pageturn.onstagepublications.com · 2020. 3. 11. · ENCORE THE MAGAZINE OF THE JACKSONVILLE...

Let me start by saying welcome to Jacoby Symphony Hall, home of the Jacksonville Symphony!

It’s been an absolute pleasure getting to meet you and to settle into the beautiful city that is Jacksonville. My wife Carol and I could not be more appreciative of the warm welcome we’ve received since our arrival almost two months ago.

The past few months have been a bit of a whirlwind: the orchestra went on tour to the Kennedy Center for the Performing Arts in Washington, D.C. for SHIFT: A Festival of American Orchestras, and we experienced the Symphony Gala with the incomparable Susan Graham. I’ve had the pleasure of hearing the Symphony perform at nine concerts already, and I know you all will agree when I say I look forward to many, many more. How fortunate

we are to have such a wonderful orchestra under the impeccable leadership of Courtney Lewis!

In short, we are thrilled to be here in Jacksonville to work with the musicians, staff, Courtney, the Board of Directors, and of course, you, as our loyal supporters and advocates. The Symphony’s mission, my mission, is to “enrich the human spirit through symphonic music.” That means that every day we come to work trying to reimagine what a symphony can be; be it through the experience we provide, the music we play, where we play it, how we demonstrate appreciation for our patrons, and so much more.

The upcoming fourth quarter of the Symphony’s 2019-2020 season includes a great variety of wonderful music for you to chose from. Music by Copland, Brahms, Beethoven, Schubert, Ravel, Mahler and more highlight the remaining Masterworks concerts. We’ll host three fabulous vocalists in our tribute to Aretha Franklin. Patriotic Pops will provide inspiration on Memorial Day weekend, and the cinematic thrill of Jurassic Park will leave you on the edge of your seats.

The final performance of the season (it’s hard to believe we’re there already), will be Beethoven’s Ninth Symphony. What better way to finish our celebration of Beethoven’s 250th birthday than with this miraculous piece of music? The Guardian said of Beethoven’s Ninth, “…its gigantic, irrefutable musical power is a wellspring of renewal and possibility.” The perfect symphony to close our season as we prepare for what will come in 2020-2021.

Thank you once again for the enthusiastic welcome to Jacksonville. Carol and I can’t wait to spend more time with you next season. We hope you’ll fill your summer with music and look forward to seeing you in September.

Steven B. Libman

President & CEO

Tickets: 904.354.5547Contributions: 904.354.5477Administration: 904.354.5479JaxSymphony.org

Encore Production Publisher – Onstage PublicationsEditor – Sydney SchlessGraphic Designer – Ken ShadePhotography – Tiffany Manning, Renee Parenteau, Fran RuchalskiProgram Notes – Laurie Shulman

©Jacksonville Symphony Association300 Water Street, Suite 200 | Jacksonville, FL 32202

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STEINWAY & SONSIs the official piano of the Jacksonville Symphony

WELCOME!

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ENCORE THE MAGAZINE OF THE JACKSONVILLE SYMPHONY 2019 – 2020 SEASON VOLUME 26 – EDITION 4

DEPARTMENTS3 Welcome7 Music Director Courtney Lewis8 Symphony Association Board & Administration9, 75-79 Thank You, Supporters11 About the Symphony14-15 Jacksonville Symphony Musicians25 Volunteer Activities and Events43 Meet Steven Libman72 Sound Investment Program74 The Cadenza Society

EVENTS26 PETER AND THE WOLF FAMILY SERIES March 29

29 COPLAND’S GREAT AMERICAN SYMPHONY FLORIDA BLUE MASTERWORKS SERIES April 3 & 4

34 RESPECT: ARETHA FIDELITY NATIONAL FINANCIAL POPS SERIES RAYMOND JAMES COFFEE SERIES April 17 & 18

36 BRAHMS SYMPHONY NO. 2 FLORIDA BLUE MASTERWORKS SERIES REGENCY CENTERS SYMPHONY IN 60 SERIES April 23, 24 & 25

40 MUSIC OF THE KNIGHTS SPECIAL PRESENTATION May 1

44 JACKSONVILLE SYMPHONY YOUTH ORCHESTRAS FESTIVAL OF STRINGS YOUTH ORCHESTRAS SERIES May 4

48 JACKSONVILLE SYMPHONY YOUTH ORCHESTRAS MAJOR/MINOR YOUTH ORCHESTRAS SERIES May 8

52 THE GREAT SCHUBERT SYMPHONY REGENCY CENTERS SYMPHONY IN 60 SERIES May 14

52 BEETHOVEN’S EMPEROR CONCERTO FLORIDA BLUE MASTERWORKS SERIES May 15 & 16

56 PATRIOTIC POPS FIDELITY NATIONAL FINANCIAL POPS SERIES RAYMOND JAMES COFFEE SERIES May 22 & 23

58 JURASSIC PARK SYMPHONIC NIGHT AT THE MOVIES SERIES May 30 & 31

60 MAHLER 1 FLORIDA BLUE MASTERWORKS SERIES June 5 & 6

64 SEASON FINALE: BEETHOVEN’S NINTH SPECIAL PRESENTATION June 12 & 13

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6 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020

† designates deceased

SYMPHONY ASSOCIATION BOARD OF DIRECTORS

JACKSONVILLE SYMPHONY ADMINISTRATION

OfficersDavid M. Strickland, ChairDon Baldwin, Vice Chair

Michael R. Imbriani, TreasurerHon. Gwen Yates, Secretary

Board of DirectorsAkin Agar

Martha BarrettGilchrist B. BergFarrukh A. Bezar

Douglas A. BooherKaren Ann Bower,

Marketing Committee ChairJ.F. Bryan, IV

Rafael CalderaKatharine Caliendo, ex officio

Carl CannonChung-Hae Casler

Elizabeth L. Colledge, Programming Committee Chair

Tyler DannBarbara DarbyStacy B. DerrJack DickisonR. Chris Doerr

Thomas M. Galvin, Jr.

Becky GrimesKatheryn Hancock, ex officio

Randolph R. Johnson, Development Committee Co-Chair

Charles S. Joseph, Governance Committee Chair

Kiki KarpenRoss T. Krueger

Trevor LeeAnne Lufrano

Sheila McLenaghanTracye A. Polson

Bernard ReidyRonald Rettner,

Development Committee Co-ChairDaniel Rios, ex officio

Brenda WolchokTimothy A. Woodward

Douglas C. Worth

Foundation BoardGilchrist B. Berg

Jeffrey E. BernardoR. Chris DoerrPeter Karpen

Honorary DirectorsRuth Conley

David W. FoersterPreston H. HaskellAnne H. HopkinsRobert E. Jacoby

Frances Bartlett KinneMary Carr Patton

Robert T. Shircliff †Mary Ellen Smith

Jay SteinJames Van Vleck

James H. Winston †

EXECUTIVE OFFICESteven Libman, President & CEO

Andreea Vineyard, Executive Assistant & Board Liaison

ARTISTIC OPERATIONSRoger Wight, Vice President & General Manager

Artistic AdministrationTony Nickle, Director of Artistic Administration

Ileana Fernandez, Staff AccompanistLinda Holmes, Ballet Coordinator

Jill Weisblatt, Chorus Manager

Orchestral OperationsBart Dunn, Principal LibrarianRay Klaase, Stage Manager

Jim Neglia, Orchestra Personnel ManagerRoss Triner, Manager of Artistic Operations

