracken

In honor of Gayley and Bob Patterson

In honor of Mark Peacock

In honor of Maya Stone

In honor of Anna Szczuka

In honor of Brian Uhl

In honor of Meghan Vosberg


In memory of Linda G. Allison, MD, MPH

In memory of Joan Strait Applegate

In memory of Benjamin Patrick Belden

In memory of Jessica Bloom

In memory of Frederic Blumberg

In memory of Harold Cruthirds

In memory of Gene Dietz

In memory of Philip Dikeman

In memory of Glenn Eaden

In memory of Al Hacker

In memory of Gary Kenneth Hughes

In memory of Dr. Martin Katahn

In memory of Gary Kelly

In memory of Martha Lamprecht

In memory of Sara Harris Moffatt

In memory of

Lt Cmdr Alan A. Patterson, USN

In memory of Charles Howell Potter, Jr.

In memory of Prince

In memory of Edgar Arthur Reed

In memory of John L. Seigenthaler

In memory of Fred Simon

In memory of Leah (Simer) Stufflebam

In memory of Robert Polk Thomson

In memory of H. Martin Weingartner

In memory of David Williams

In memory of

Professor Vicki Gardine Williams


George E. Barrett*

John Auston Bridges

Mr.* & Mrs. Arthur H. Buhl III

Harris A. Gilbert

Allis Dale & John Gillmor

Dr. Fred & Martha Goldner

Ellen Harrison Martin

Mr. & Mrs.

Martin F. McNamara III

Dr. & Mrs.

Anderson Spickard, Jr.

Dr. & Mrs. Robert Stein

Barbara & Eric Chazen

Donna R. Cheek*

Dr. & Mrs. Alan G. Cohen

Esther & Roger Cohn

Wally & Lee Lee Dietz

Dee & Jerald* Doochin

Robert D. Eisenstein*

Mrs. Annette S. Eskind

Laurie & Steven Eskind

Mr.* & Mrs. Billy Ray Hearn

Judith Hodges

Judith S.* &

James R. Humphreys

Walter & Sarah Knestrick

Sheldon Kurland

Ellen C. Lawson

Sally M. Levine

Frances & Eugene Lotochinski

Cynthia* & Richard* Morin

Dr. Harrell Odom II &

Mr. Barry W. Cook

Mr. and Mrs. Craig E. Philip

Anne & Charles Roos

Mr.* & Mrs.

John L. Seigenthaler

Joan B. Shayne

Vicky & Bennett Tarleton

Mr.* & Mrs.* Louis B. Todd, Jr.

Mr. & Mrs. Byron Trauger

Betty & Bernard* Werthan

Mr. Mark Zimbicki and

Ms. Wendy Kurland

Alice A. Zimmerman


Arcadia Healthcare

American General Life

& Accident

American International

Group, Inc.

Atmos Energy

AT&T Higher Education

/Cultural Matching

Gift Program

Bank of America

BCD Travel

Becton Dickinson & Co.


CA Matching Gifts Program

Caterpillar Foundation

Cigna Foundation

Community Health

Systems Foundation

Eaton Corporation

ExxonMobil Foundation

First Data Foundation

GE Foundation

General Mills Foundation

Hachette Book Group

IBM Corporation

Illinois Tool Work Foundation

McKesson Foundation

Merrill Lynch & Co

Foundation, Inc.

Microsoft Matching

Gifts Program

Nissan Gift Matching Program

P&G Fund Matching

Gifts Program




Square D Foundation

Matching Gifts Program

Shell Oil Company Foundation

Starbucks Matching

Gifts Program

The Aspect Matching

Gifts Program

The HCA Foundation

The Meredith Corporation


The Prudential Foundation

The Stanley Works


United Health Group

U.S. Bancorp Foundation

Williams Community Relations







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 their contributions. Donors as of

December 19, 2019.







Ann and Gordon Getty














58 FEBRUARY 2020












American Paper and Twine


Carter Haston Real Estate

Chet Atkins Music Education Fund

of The Community Foundation of

Middle Tennesse

Cumberland Trust & Investment Co.

Cumberland University

Ensworth School

Flavor Catering

Hans and Nancy Stabell

HUB International Mid-South

I.C. Thomasson Associates Inc.