Shamus McConney, Technical DirectorJames Pitts, Stage Associate

Kenneth Every, Assistant Orchestra Personnel Manager

Annie Hertler, Bowing Assistant

Education & Community Engagement

Ashley Green, Manager of Education & Community Engagement

MARKETINGPeter Gladstone, Vice President of Marketing

Christie Helton, Director of Marketing & Patron Experience

Scott Hawkins, Director of TicketingSydney Schless, Director of Marketing

& CommunicationsAnna Birtles, Digital Marketing Manager

Christina Reyes, Sales ManagerKen Shade, Graphic Designer

Kaela McLendon, Patron Services SupervisorBetty Byrne, Patron Services Associate

Tara Paige, Patron Services AssociateRobin Robison, Patron Services Associate

Cori Roberts, House Manager

DEVELOPMENTMichelle Barth, Associate Vice President of

Advancement and External AffairsTerri Montville, Director of Grants and Reporting Jimmy Peluso, Director of Business Partnerships

Colin Walker, Individual Giving ManagerDavid Anderlik, Executive Assistant to the VP

of AdvancementCassie Castaneda, Advancement

Events CoordinatorAnn Marie Ball, Patron Systems Specialist

FINANCE & ADMINISTRATIONDeborah Forsberg, Chief Financial Officer

Mark Crosier, ControllerSydna Breazeale, Staff Accountant

Heather Blew, Office Manager


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ABOUT THE JACKSONVILLE SYMPHONY

As Music Director Courtney Lewis begins his fifth season on the conductor’s podium, the Jacksonville Symphony celebrates the 2019-2020 season that promises more weeks of music reaching more people than ever before.

The Jacksonville Symphony is one of Northeast Florida’s most important cultural institutions. Founded in 1949, the Symphony now enjoys a national reputation, regularly heard on more than 250 public radio stations across the country on Performance Today. In March 2020, the orchestra will depart on a tour to Washington, D.C. as one of four orchestras selected from across the country for SHIFT: A Festival of American Orchestras. The Symphony’s home, Robert E. Jacoby Symphony Hall, is considered to be an acoustic gem. Each year thousands enjoy the Symphony’s performances both at Jacoby Symphony Hall in the Times-Union Center for the Performing Arts and at venues located throughout the state of Florida.

The Symphony is also the community’s leader in music education for children, serving four county

school districts. In addition to offering free tickets to children under the age of 18 for selected Florida Blue Masterworks concerts, and other special youth pricing, there are several programs to foster music education. In June 2018, the Jacksonville Symphony Youth Orchestras embarked on its first national tour as one of only three student orchestras invited to perform in the Los Angeles International Music Festival at Walt Disney Concert Hall.

Over the years, the Jacksonville Symphony has hosted some of the most renowned artists of the music world including Isaac Stern, Benny Goodman, Duke Ellington, Marilyn Horne, Luciano Pavarotti, Itzhak Perlman, Kathleen Battle, Mstislav Rostopovich, Audra McDonald, Joshua Bell, Lang Lang, Alisa Weilerstein, Branford Marsalis and Renée Fleming.

For more information about the Jacksonville Symphony, please visit JaxSymphony.org, like us on Facebook at Jacksonville Symphony, follow us on Twitter @JaxSymphony, and on Instagram at JaxSymphony.

© Tiffany Manning

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CELEBRATING BEETHOVEN’S 250TH

Last season, the Jacksonville Symphony brought opera back during a two week long festival celebrating one of the most famous composers of all time: Wolfgang Amadeus Mozart. As part of our 70th season, the Symphony brings to life multiple works from another monumental composer: Ludwig van Beethoven.

Born in 1770, Beethoven is known for paving the way for the future of the musical art form. 2020 will mark his 250th birthday, the perfect occasion for the Jacksonville Symphony to celebrate this composer’s legacy.

By the time he was 26, Beethoven had already started to experience loss of hearing. That didn’t stop him though. By the end of his life, when he was completely deaf, he had composed over 300 works (some of which were not published until after his death).

Knowing the prolific impact Beethoven had on classical music, the case of his deafness becomes an even more interesting characteristic. How is it possible that he was able to create such powerful music without the ability to hear it? Beethoven himself even admits to have struggled with this.

“For two years I have avoided almost all social gatherings because it is impossible for me to say to people ‘I am deaf’,” he wrote. “If I belonged to any other profession it would be easier, but in my profession it is a frightful state.”

As his hearing deteriorated over the years, Beethoven found himself retreating from the public eye. He only accepted a few close friends as visitors and struggled with his degrading state and the isolation

and depression that came with it. So how was it he continued to write music that remains a key part of classical music repertoire?

Music is a language in and of itself. And like spoken languages, music has rules that guide its creation. Having spent most of his life writing music, Beethoven was still able to use those rules in a soundless world to compose. Having also had a gradual deterioration of his hearing, Beethoven was more than familiar with each instrument’s voice and where it fit within the ensemble.

Beethoven’s continued determination to compose, even after having lost a majority of his hearing, is what led to some of his most powerful music, including his instantly recognizable Ninth Symphony. From his silence and his struggles, he was able to bring us one of the most uplifting works in the classical repertoire: Symphony No. 9, a “declaration in favor of universal brotherhood.”

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SPECIAL PRESENTATION

FAMILY SERIESSunday, March 29, 2020 | 3 pm

Robert E. Jacoby Symphony Hall, Times-Union Center for the Performing Arts

PETER AND THE WOLF

Gonzalo Farias, conductorMichael Boudewyns, narrator

Johann Overture to Die Fledermaus (The Bat) STRAUSS JR.

Viet The Wild Woods CUONG

Serge Peter and the Wolf, Op. 67 PROKOFIEV

This program runs approximately 60 minutes.

This performance is presented by Main Street America Group & Duval Motor Company.

Omni Jacksonville Hotel is the official hotel of the Jacksonville Symphony.AVL Productions is the official production partner of the Jacksonville Symphony.

Jax Black Car Transportation is the official transportation of the Jacksonville Symphony.

Gonzalo Farias, Associate ConductorAn engaging Chilean orchestral conductor and award-winning pianist, Gonzalo Farias has been recently appointed as the associate conductor of the Jacksonville Symphony. In an ever-changing world, Gonzalo’s main ambition is to establish music-making as a way of rethinking our place in society by cultivating respect, trust and cooperation among all people in our community.

He served as the assistant conductor of the Virginia Symphony Orchestra under JoAnn Falletta’s leadership. Farias was the recipient of the prestigious Baltimore Symphony Orchestra Conducting Fellowship for two seasons, mentored by Marin Alsop. As former music director of the Joliet Symphony Orchestra, Farias embraced the Hispanic residents of the greater Chicago area with pre-concert lectures, Latinbased repertoire and a unique side-by-side bilingual narration of Bizet’s Carmen.

During the summer, Farias has worked closely with Jaap Van Zweden and Johannes Schlaefli at the Gstaad Menuhin Festival in Switzerland. In the United States, he was the recipient of the prestigious Bruno Walter Memorial Conducting Scholarship twice at the Cabrillo Music Festival and named “Emergent Conductor” by Victor Yampolsky at the Peninsula Music Festival. For the past two summers,


Michael Boudewyns, Actor Sara Valentine, Director & DesignerMichael Boudewyns and Sara Valentine are co-founders of Really Inventive Stuff, and are delighted to return for their second appearance with the Jacksonville Symphony following last season’s The Life and Times of Beethoven.

The Jacksonville Symphony concert marks Michael’s 130th solo performance of Peter and the Wolf. Sara and he invented this production in 2005 for Maestro Rossen Milano and New Jersey’s Symphony in C. Over the past 15 years he has performed it with numerous orchestras, including the National Symphony Orchestra, Milwaukee Symphony Orchestra, Saint Louis Symphony Orchestra, Detroit Symphony Orchestra, and 15 times with the Philadelphia Orchestra. He is thrilled to celebrate this special milestone with the wonderful Jacksonville Symphony.

Based outside of Portland, Maine, and founded in 2004, Really Inventive Stuff, noted for “using simplicity as a form of genius” by The Philadelphia Inquirer, regularly performs family concerts with orchestras internationally (England, Singapore), in Canada, and around the United States.

In the 2019-2020 season, in addition to Jacksonville, Really Inventive Stuff returns to the Philadelphia Orchestra for their 12th season (The Life and Times of Beethoven); Milwaukee Symphony Orchestra (Peter and the Wolf, Toy Symphony); Annapolis Symphony Orchestra (The Life and Times of Beethoven); and Symphony in C (The Life and Times of Beethoven).

Michael grew up in Iowa. He has a BA in Theatre from the University of Northern Iowa, and his MFA in Acting from the University of Delaware.

Sara grew up in Massachusetts. She has a BA in Theatre from Ithaca College, and her MFA in Acting from the Professional Theatre Training Program at the University of Delaware. Sara is assistant professor and chair of the Department of Theatre at the University of Southern Maine.

Farias was Marin Alsop’s assistant for the New Music Festival curated by the Baltimore Symphony Orchestra. Out of 566 applicants and 78 countries, Gonzalo was chosen as one of the 24 finalists of the prestigious 2018 Malko Conducting Competition with the Danish National Symphony Orchestra. He has conducting experience with orchestras including the Charlotte Symphony, Baltimore Symphony, Buffalo Philharmonic, Zagreb Philharmonic, National Symphony of Chile, among others.

Gonzalo Farias was born in Santiago de Chile, where he began his piano studies at age five. He earned his bachelor’s degree at the P.C. University of Chile, and then continued his graduate piano studies at the New England Conservatory as a full scholarship student. He has won first prize at the Claudio Arrau International Piano Competition and prizes at the Maria Canals and Luis Sigall Piano Competitions. As a conductor, Farias attended the University of Illinois working with Donald Schleicher, the Peabody Conservatory with Marin Alsop, worked privately with the late Otto-Werner Mueller, and studied under the guidance of Larry Rachleff for several years.

Michael Boudewyns

Sara Valentine

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MASTERWORKS SERIESFriday and Saturday, April 3 & 4, 2020 | 8 pm

“Insight” one hour prior to each Masterworks concert


COPLAND’S GREAT AMERICAN SYMPHONYCarlos Miguel Prieto, conductorAmanda Crider, mezzo-soprano

Manuel de The Three-Cornered Hat FALLA INTRODUCTION PART I Afternoon Dance of the Miller’s Wife The Grapes PART II Dance of the Neighbors The Miller’s Dance The Corregidor’s Dance The Final Dance

INTERMISSION

Aaron Symphony No. 3 COPLAND Molto moderato; with simple expression Allegro molto Andantino quasi allegretto Molto deliberato - Allegro risoluto

This program runs approximately 1 hour 45 minutes.

Masterworks guest artists are sponsored by Ruth Conley.



Tickets: 904.354.5547JaxSymphony.org

Thank you for joining us!If you have any questions about your experience with us, please feel free to ask a staff member or usher in the lobby. We hope to see you again!

If you enjoyed tonight’s performance, you may also like these upcoming performances!

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Carlos Miguel Prieto, ConductorCarlos Miguel Prieto was born into a musical family of Spanish and French descent in Mexico City. His charismatic conducting is characterized by its dynamism and the expressivity of his interpretations. Prieto is recognized as a highly influential cultural leader and is the foremost Mexican conductor of his generation. He has been the music director of the Orquesta Sinfónica Nacional de México, the country’s most important orchestra, since 2007. Prieto has also been music director of the Louisiana Philharmonic Orchestra (LPO) since 2006, where he has led the cultural renewal of New Orleans following Hurricane Katrina. In 2008 he was appointed music director of the Orquesta Sinfónica de Minería, a hand-picked orchestra which performs a two-month long series of summer programs in Mexico City.

Prieto’s 2018-2019 season included his debuts with the National Symphony Orchestra, Washington, Orquesta Sinfónica de Castilla y León and the BBC National Orchestra of Wales. Other recent highlights include his debuts with the London Philharmonic Orchestra, the Minnesota Orchestra and the Los Angeles New Music Group. Prieto is in great demand as a guest conductor with many of the top North American orchestras including Cleveland, Dallas, Toronto and Houston Symphony orchestras and has enjoyed a particularly close and successful relationship with the Chicago Symphony Orchestra.

Since 2002, alongside Gustavo Dudamel, Prieto has conducted the Youth Orchestra of the Americas, which draws young musicians from the entire American continent. A staunch proponent of music education, Prieto served as principal conductor of the YOA from its inception until 2011 when he was appointed music director. In early 2010 he conducted the YOA alongside Valery Gergiev on the 40th anniversary of the World Economic Forum at Carnegie Hall. In 2018 he conducted the orchestra on a tour of European summer festivals, which included performances at the Rheingau and Edinburgh festivals as well as Hamburg’s Elbphilharmonie.

Prieto is renowned for championing Latin American music and has conducted over 100 world premieres of works by Mexican and American composers, many of which were commissioned by him.

Amanda Crider, Mezzo-sopranoPraised for her “focused golden toned voice,” American mezzo-soprano Amanda Crider is quickly gaining recognition for her extraordinary musicality and assured dramatic presence. Engagements for the 2018-2019 season included soloist in Bernstein’s Jeremiah and Beethoven’s Ninth Symphony with the Amarillo Symphony, the title role in L’incoronazione di Poppea with Florentine Opera, Bach’s B Minor Mass with Apollo’s Fire, a return to the Jacksonville Symphony for Handel’s Messiah, and her debut with the Calgary Philharmonic. In the 2017-2018 season Crider performed Alma in Persona with LA Opera, Handel’s Messiah with the Jacksonville Symphony, Angelina in La Cenerentola with Opera Orlando, Speranza in L’Orfeo with Apollo’s Fire, and the title role in Carmen with Pine Mountain Music Festival.

In the 2016-2017 season, Crider made her debut with Boston Lyric Opera as Doreen in Greek, and joined Apollo’s Fire for Handel’s Messiah and the Southwest Michigan Symphony for Beethoven’s Ninth Symphony. The 2015-2016 season saw her return to Eugene Opera as Olga in Eugene Onegin, her debut with Florentine Opera as Prince Orlovsky in Die Fledermaus, Alma in Persona with Beth Morrison Projects, a series of concerts with Seraphic Fire, and Handel’s Messiah with Augustana College.

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PROGRAM NOTES By Laurie ShulmanManuel de Falla (1876-1946)

The Three-Cornered Hat 34 minutes

Along with his older countrymen Isaac Albéniz and Enrique Granados, Manuel de Falla helped to restore Spanish music to a level it had not enjoyed since Renaissance times. Enormously gifted, he was drawn to music early. He decided on composition after developing a passion for the works of the Norwegian composer Edvard Grieg, vowing to achieve a comparable legacy for Spanish music.

In 1907, at the age of 31, he went to Paris, where he benefitted by his association with Debussy and Ravel. Falla’s was an original voice, however, and he learned from them without imitating; to the contrary, both Debussy and Ravel were drawn to the sensuous harmonies and compelling rhythms of Falla’s native Spain, revealing more of Spain in their French music than Falla did of France in his own.