Parking Management Companies

Robert K. & Anne H. Zelle Fund

for Fine and Performing Arts of

The Community Foundation of

Middle Tennessee

Ryman Hospitality

Properties Foundation

The Houghland Foundation

The Cupcake Collection


AmazonSmile Foundation

Craft Brewed

Jimmy Choo USA

Midtown Corkdork Wine Spirits Beer

Nashville First Baptist


Tennsco Corporation

The Game 102.5 / Game2 94.9

Tiffs Treats


Mix 92.9

The Cockayne Fund Inc.

92.1 Q




The Nashville Symphony wishes to acknowledge and thank the following individuals, foundations and corporations

for their commitment to the Symphony. This list recognizes donors who contributed $15,000 or more to one of the

Symphony’s endowment or capital campaigns. These capital campaigns make it possible to ensure a sustainable

future for a nationally recognized orchestra worthy of Music City.


AmSouth Foundation

Andrea Waitt Carlton Family


The Ayers Foundation

Bank of America

Alvin & Sally Beaman Foundation

Lee A. Beaman, Trustee

Mr. & Mrs. Dennis C. Bottorff

Ann* & Monroe* Carell

Caterpillar Inc. & Its Employees

The Community Foundation of

Middle Tennessee

Mike Curb Family Foundation


Greg & Collie Daily

Dollar General Corporation

Laura Turner Dugas

The Frist Foundation

Amy Grant & Vince Gill

Patricia & H. Rodes Hart

Mr.* & Mrs. Spencer Hays


Ingram Charitable Fund

Mr. Orrin Ingram II

The Martin Foundation

Ellen Harrison Martin

Mr.* & Mrs. R. Clayton McWhorter

The Memorial Foundation

Metropolitan Government of

Nashville & Davidson County

Anne* & Dick Ragsdale

Mr. & Mrs. Ben R. Rechter

Estate of Walter B &

Huldah Cheek Sharp

State of Tennessee

Margaret* & Cal Turner Jr.*

James Stephen Turner Charitable


Vanderbilt University

The Vandewater Family Foundation

Ms. Johnna Benedict Watson

Colleen* & Ted* Welch

The Anne Potter Wilson Foundation


Mr. Tom Black

Dr. & Mrs. Thomas F. Frist, Jr.

Giarratana Development, LLC

Carl & Connie Haley

Mr. & Mrs. J. Michael Hayes

HCA Foundation, in honor of Dr. &

Mrs. Thomas F. Frist

Mr. & Mrs. Robert A. McCabe Jr.

Regions Bank

Mr. & Mrs. James C. Seabury III

Estate of Anita Stallworth

SunTrust Bank

Tennessee Arts Commission

Laura Anne Turner


American Constructors, Inc.

Barbara & Jack Bovender

American Retirement Corp.

Connie & Tom Cigarran

E.B.S. Foundation

Gordon & Shaun Inman

Harry & Jan Jacobson

The Judy & Noah Liff Foundation

Robert Straus Lipman

Mrs. Jack C. Massey*

Mr. & Mrs. Henry McCall

Lynn & Ken Melkus

Richard L. & Sharalena Miller

National Endowment for the Arts

Mr. & Mrs. Philip Maurice Pfeffer

Justin & Valere Potter Foundation

Irvin & Beverly Small

Anne H. & Robert K.* Zelle


Mr. & Mrs. Dale Allen

Phyllis & Ben* Alper

Andrews Cadillac/

Land Rover Nashville

Averitt Express

Barbara B. & Michael W. Barton


Julie & Frank Boehm

Richard & Judith Bracken

Mr.* & Mrs. James C. Bradford Jr.

Boult, Cummings, Conners &

Berry, PLC

The Charles R. Carroll Family

Fred J. Cassetty

Mr.* & Mrs. Michael J. Chasanoff

Leslie Sharp Christodoulopoulos

Charitable Trust


Mr.* & Mrs. William S. Cochran

Mr. & Mrs. Thomas Fite Cone

Corrections Corporation of America

Estate of Dorothy Parkes Cox

Janine, Ben, John & Jenny Cundiff

Deloitte & Touche LLP

The Rev. Canon & Mrs. Fred Dettwiller

Marty & Betty Dickens

Michael D. & Carol E. Ennis Family

Annette & Irwin* Eskind

The Jane & Richard Eskind &

Family Foundation

The M. Stratton Foster

Charitable Foundation

Mr. & Mrs. Steven B. Franklin

Frost Brown Todd LLC

Gannett Foundation / The Tennessean

Dr. Priscilla Partridge de Garcia* &

Dr. Pedro E. Garcia*

Gordon & Constance Gee

Genesco Inc.

Mr. & Mrs. Joel C. Gordon

Guardsmark, LLC

Billy Ray* & Joan* Hearn

The Hendrix Foundation

Mr.* & Mrs. Henry W. Hooker & Family

Mr. & Mrs. Elliott Warner Jones

Walter & Sarah Knestrick

ESaDesign Team

Earl Swensson Associates Inc.

I.C. Thomasson Associates Inc.

KSi/Structural Engineers

Lattimore, Black, Morgan & Cain PC

Mr. & Mrs. Fred Wiehl Lazenby

Sally M. Levine

Andrew Woodfin Miller Foundation

Morgan Stanley Dean Witter & Co.

Nashville Symphony Chorus

Nashville Symphony Orchestra League

Pat & John W. Nelley Jr.


Partnership 2000

Bonnie & David Perdue

Mr. & Mrs. Dale W. Polley

Mary C. Ragland Foundation

The John M. Rivers Jr. Foundation Inc.

Carol & John Rochford

Mr. & Mrs. Alex A. Rogers

Anne & Joseph Russell & Family

Daniel & Monica Scokin

Bill & Sharon Sheriff

Mr.* & Mrs. Martin E. Simmons

Luke & Susan Simons

Mr. & Mrs. Michael W. Smith

Barbara & Lester* Speyer

The Starr Foundation

Hope & Howard* Stringer

Louis B.* & Patricia C.* Todd Jr.

Lillias & Fred* Viehmann

The Henry Laird Smith Foundation

Mr. & Mrs. E.W. Wendell

Mr. David M. Wilds

Mr. & Mrs. W. Ridley Wills III

Mr.* & Mrs. David K. Wilson


Adams and Reese / Stokes

Bartholomew LLP

American Airlines

American General Life & Accident

Insurance Company

Baker, Donelson, Bearman,

Caldwell & Berkowitz

J B & Carylon Baker

Dr. & Mrs. T.B. Boyd III

William H. Braddy III

Dr. Ian* & Katherine* Brick

Mr. & Mrs.* Martin S. Brown Sr.

Michael & Jane Ann Cain

Mike Curb/Curb Records Inc.

The Danner Foundation

Dee & Jerald* Doochin

Ernst & Young

Mr. & Mrs. David S. Ewing

Ezell Foundation / Purity Foundation

Mr.* & Mrs.* Sam M. Fleming

In Memory of Kenneth Schermerhorn

60 FEBRUARY 2020

Letty-Lou Gilbert*, Joe Gilbert & Family

James C. Gooch & Jennie P. Smith

Edward A. & Nancy Goodrich

Bill & Ruth Ann Leach Harnisch

Hastings Architecture Associates, LLC

Dr. & Mrs.* George W. Holcomb Jr.

Mr. & Mrs. Clay T. Jackson


Mrs. Heloise Werthan Kuhn

John T. Lewis

Gilbert Stroud Merritt

Mr. & Mrs. David K. Morgan

Musicians of the Nashville Symphony

Anne & Peter Neff

Cano & Esen Ozgener

Ponder & Co.

Eric Raefsky, M.D.* & Ms. Victoria Heil

Delphine & Ken Roberts

Ro’s Oriental Rugs, Inc.