Falla composed some 20 operas, only one of which, La vida breve, has achieved any kind of niche in the standard repertoire. He is best known for his symphonic impressions for piano and orchestra, Nights in the Gardens of Spain, and the two ballet scores El amor brujo [Love the magician] and The Three-Cornered Hat.

In its original 1917 version, The Three-Cornered Hat was a comic pantomime about flirtation, temptation, attempted seduction and mistaken identity. The Russian impresario Serge Diaghilev convinced Falla to develop Pedro Antonio de Alarcon’s folk tale into a ballet. It premiered in London in 1919, with sets by Picasso. Falla added the Introduction so that the English audience would have sufficient time to appreciate the drop-curtain that Picasso had designed.

The work is suffused with musical humor, relying heavily on folk dances of Murcia, Aragon, Navarre, and Falla’s native Andalusia. Falla’s vibrant score breathes the perfumes of Spain, with arresting melodies and foot-tapping (sometime foot-stomping) rhythms.

The scenario revolves around an ugly miller and his beautiful young wife. They love each other but neither can resist flirtation. The ballet takes its name from the local magistrate [Corregidor], whose three-cornered hat symbolizes authority. The bassoon illustrates his stuffy, self-important personality. The miller’s wife catches his eye as he passes by in a procession. Slipping back to attract her attention, he watches as she dances, ignoring him. ‘Dance of the Miller’s Wife’ is a fandango, a dance in rapid triple time customarily danced by a couple with accompaniment of guitar and castanets. When she eventually acknowledges his presence, she dances a very Spanish minuet, tempting him with a cluster of grapes that she keeps just out of reach. Falla’s music frequently evokes the sonorities of Spanish guitar.

The ballet’s second scene takes place on St. John’s Eve. The neighbors assemble for a party: they will drink wine and dance. “The Neighbors’ Dance” is a seguidilla, with origins in Andalusia; it is also in moderately fast triple meter. The ‘Miller’s Dance’ is a farruca, a Gypsy dance with abrupt changes of tempo and mood. This number was likely added to the score to provide a solo for the Russian dancer and choreographer Leonid Massine, who created the role of the Miller. It shows him as a strong, macho type.

At this point the plot becomes very complicated, with the Corregidor winding up in the Miller’s house, and the Miller stealing away disguised in the magistrate’s uniform—to serenade the Corregidor’s wife! In the end, the Miller and his wife are reconciled and everyone lives happily ever after. Falla’s ‘Final Dance’ is a jota, with roots in Aragon (northeastern Spain) but widely known throughout the country. Jotas appear in the music of several non-Spanish composers, notably Franz Liszt, Mikhail Glinka, and Camille Saint-Saëns. Falla’s is a Spanish-to-the-core heart-pounder!

Aaron Copland (1900-1990)

Symphony No. 3 43 minutes

No European composer could have written Copland’s Third Symphony. It is as American as apple pie, as patriotic as the flag, suffused with the spirit and strength of America’s heartland. Often cited as a prime example of Copland’s so-called “patriotic” period, the Third Symphony manages to retain its dignity without slipping into the histrionics and chauvinism of, say, Tchaikovsky’s 1812 Overture.

The Third Symphony is Copland’s largest orchestral work. Starting in the late 1930s, Copland composed the series of ballets on which his reputation principally rests: Billy the Kid (1938), Rodeo (1942), and Appalachian Spring (1943-44). Though these scores were all written for orchestra, the collaborative presence of narrative dance governs their spirit. With the Third Symphony, Copland returned to absolute music. But he brought with him the lyric spirit of the ballets, and the intense flavor of Americana that so uniquely stamps each one.

Emotionally, the core of the work is its finale, which takes as its starting point Copland’s 1942 Fanfare for the Common Man. The last movement is the only one of the four in sonata form, and is the most traditional in other ways. An atmosphere of prelude permeates the first three movements, heightening the dramatic tension and the psychological impact of the entire symphony.

In a 1978 interview with Philip Ramey, Copland observed:

Before the Third Symphony, my so-called grand-manner music was what might be termed lean-grand. The Symphony tends more toward the fat-grand side: I’m thinking now of the orchestration, the longer-lined melody, the duration. This may have come as a surprise to those who were familiar with my previous work.

Copland disclaimed any direct use of folk or popular music in a program note he provided for the 1946 premiere of the symphony: “Any reference to jazz or folk material in this work is purely unconscious.” But Latin American rhythms, cowboy prairie songs, and New England hymns have all left their sympathetic echo in the Copland’s symphony, however unconsciously.

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The Symphony opens in E-major with a predominantly slow, hymn-like character, a sort of Americanized Mahler style. Copland thought of this movement as an arch. This type of first movement has distinguished precedent in earlier American works by Charles Ives, Virgil Thomson and Roy Harris. Copland imprints his individuality on it with a thematic kinship to his Fanfare and to certain pastoral sections of Appalachian Spring.

The second movement is more traditional, a tripartite scherzo that relies heavily on the brasses. A march-like theme introduces the military element. Copland’s expanded orchestral palette blossoms in this Allegro molto, with colorful solos for celesta, xylophone and piano.

He emphasizes the idea of extended introduction to the all-important finale by connecting his last two movements, which are played without pause. In contract to the second movement, brasses are noticeably absent from the slow movement. Only solo horn and trumpet make an appearance. A subtle transition leads to the familiar Fanfare music, with unexpected tranquillity. Flutes and clarinets begin, before

proud trumpets, horns and timpani proclaim their salute. Copland’s fanfare honors not the hero of battle, but the shared efforts of a nation strapped by wartime hardship. Pastoral and military elements settle their differences in the conclusion, moderated by another hymn. Virgil Thomson called this finale “a triumphal affirmation of faith in the pastoral virtues.”

The Koussevitzky Music Foundation commissioned Copland’s Third Symphony, which bears a dedication to the memory of Natalie Koussevitzky. The work was premiered by the Boston Symphony under the direction of Serge Koussevitzky in November 1947, and won the New York Music Critics Circle Award that year.


POPS SERIES

Aretha FranklinShe is both a 20th and 21st century musical and cultural icon known the world over simply by her first name: Aretha. The reigning and undisputed “Queen Of Soul” has created an amazing legacy that spans an incredible six decades, from her first recording as a teenage gospel star, to her most recent RCA Records release, Aretha Franklin Sings The Great Diva Classics.

Her many countless classics include “(You Make Me Feel Like) A Natural Woman,” “Chain Of Fools,” “I Never Loved A Man (The Way I Love You)”; her own compositions “Think,” “Daydreaming” and “Call Me”; her definitive versions of “Respect” and “I Say A Little Prayer”; and global hits like “Freeway Of Love,” “Jump To

It,” “I Knew You Were Waiting (For Me),” her worldwide chart-topping duet with George Michael, and “A Rose Is Still A Rose.”

The recipient of the U.S.A.’s highest civilian honor, The Presidential Medal Of Freedom, an eighteen (and counting) GRAMMY Award winner — the most recent of which was for Best Gospel Performance for “Never Gonna Break My Faith” with Mary J. Blige in 2008 — a GRAMMY Lifetime Achievement and GRAMMY Living Legend awardee, Aretha Franklin’s powerful, distinctive gospel-honed vocal style has influenced countless singers across multi-generations, justifiably earning her Rolling Stone magazine’s No. 1 placing on the list of “The Greatest Singers Of All Time.”

www.arethafranklin.net

Friday, April 17, 2020 | 11 amFriday and Saturday, April 17 & 18, 2020 | 8 pm


RESPECT: ARETHAGonzalo Farias, conductor

Calvin and Ellen Hudson Charitable Trust Endowed ChairCoCo Smith, vocalist

Shaleah Adkisson, vocalistMelvin Tunstall, vocalist

John Boswell, piano

Selections to be announced from the stage.