Mrs. Dan C. Rudy*

Mary Ruth* & Bob Shell

Mr. & Mrs. Richard Speer

Stites & Harbison, PLLC

Mr. & Mrs. Bruce D. Sullivan

Alan D. Valentine

Waller Lansden Dortch & Davis, LLP

Estate of Christine Glenn Webb

David* & Gail Williams

Nicholas S. Zeppos & Lydia A. Howarth



Family of Kenneth Schermerhorn

The Bank of Nashville

Bass, Berry & Sims PLC

Tom & Wendy Beasley

The Bernard Family Foundation

The Honorable Philip Bredesen &

Ms. Andrea Conte

The Very Rev. Robert E. &

Linda M. Brodie

Mr.* & Mrs. Arthur H. Buhl III

Mr. & Mrs. Frank M. Bumstead

Community Counselling

Service Co., Inc.

Mr. & Mrs. Charles W. Cook Jr.

Doug & Sondra Cruickshanks

Mr. & Mrs. Robert V. Dale

Gail & Ted DeDee

In Memory of Ann F. Eisenstein

Enco Materials, Inc./

Wilber Sensing Jr., Chair Emeritus

Nancy Leach & Bill Hoskins

John & Carole Ferguson

Estate of Dudley C. Fort

Mr. & Mrs. F. Tom Foster Jr.

Mr. & Mrs. Keith D. Frazier

John & Lorelee Gawaluck

Giancarlo & Shirley Guerrero

Mr. & Mrs. James Earl Hastings

Hawkins Partners, Inc.

Landscape Architects

Neil & Helen Hemphill

Hilton Nashville Downtown

In Memory of Ellen Bowers Hofstead

Hudson Family Foundation

Iroquois Capital Group, LLC

John F. & Jane Berry Jacques

Mercedes E. Jones

Mr. & Mrs. Randall L. Kinnard


Estate of Barbara J. Kuhn

Mr. & Mrs. Lawrence M. Lipman

The Howard Littlejohn Family

The Loventhal and Jones Families

Mimsye* & Leon May

Kevin P. & Deborah A. McDermott

Rock & Linda Morphis

Carole & Ed* Nelson

Nissan North America, Inc.

Odom’s Tennessee Pride Sausage, Inc.

Larry D. Odom, Chairman/CEO

Hal N. & Peggy S. Pennington

Celeste Casey* & James Hugh Reed III*

Renasant Bank

Jan & Stephen S. Riven

Lavona & Clyde Russell

Dr. & Mrs. Michael H. Schatzlein

Kenneth D. Schermerhorn*

Lucy & Wilbur Sensing

Nelson & Sheila Shields

Michael & Lisa Shmerling

Joanne & Gary Slaughter

Doug & Nan Smith

Hans & Nancy Stabell

Ann & Robert H. Street

Mr. & Mrs. William J. Tyne

Washington Foundation, Inc.

Mr. & Mrs. W. Ridley Wills II

Mr. & Mrs. Joseph J. Wimberly

Janet & Alan Yuspeh

Shirley Zeitlin


Kent & Donna Adams

Ruth Crockarell Adkins

Aladdin Industries, LLC

American Brokerage Company, Inc.

American Paper & Twine Co.

Mr. & Mrs. William F. Andrews

Dr. Alice A. & Mr. Richard Arnemann

Mr. & Mrs. J. Hunter Atkins

Sue G. Atkinson

Mr. & Mrs. Albert Balestiere

Baring Industries

Brenda C. Bass

Russell W. Bates

James S. & Jane C. Beard

Allison & John Beasley

Ruth Bennett & Steve Croxall

Frank* & Elizabeth Berklacich

Ann & Jobe* Bernard

Mr.* & Mrs. Boyd Bogle III

John Auston Bridges

Mr. & Mrs. Roger T. Briggs Jr.

Cathy & Martin Brown Jr.

Grennebaum Doll & McDonald PLLC

Patricia & Manny* Buzzell

Mr.* & Mrs.* Gerald G. Calhoun

Mr. & Mrs. William H. Cammack

Terry W. Chandler

Neil & Emily Christy

Chase Cole

Dr. & Mrs. Lindsey W. Cooper Sr.

Mr. & Mrs. Andrew D. Crawford

Barbara & Willie K. Davis

Mr. & Mrs. Arthur C. DeVooght

Mr. & Mrs. Matthew H. Dobson V

Mike & Carolyn Edwards

Mr. John W. Eley & Ms. Donna J. Scott

Sylvia & Robert H. Elman

Martin & Alice Emmett

Larry P. & Diane M. English

Dr. & Mrs. Jeffrey B. Eskind

Bob & Judy Fisher

Karen & Eugene C. Fleming

Mr. & Mrs. H. Lee Barfield II

Cathey & Wilford Fuqua

Mr. & Mrs. Paul J. Gaeto

The Grimstad & Stream Families

Heidtke & Company, Inc.

Robert C. Hilton

Dr. & Mrs. Stephen P. Humphrey

Franklin Y. Hundley Jr.

Margie & Nick* Hunter

Joseph Hutts

Mr. & Mrs. T.J. Jackson

Mr. & Mrs. David B. Johnson

Mr. & Mrs. Russell A. Jones Jr.

John Kelingos Education Fund

Beatriz Perez & Paul Knollmaier

Pamela & Michael Koban Jr.

Mr. & Mrs. Kenneth G. Langone

Richard & Delorse Lewis

Robert A. Livingston

Frances & Eugene Lotochinski

Mr.* & Mrs. Robert C.H. Mathews, Jr.

Betsy Vinson McInnes

Jack & Lynn May

Mr. & Mrs. James Lee McGregor

Dr. & Mrs. Alexander C. McLeod

Mr. & Mrs. Robert E. McNeilly III

Dr. Arthur McLeod Mellor

Mary & Max Merrell

Donald J. & Hillary L. Meyers

Christopher & Patricia Mixon

NewsChannel 5 Network

Susan & Rick Oliver

Piedmont Natural Gas

David & Adrienne Piston

Charles H. Potter Jr.

Joseph & Edna Presley

Nancy M. Falls & Neil M. Price

Mr. & Mrs. Charles R. Pruett

Linda & Art Rebrovick

Mr. & Mrs. Doyle R. Rippee

Dr. & Mrs. Clifford Roberson

Mr.* & Mrs.* Walter M. Robinson Jr.

Anne & Charles Roos

Ron Rossmann

Joan Blum Shayne

Mr. & Mrs. Irby C. Simpkins, Jr.

Patti & Brian Smallwood

Murray & Hazel Somerville

Southwind Health Partners®

The Grimstad & Stream Families

Dr. Steve A. Hyman & Mark Lee Taylor

John B. & Elva Thomison

Mr. & Mrs. Marshall Trammell Jr.

Eli & Deborah Tullis

Mr. & Mrs. James M. Usdan

Louise B. Wallace Foundation

Mr.* & Mrs. George W. Weesner

Ann & Charles* Wells

In Memory of Leah Rose B. Werthan

Mr.* & Mrs.* Albert Werthan

Betty & Bernard* Werthan Foundation

Olin West, Jr. Charitable Lead Trust

Mr. & Mrs. Toby S. Wilt

Dr. & Mrs. Lawrence K. Wolfe

Dr. Artmas L. Worthy

Mr. & Mrs. Julian Zander Jr.

* denotes donors who are deceased






The Nashville Symphony is grateful to those donors who have remembered the orchestra in their

estate plans. Legacy gifts to the Nashville Symphony help Middle Tennessee’s resident orchestra

achieve its mission of making beautiful music, reaching diverse audiences and improving life in our

community for generations to come through the following:

– World-class performances of enduring orchestral music, from Bach to Beethoven to Bernstein

– Affordable ticket prices for music lovers of all ages and backgrounds

– Commissions and recordings of America’s leading composers, who are keeping classical music

relevant for 21st-century audiences

– Life-changing education programs that provide inspiration, instruction and mentorship for

students from kindergarten through high school

– The acoustical brilliance of Schermerhorn Symphony Center, a venue

built to serve the entire community

Be “instrumental” in our success by sharing your passion for music with future generations.

For more information on the many creative ways to make a planned gift, please visit or call Andrew Shafer at 615.687.6484.

Anonymous (4)

Stephen Abelman &

Robin Holab-Abelman

Barbara B. & Michael W. Barton

Russell Bates

Elisabetha C. Baugh

Ann Bernard

Congressman Diane Black &

Dr. David L. Black

Julie G. & Frank H. Boehm, MD

Ellen & Roger Borchers

Mr. & Mrs. Dennis C Bottorff

H. Victor Braren, M.D.

Charles W. Cagle

Mr. and Mrs.