This program runs approximately 2 hours.



Coco Smith, Guest VocalistCoco is thrilled to be part of RESPECT: A Tribute to Aretha Franklin having spent the last few years traveling the world with The Book of Mormon (Broadway/ National Tour/International). Since being chosen one of “Broadway’s Rising Stars” in 2015, Coco has starred in numerous regional productions including Oklahoma (Weston Playhouse), Sideshow (Near West Theatre), Children Of Eden (Near West Theatre), and made a return appearance in the 2016 edition of “Broadway’s Rising Stars” at historic Town Hall in the heart of Times Square. She is a graduate of the American Musical and Dramatic Academy in New York City. Coco would like to give special thanks to Mary Feeney and Amanda Colliver. #99CoCoProblems

http://www.arethafranklin.net

Melvin Tunstall, III, Guest VocalistNorth Carolina native Melvin Tunstall made his Broadway debut in Beautiful: The Carole King Musical at the Sondheim Theater and has been performing with the show for over 1,500 performances. Before taking Broadway by storm, he appeared in the European Tour of the Tony Award-winning hit musical Ain’t Misbehavin!, which played many of the world’s most renowned stages including the legendary Folies Bergère in Paris, France. Prior to joining the company, Melvin originated the role of “Ja’Keith” in the Original Toronto Company of the Broadway smash Rock of Ages. Melvin is the creator of the original musical BLooM!, which was a finalist in the renowned NAMT Festival in New York City. His show Polkadots: The Cool Kids Musical won the Off-Broadway Alliance Award for Best Family Show in 2018. Melvin currently resides in New York City where he is hard at work writing the book, melodies and lyrics to Senior Class: a new musical.

Shaleah Adkisson, Guest VocalistShaleah Adkisson has been seen on Broadway and on tour in Hair: The American Tribal Love Rock Musical and off-Broadway in the revival of Rent. She has also performed in regional productions of Jubilee (Arena Stage), Clybourne Park, Avenue Q (Arkansas Repertory Theatre), The Hot Mikado, Beehive: The 60’s Musical, Ain’t Misbehavin’ (Broward Stage Door Theatre), Grease, Nunsense (Murry’s Dinner Playhouse) and Children of Eden (Arkansas Repertory Theatre).

When not working in the theatre she works as an administrator and teaching artist with Bridge Arts Ensemble, an organization of freelance musicians catering to school districts in upstate New York. Additionally, she performs in New York City and on tour with Soul Picnic Productions (Back to the Garden and August 1969: A Tribute to the Women of Woodstock).

John Boswell, PianistPianist John Boswell has served as musical director for Judy Collins, Andy Williams, Bob Newhart, Faith Prince, Scott Coulter, Maude Maggart, Carmen Cusack, Babbie Green, Jason Graae and a host of other fine talents. John played the role of “Moose” in the national tour of Crazy For You and has appeared on The Tonight Show, Today Show, CBS This Morning, Regis And Kathie Lee, General Hospital and was the piano playing hands of Nancy McKeon on the sit-com The Facts Of Life. Recent concerts with symphonies have included Jerry Herman: The Broadway Legacy Concert, Blockbuster Broadway!, Sheena Easton and Scott Coulter: The Spy Who Loved Me and Music Of The Knights. Boswell has been heard singing in the shows Three Men And A Baby...Grand, Cinema Toast, Broadway Today, Wiseguys and the New York cult hit Cashino. Broadway/Off-Broadway credits include Crazy For You, The Secret Garden, LIZA! Steppin’ Out At Radio City Music Hall, Back To Bacharach And David and The Kathy And Mo Show: Parallel Lives. His monthly concerts in 2017 at The Gardenia in Los Angeles have been crowd pleasers. Boswell has eight CDs of original piano music and a ninth on the way. While a student at UCLA, John received the Frank Sinatra Award for popular instrumentalists.

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MASTERWORKS SERIES

SYMPHONY IN 60 SERIES




Thursday, April 23, 2020 | 6:30 pmFriday and Saturday, April 24 & 25, 2020 | 8 pm



BRAHMS SYMPHONY NO. 2Matthew Halls, conductor

Franz Joseph Symphony No. 96 in D major, “The Miracle” HAYDN Adagio - Allegro Andante Menuet: Allegretto Vivace

Piotr Ilyich Suite No. 4 in G major, Op. 61, “Mozartiana” TCHAIKOVSKY Gigue Minuet Prayer (Ave verum corpus) Theme and Variations on a theme of Gluck

INTERMISSION

Johannes Symphony No. 2 in D major, Op. 73* BRAHMS Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito


*This is piece is on the Regency Centers Symphony in 60 program.




36 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 202036 WWW.JAXSYMPHONY.ORG – MARCH – JUNE 2020

Matthew Halls, ConductorThe word “versatile” is an apt description for British conductor Matthew Halls. He first came to prominence as a keyboard player and early music conductor, but Halls is now better known for his dynamic and intelligent work with major symphony orchestras and opera companies, and for his probing and vibrant interpretations of music of all periods.

Increasingly in demand by North American symphony orchestras, Halls has performed with the Cleveland and Philadelphia Orchestras; Dallas, Pittsburgh, Houston, Seattle, Indianapolis, and Utah Symphonies; Los Angeles Chamber Orchestra; and National Arts Centre Orchestra. His debut with the Toronto Symphony, in which he led Beethoven’s Ninth Symphony “captured much of the energy and excitement that its first audience must have felt at its premiere nearly 200 years ago” (Toronto Star). Having served as artistic director of the Oregon Bach Festival for five years, Halls is equally at home conducting baroque and contemporary repertoire.

In 2019-2020, Halls’ North American guest appearances include return appearances with Seattle (Messiah), Kansas City (Haydn, MacMillan, Beethoven), and Jacksonville (Brahms Symphony No. 2) symphonies along with an appearance at the Colburn School in Los Angeles. He recently made his New York debut with Lincoln Center’s Mostly Mozart Festival in a performance with violinist Joshua Bell.

In recent seasons, Halls has performed in Australia with the Adelaide Symphony Orchestra, Tasmanian Symphony Orchestra, and with the Auckland Philharmonia. His is a regular with the Iceland Symphony Orchestra recently having presented a series of five performances traversing all of Beethoven’s piano concerti with Paul Lewis. Recent and upcoming European engagements include those with BBC Scottish Symphony Orchestra, South Netherlands Philharmonic, Finnish Radio Symphony, Hong Kong SingFest, Bournemouth Symphony Orchestra, Warsaw Philharmonic, Mozarteum Salzburg, Philharmonie Zuidenderland, and Capriccio Barockorchester.

Visit Matthew Halls on the web at www.schwalbeandpartners.com.

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PROGRAM NOTES By Laurie ShulmanFranz Joseph Haydn (1732-1809)

Symphony No. 96 in D major, “The Miracle” 20 minutes

“I am Salomon from London and I have come to fetch you. Tomorrow we shall conclude an agreement.”