Christopher John Casa Santa

Paul Catt and Linda Etheredge

Donna & Steven* Clark

George D. Clark Jr.

Dr. Cliff Cockerham &

Dr. Sherry Cummings

Barbara J.* and John J.* Conder

Marianne Connolly

Kelly Corcoran & Joshua Carter

Mr. & Mrs. Roy Covert

Kevin and Katie Crumbo

Janet Keese Davies

Andrea Dillenburg

The William M.* and Mildred P.*

Duncan Family and Deborah

Annette & Irwin* Eskind

Paula Fairchild

Judy and Tom Foster

Henry S. Fusner*

Dr. Priscilla Partridge de Garcia* &

Dr. Pedro E. Garcia*

Harris Gilbert

Allis Dale & John Gillmor

James C. Gooch

Ed & Nancy Goodrich

Landis Bass Gullett*

Connie & Carl T. Haley, Jr.

Martin Todd Harris

David & Judith S. Hayes

Billy Ray Hearn*

Eric Raefsky, M.D.* & Victoria Heil

Gregory T. Hersh

Judith Hodges

Mr. & Mrs. Bennett F. Horne

Judith Simmons Humphreys*

Martha R. Ingram

Elliott Warner Jones &

Marilyn Lee Jones

Anne Knauff

Heloise Werthan Kuhn

Paul Kuhn

Barry S. Lapidus

Sally M. Levine

John T. Lewis

Todd M. Liebergen

Clare* & Samuel* Loventhal

Ernestine M. Lynfoot

Ellen Harrison Martin

Thomas McAninch

Dr. Arthur McLeod Mellor

James Victor Miller*

Sharalena & Dick Miller

Rev. Dr. Charles L. Moffatt, III

Ellen Livingfield More

Cynthia* & Richard* Morin

Patricia W. & James F. Munro

Anne T. & Peter L. Neff

Jonathan Norris & Jennifer Carlat

Mr. & Mrs. Michael Nowlin

Harry & Shelley Page

Juanita M. Patton*

Drs. Mark & Nancy Peacock

Pamela K. & Philip Maurice Pfeffer

Joseph Presley

Dr. Zeljko Radic &

Tanya Covington Radic

David & Edria Ragosin

Nancy Ray

Mr. & Mrs. Ben R. Rechter

Fran C. Rogers

Judith A. Sachs

Mr. James A. Scandrick Jr.*

Kristi Lynn Seehafer

Mr. Martin E.* &

Mrs. Judy F. Simmons

Irvin & Beverly Small

Mary & K.C. Smythe

Dr. and Mrs. Anderson Spickard Jr.