With these blunt words to Joseph Haydn in December 1790, Johann Peter Salomon triggered one of the most fruitful artistic partnerships in history, and gained for himself a measure of immortality as well. German by birth, Salomon had earned a respectable reputation as a violinist, but he made his career as a concert producer in London, a sort of Sol Hurok of the late eighteenth century. He was not a man to bypass a promising opportunity. Upon learning of the death of Prince Nikolaus Esterházy, he hastened to Vienna to approach Haydn, realizing that the Prince’s passing would likely mean a major shift in Haydn’s responsibilities to the noble Austro-Hungarian family.

And so proved to be the case. Events transpired rapidly: the composer arrived in London for the first time on 2 January 1791, barely three months after Prince Nikolaus had died. Salomon did well by Haydn, who produced six symphonies during that first London trip alone. The Symphony No. 96 in D-major was the first of the series to be composed, and was almost certainly the first to be performed.

The work takes its nickname from an apocryphal story about a chandelier dropping from the ceiling of the concert hall, immediately after the audience, moved and thrilled by the performance, had rushed forward to the stage to congratulate the composer and the musicians. Because of their forward surge, no one was injured by the accident, a fortuitous circumstance regarded as a miracle at the time. According to Haydn’s biographer Vernon Gotwals, the chandelier actually fell during the finale of Symphony No.102, introduced during the 1794/95 season; thus, the legend has been proved incorrect. Still, the sobriquet has stuck to this symphony.

By the 1790s, Haydn’s habit of beginning his symphonies with a slow introduction was standardized;

this one opens with a stately Adagio in triple meter. The Allegro style is quasi-concertante, with important solo lines for virtually all the instruments (solo violin has a significant role), and a chamber-like atmosphere.

His slow movement is light in tone, sometimes barely suppressing its mirth, as if the composer had some secret practical joke up his sleeve. (In contrast, the third movement Minuet is rather sedate.) The second movement is also distinguished by some cadenza-like passages for small ensemble, underscoring the concertante style introduced in the first movement. Haydn concludes this joyous symphony with an exuberant rondo of a strong military cast; it is the sole movement in the Miracle in duple rather than triple meter.

Peter Ilych Tchaikovsky (1840-1893)

Suite No. 4 in G major, Op. 61, “Mozartiana” 25 minutes

Tchaikovsky composed four orchestral suites between 1878 and 1887. They have neither the musical weight nor the dramatic import of his symphonies, yet the suites bear the unmistakable imprint of Tchaikovsky’s genius for orchestration. Each glitters with unexpectedly bright coloristic details that reward the listener.

Tchaikovsky was on holiday in the Caucasus with his brothers Modest and Anatoly when he composed the Fourth Suite. Each movement adapts a lesser-known Mozart composition. The first two are largely straightforward transcriptions of piano pieces: the Gigue, K.574 and Minuet, K.355. The third movement “Preghiera” [Prayer] is a free arrangement of Franz Liszt’s transcription of the Ave Verum Corpus, K.618. As such, it is twice removed from Mozart, a distance emphasized by the inclusion of harp in the orchestration.

The Suite concludes with variations loosely based on Mozart’s own piano variations, K.455 on a theme from Gluck’s opera La rencontre imprévu. Here the scoring incorporates cymbals and glockenspiel, lending a whimsical —and decidedly un-Mozartean—flavor to the music. As a curiosity piece, Mozartiana has value simply because of its authorship. Thanks to Tchaikovsky’s innate gift for instrumental color, the arrangements rise above the level of mere salon music.

Johannes Brahms (1833-1897)

Symphony No. 2 in D major, Op. 73 43 minutes

“So many melodies fly about that one must be careful not to tread on them.” So wrote Johannes Brahms to friends in Vienna during the summer of 1877. His rapturous observation was prompted by the beautiful mountain village of Pörtschach am Wörthersee in the province of Carinthia. His inspiration flowed during that glorious summer, yielding this Second Symphony, the Violin Concerto, and the first Violin Sonata. “It is all rippling streams, blue sky, sunshine and cool green shadows. How beautiful it must be at Pörtschach!” exclaimed Brahms’s friend Theodor Billroth, upon hearing the new symphony played through at the piano.

Often called ‘Brahms’ Pastoral,’ Op.73 overflows with the dappled sunlight and exquisite natural beauty of the Austrian alps. It is nearly devoid of the tension and tragic struggle that permeate the First Symphony. Eduard Hanslick, the powerful Viennese critic, spoke of its “untroubled charm.” Yet the symphony is not without urban sophistication. Michael Musgrave has written: “The Second Symphony opens in the world of the symphonic waltz, as made familiar in Vienna by Johann Strauss, Jr.”

The first movement is in gentle, swaying triple time. While not unprecedented in a symphonic first movement (Mozart’s No. 39, Haydn’s Miracle and Beethoven’s Eroica are the most famous examples), triple time was still somewhat unusual in Brahms’ day. Far from apologizing for it, he emphasized it with a frankly waltz-like second subject, closely related to his beloved Lullaby. Though it has dramatic moments, notably a fugal development section, the first movement firmly establishes an aura of benign geniality that prevails for most of the symphony. The coda includes a dreamy horn solo, one of those delicious scoring details that rewards careful listening.

The rich key of B major provides the backdrop for a rare hint of darkness in this predominantly sunny symphony. Brahms’ slow movement, Adagio non troppo, begins with a luscious, expressive cello melody. Though the celli relinquish the melody at its second statement, they reclaim it several times, and retain a high profile throughout the movement. Surprisingly, Brahms emphasizes the darker sound of the lower instruments by retaining timpani, trombones and bass tuba in his scoring; frequently they remain silent in slow movements.


A transitional passage switches meter from 4/4 to 12/8, ushering in a contrasting middle section in B minor. Clouds temporarily obliterate the sunshine before a poignant oboe solo reintroduces the cello melody of the beginning.

Timpani and low brass disappear in the Allegretto grazioso. More an intermezzo than a scherzo, this gentle movement rocks gracefully between major and minor modes, recalling similar ambivalence in Schubert. Its two intervening trio sections (one in 2/4, the other in 3/8), have a sprightlier character, but still draw their melodic motives from the Allegretto. Both trios include some fine woodwind passages.

Brahms the contrapuntalist is in rare form in the finale, applying virtually every technique in the imitative book. After a bright start for strings alone, he takes maximum advantage of the episodes in this sonata-rondo for ingenious contrapuntal feats. Canon and inversion, augmentation and diminution, fugato: all are incorporated with consummate skill. The sunshine of the first movement is definitively restored, with a healthy dash of Haydnesque exuberance thrown in for good measure.

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SPECIAL PRESENTATIONFriday, May 1, 2020 | 8 pm


MUSIC OF THE KNIGHTSGonzalo Farias, conductor

Scott Coulter, vocalistKelli Rabke, vocalist

Lorinda Lisitza, vocalist

Selections to be announced from the stage.



Jax Black Car Transportation is the official transportation of the Jacksonville Symphony. Scott Coulter, Guest VocalistScott Coulter is one of New York’s most honored vocalists. For his work in cabaret, he has received five MAC Awards (Manhattan Association of Cabarets & Clubs), five Bistro Awards and two Nightlife Awards for Outstanding Vocalist and has performed at most of NYC’s top rooms including Birdland, 54 Below, The Oak Room at the Algonquin, and Feinstein’s at The Regency where he spent a record-setting eight months performing the revue 11 O’clock Numbers At 11 O’clock which he also co-created, directed and musically arranged. His self-titled debut CD won the 2003 MAC Award for Outstanding Recording and was chosen as the best recording of the year by TheatreMania and Cabaret Scenes magazines. Coulter was director and star of A Christmas Carol: The Symphonic Concert in its world premiere with the Baltimore Symphony and reprised his performance in the Emmy-nominated PBS production which premiered in December 2013. He was an Emmy nominee himself for his performance in American Song at NJPAC. Coulter regularly performs in concert both as a solo artist and with a variety of legendary performers including Stephen Schwartz, Tony-winner Ben Vereen and Grammy-winner Sheena Easton and has performed with symphonies all over the world including San Francisco, Baltimore, Seattle, Phoenix, Detroit, Winnipeg, St. Louis and Calgary.