Maribeth & Christopher Stahl

Betsy Proctor Stratton* &

Harry E. Stratton*

Patricia Mlcuch Strickland

Dr. Esther & Mr. Jeffery Swink

Steve Alan Hyman &

Mark Lee Taylor

Dr. John Brown Thomison, Sr.*

Mr. Robert J. Turner &

Mr. Jay Jones

Alan D. & Janet L. Valentine

Mrs. Johnna Benedict Watson

Dr. Colleen Conway Welch*

Jimmie D. & Patricia Lee White

Lalah Gee Williams

Dr. Patricia B. Willoughby

Donna B. Yurdin

Barbara & Bud Zander

Shirley Zeitlin

Anne H. & Robert K.* Zelle

*denotes donors who are deceased

62 FEBRUARY 2020




Alan D. Valentine, President and CEO

Steven Brosvik, COO

Marye Walker Lewis, CPA, CFO

Heather Romero, Executive Assistant


Jessica Slais, V.P. of Artistic Administration

Ellen Kasperek,

Senior Manager of Artistic Administration

Eleanor Roberts,

Manager of Artistic Administration

Harrison Bryant, Artistic Coordinator

Luke Bryson, Librarian

David Jackson, Assistant Librarian

Andrew Risinger, Organ Curator


Jonathan Marx, V.P. of Communications

Dave Felipe,

Publicist & Communications Manager

Justin Bradford, Director of Digital Media

Diana Rosales, Digital Media Coordinator

Sean Shields, Art Director

Alina Van Oostrom,

Graphic Design Associate


Tara Shirer, Manager of Data Services

Sheila Wilson, Sr. Database Associate

Tatyana Bristol, PT Database Associate


Jonathan Norris, V.P. of Development

Maribeth Stahl, Sr. Director of Development

Kortney Toney,

Corporate Partnerships Manager

Trianne Newbrey,

Corporate Partnerships Officer

Ashlinn Snyder,

Development Programs Manager

Dennis Carter, Patron Engagement Officer

Judith Wall, Patron Engagement Officer

Jacob Tudor, Patron Engagement Officer

Andrew Shafer, Planned Giving Manager

Brooke Stuart,

Development Events Manager

Celine Thackston, Grants Manager

Jesse Strauss, Grants Assistant

Samantha Solatka, Stewardship Coordinator


Kimberly Kraft McLemore,

Director of Education and

Community Engagement

Kelley Bell, Education and Community

Engagement Program Manager

Kristen Freeman, Education and

Community Engagement Program Manager

Bryson Finney,

Accelerando Coordinator


Karen Warren, Controller

Bobby Saintsing, A/P & Payroll Manager

Sheri Switzer, Senior Accountant

Charlotte Schweizer,

Retail Manager and Buyer



Johnathon McGee,

Senior Event Sales Manager

Schuyler Thomas, Senior Event Manager

Lee Ann Eaton, Event Facilitator

Anderson S. Barns, Beverage Manager


Nakisha Hicks,

Director of Human Resources and Inclusion

Catherine Royka,

Manager of Volunteer Services


Trenton Leach,

Director of Information Technology


Daniel B. Grossman, V.P. of Marketing

Misty Cochran, Director of Marketing

Lindsay Bergstrom,

Director of Ticket Services

Gena Staib, Box Office Manager

Rachael Downs,

Assistant Box Office Manager

Rich Bartkowiak, Marketing Supervisor

Missy Hubner, Ticket Services Assistant

Sarah Rose Peacock,

Marketing & Communications Coordinator

Marketing Associates: Henry Byington,

Jim Davidson, Kimberly DePue,

Rick Katz, Misha Robledo

Ticket Services Supervisors:

Jesse Baker, Jean-Marie Clark,

Peter Donnelly, Melissa Messer

Ticket Services Specialists:

Erin Caby, Tyrone Cadogan,

Kaitlyn Elsen, Lindsey George,

Rachael Greenman, Dana Manno,

Casandra Nevils, Mary Self,

Elizabeth Singer, Lindsey Smith-Trostle,

Rachel Stigliano



Sonja Thoms, Sr. Director of Operations

and Orchestra Manager

John Wesolowski,

Orchestra Personnel Manager

Joseph Demko

Assistant Orchestra Personnel Manager

Mark Dahlen, Audio Engineer

Emily Yeakle, Senior Lighting Director

Trey Franklin, Lighting Director

W. Paul Holt, Stage Manager

Josh Walliser, Production Manager

Trevor Wilkinson, Recording Engineer &

Assistant Production Manager

Larry Bryan, Audio Engineer &

Assistant Production Manager

Katy Lyles, Operations Coordinator


Eric Swartz, V.P. of Venue Management

John Sanders, Chief Technical Engineer

Kenneth Dillehay, Chief Engineer

Wade Johnson, Housekeeping Manager

James Harvell, Housekeeper

Tony Meyers,

Director of Security and Front of House

Alan Woodard, Security Manager

Sam Harrington,

Facility Maintenance Technician

Gregory Weiss,

Facility Maintenance Technician



Your Nashville Symphony

Live at the Schermerhorn



March 12 to 14



March 26 to 28




When she moved to Bowling Green, Ky., Anne couldn’t imagine she’d be diagnosed with a rare cancer

just 11 days later. From the first day she met her team at Vanderbilt-Ingram Cancer Center, Anne says

she knew she was in the right place. Her cancer was not only rare, it was complex. Our experts put their

heads together and came up with a unique plan of attack designed just for her. Now Anne has time for

the people and the things she loves.

An impulse move put

Anne closer to

Vanderbilt — and the

personalized cancer

care that saved her life.

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