Sir Andrew Lloyd Webberis the composer of some of the world’s best-known musicals.

When Sunset Boulevard joined School Of Rock, Cats and The Phantom Of The Opera on Broadway in 2017, Andrew became the only person to equal the record set in 1953 by Rodgers and Hammerstein with four Broadway shows running concurrently. Other musicals he has composed include Aspects Of Love, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Evita and Love Never Dies.

Sir Elton Hercules John, CBEis one of the most highly acclaimed and successful solo artists of all time.

Elton has sold more than 300 million records worldwide. He holds the record for the biggest selling single of all time, Candle In The Wind (1997), which sold over 33 million copies. Since launching his first tour in 1970, Elton has over 4,000 performances in more than 80 countries to his credit.

Elton is the most successful solo male in the history of the American charts and the third most successful artist overall, behind only Madonna and the Beatles.

Sir Paul McCartneywas born June 18, 1942, in Liverpool, England. His work as a singer/songwriter with The Beatles in the 1960s helped transform popular music into a creative, highly commercial art form, with an uncanny ability to blend the two. He is also one of the most popular solo performers of all time, in terms of both sales of his recordings and attendance at his concerts.


Kelli Rabke, Guest VocalistKelli Rabke got her “big break” playing the role of Dorothy in Paper Mill Playhouse’s acclaimed production of The Wizard of Oz. Shortly thereafter, she was handpicked by Andrew Lloyd Webber to play the lead role of the Narrator in the Broadway revival of Joseph and The Amazing Technicolor Dreamcoat (U.S. Cast Recording). Following that, she played her dream role: Eponine in Les Misérables on Broadway. She went on to perform in regional theaters across the country in such roles as Mabel in Mack and Mabel, Christine in Phantom, and back to Paper Mill Playhouse in Stephen Schwartz’s Children of Eden as Yonah (American Premiere Recording). She is one of only two Broadway stars to originate a role in both a Stephen Schwartz and an Andrew Lloyd Webber musical—a distinction for which she is incredibly honored.

Rabke left the bright lights of the stage for a few years and turned her attention to her family. Her proudest accomplishments to date are her son, Joseph, and daughter, Abigale. A new chapter in her career began when joining the board of the BergenPAC in Englewood, NJ. There she developed the Kidz Cabaret series, the BeyondMusic program of instrumental lessons, and her personal favorite: MUSIC SPEAKS—an early childhood music education class for infants through 4 years old.

Rabke was thrilled to return to the NYC stage at the beautiful and historic Town Hall where she has been seen in numerous concerts including Broadway Originals and Broadway Unplugged. Recently, she was the headliner for the Broadway On the Boardwalk concert in Ocean City, NJ, performed at Broadway Ballyhoo at the Laurie Beechman Theatre.

Lorinda Lisitza, Guest VocalistLorinda Lisitza is an award-winning NYC singer/actress originally from Porcupine Plain, Saskatchewan who has been part of Music of the Knights since its world premiere with the Calgary Philharmonic. In New York she has performed Off-Broadway as a member of the Jean Cocteau Repertory Theatre where she starred as Mother Courage to rave reviews and has appeared in several installments of The York Theatre’s “Musicals in Mufti” series. As a vocalist she has been a part of The Town Hall’s historic “Broadway by the Year” series and is a founding member of the Joe Iconis Family with whom she regularly performs in cabarets and nightclubs throughout NYC for a devoted cult following. She has won three MAC Awards, a Bistro Award and a Nightlife Award for her work in cabaret and received the prestigious Patrick Lee Independent Theater Blogger Award for her one woman show, Triumphant Baby!, written by Joe Iconis and Robert Maddock. As a singer-songwriter she is half of the award-winning duo, The Ted and Lo Show, with Ted Stafford. Lorinda has appeared on “Who Wants to be a Millionaire,” plays a mean harmonica and is an avid Texas Hold’em player.

ENCORE 41

MEET STEVEN LIBMAN, PRESIDENT & CEO

Steven Libman is a highly successful and respected executive with over 30 years of experience leading major arts organizations with extensive knowledge of producing dance and theatre and presenting multi-disciplinary performing arts series with an emphasis on classical music and jazz. He is nationally recognized for developing an entrepreneurial and creative approach to strategic planning, fundraising, programming, branding, marketing initiatives, institutional growth, and problem solving. He has raised over $150 million throughout his career.

Previously, Libman served as the Chief Advancement Officer for Atlanta Ballet, President/CEO of the Center for the Performing Arts, a three-venue performing arts center and museum (IN), the Managing Director of the Tony Award-winning La Jolla Playhouse, and the Managing Director of the Pittsburgh Ballet.

Libman was the co-creator and co-host of a radio show focused on arts education called, “The Voice of the Performing Arts that appeared weekly on public radio WICR from the University of Indianapolis and was pod cast nationally through iTunes. Since its launch in March 2013 through 2016, over 500 guests appeared through 160 shows for a weekly audience of up to 10,000 listeners.

He is the author of many articles that focus on arts administration and has also taught classes in leadership and fundraising to graduate students at Carnegie Mellon University, University of Pittsburgh, University of California/San Diego and Syracuse University. Libman was a Founding Member of the National Task Force on Dancer Nutrition through Dance/USA.

Libman holds a Bachelor of Arts Degree in Performing Arts Management from Rhode Island College and holds a Certificate in Strategic Perspectives in Non-profit Management from the Harvard University Graduate School of Business Administration, and a Certificate in Strategy from the Stanford University Graduate School of Business.

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YOUTH ORCHESTRAS SERIESMonday, May 4, 2020 | 7 pm


JSYO FESTIVAL OF STRINGS

Jump Start Strings David Song, conductor Ludwig van Ode to Joy BEETHOVEN

arranged by SONG

TRADITIONAL French Folk Song arranged by SONG

Jean Finlandia SIBELIUS arranged by SONG

Communities in Schools Patrice Evans, conductor John Wieland, conductor Mark First Scale March WILLIAMS

TRADITIONAL When the Saints Go Marching In

Foundation Strings Rose Francis, conductor TRADITIONAL De Colores arranged by WAGNER

TRADITIONAL Golden Slumbers arranged by STROMMEN Patrick Flash Point! ROSZELL

INTERMISSION

About the Jacksonville Symphony Youth Orchestras The Jacksonville Symphony Youth Orchestras (JSYO) are Northeast Florida’s premier developmental orchestral ensembles. Last season, the JSYO served more than 300 young musicians ages 7-21, who were admitted through competitive auditions. Through the in-depth study of classical repertoire, each orchestra improves its musical skills and understanding at both the individual student level and the ensemble level. In all, there are six ensembles which rehearse and perform under the direction of JSYO Principal Conductor and Symphony Assistant Conductor, Deanna Tham and her team of music educators. These professional conductors, along with Jacksonville Symphony musicians, nationally recognized soloists, and other professional educators in the community, enable the JSYO to serve the needs of each young musician with individualized, ability-level specific instruction.

JSYO members are afforded unique musical experiences, in addition to the exposure to and performance of orchestral masterworks. For example, JSYO ensembles perform in the Times-Union Center’s Jacoby Symphony Hall during the season as well as the annual Major/Minor concert, which will be conducted by Jacksonville Symphony Associate Conductor Gonzalo Farias. At this concert, finalists in the annual Young Artists Concerto Competition showcase their exceptional talents by performing with the Jacksonville Symphony. The JSYO also perform free community engagement concerts, both in Jacoby Symphony Hall and at various First Coast locations. In the summer of 2018, the JSYO Philharmonic participated in their first-ever tour to the Los Angeles International Music Festival where they performed at the Walt Disney Concert Hall.

For more information visit jaxsymphony.org/jsyo

Support for the JSYO is provided in part by:THE PLAYERSRice Family Foundation Publix Super Markets CharitiesRowe Charitable FoundationBrady S. Johnston Perpetual

Charitable TrustFlorida State College at Jacksonville


http://www.jaxsymphony.org/jsyo

YOUTH ORCHESTRAS SERIES




Encore Strings Helen Morin, conductor Ludwig van Bagatelle, Op. 119, No. 1 BEETHOVEN arranged by GRUSELLE

Chris Rainfall in Vernazza THOMAS

Soon Hee Blue-Fire Fiddler NEWBOLD

Premier Strings Helen Morin, conductor Sig. Allegro ANDERSSEN arranged by MCCASHIN

Ludwig van Scherzo from Symphony No. 2 in D major, BEETHOVEN Op. 36 arranged by HOFFMAN

Michael Music from Coco GIACCHINO arranged by MOORE

Please see insert for student roster and conductor biographies.This program runs approximately 1 hour 10 minutes.

To read Deanna Tham’s biography, turn to page 48

Presented by

Additional support provided byRice Family Foundation, Rowe Charitable Foundation,

Henry and Lucy Gooding Endowment advised by the Bryan Family,



photos by Tiffany Manning

ENCORE 45

YOUTH ORCHESTRAS SERIESFriday, May 8, 2020 | 7:30 pm


MAJOR/MINORDeanna Tham, conductorWinston Family Endowed Chair

Repertory Orchestra Richard Prelude to Die Meistersinger WAGNER

Jean Karelia Suite SIBELIUS

Young Artist Please see insert for selections Competition Soloists

INTERMISSION

Philharmonic Serge Music from Romeo and Juliet PROKOFIEV Suites Nos. 1 & 2

Please see insert for student roster.This program runs approximately 1 hour 40 minutes.

Presented by

Additional support provided byRice Family Foundation, Rowe Charitable Foundation,

Henry and Lucy Gooding Endowment advised by the Bryan Family,



Deanna Tham, Assistant Conductor & Principal JSYO Conductor Winston Family Endowed Chair

Hailing from Saratoga, California, Tham has conducted and guest conducted all over the United States, working with renowned conductors Marin Alsop and James Ross at the Cabrillo Contemporary Music Festival. Most recently, she served as assistant conductor for the 2019 National Youth Orchestra – USA (NYO-USA) and NYO2 working with James Ross, Joseph Young and Sir Antonio Pappano. Before joining the Jacksonville Symphony, Tham was the music director of the 350-piece Louisville Youth Orchestra. Tham has also served as the Music Director of the Boise Philharmonic Youth Orchestra and has conducted the Boise Philharmonic, Ballet Idaho and Opera Idaho. Tham worked as the assistant conductor for the Cleveland Orchestra Youth Orchestra where she received a Professional Studies Certificate from the Cleveland Institute of Music in Orchestral Conducting.


In 2013, Tham made her debut with the National Music Festival. She was one of two assistant conductors who appeared with Maestro Richard Rosenberg, working with some of the top professional musicians and teachers from around the world. In 2015, she was the recipient of the Wintergreen Summer Music Academy Conductor’s Guild Scholarship where she worked with Master Teacher Victor Yampolsky. Most recently, she was invited to compete in the Cadaques Orchestra International Conducting Competition.

Tham has served as the assistant conductor of the Carnegie Mellon All-University Orchestra. While at Carnegie Mellon, she received her Bachelor of Fine Arts degree in horn performance. Tham went on to receive her Master of Music degree, with honors, from Northwestern University studying with Dr. Mallory Thompson. While at Northwestern, she worked with Dr. Robert Harris, Victor Yampolsky and Dr. Robert Hasty, making her equally at home in wind, orchestral and vocal settings. She also completed community outreach projects in the form of concerts in the Pick-Staiger Concert Hall Kid’s Fare series, participating in a movie music themed concert as well as conducting, managing and producing a multicultural themed interactive concert.

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ENCORE 51

MASTERWORKS SERIES

SYMPHONY IN 60 SERIES

Thursday, May 14, 2020 | 6:30 pm

Symphony in 60

THE GREAT SCHUBERT SYMPHONYCourtney Lewis, conductor

Haskell Endowed Chair

Franz Symphony in C major, “The Great” SCHUBERT Andante; Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace

This program runs approximately 1 hour

Friday and Saturday, May 15 & 16, 2020 | 8 pm



BEETHOVEN’S EMPEROR CONCERTOCourtney Lewis, conductor

Haskell Endowed ChairDaniel Hsu, piano

Ludwigvan PianoConcertoNo.5inE-flatmajor, BEETHOVEN Op. 73, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro

INTERMISSION

Franz Symphony in C major, “The Great” SCHUBERT Andante; Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace



This Masterworks performance is presented by



Daniel Hsu, PianistCharacterized by the Philadelphia Inquirer as a “poet…[with] an expressive edge to his playing that charms, questions, and coaxes,” American pianist Daniel Hsu captured the bronze medal and prizes for best performance of both the commissioned work and chamber music at the 2017 Van Cliburn International Piano Competition. Also a2016GilmoreYoungArtist,firstprizewinner of the 2015 CAG Victor Elmaleh Competition, and bronze medalist of the 2015 Hamamatsu International Piano Competition, he is increasingly recognized for his easy virtuosity and bold musicianship.

A native of the San Francisco Bay Area, Hsu began studying piano at age 6, made his concerto debut with the Fremont Symphony Orchestra at age 8, and gave his recital debut at the Steinway Society of the Bay Area at age 9, before being accepted into Curtis at the age of 10. Since then, he has made his debuts with the Philadelphia Orchestra (2016) and at Carnegie Hall (2017) as part of the CAG Winners Series at Weill Recital Hall, and performed across the United States, China and Japan. A sensitive and keen collaborator, he has worked with the Tokyo, North Carolina, Fort Worth, and other orchestras, under the baton of conductors Leonard Slatkin, Nicholas McGegan,CristianMăcelaru,RuthReinhardt, and Marcelo Lehninger.


He also regularly tours with the Verona Quartet and in duo piano programs with his brother, Andrew.

Now 21 years old, Hsu is the Richard A. Doran Fellow at the Curtis Institute of Music, where he has studied with Gary Graffman, Robert McDonald and Eleanor Sokoloff. He is also a Marvel film buff and enjoys programming. He contributed to the creation of Workflow, a popular productivity app that allows users to automate tasks on iPhone, iPad, and Apple Watch, which received the 2015 Apple Design Award and was acquired by Apple in March 2017.

PROGRAM NOTES By Laurie ShulmanLudwig van Beethoven (1770-1827)

Concerto No.5 in E-flat major, Op. 73, “Emperor” 38 minutes

Take a look at the sleek, 9-foot ebony instrument at center stage.

By 1809, the piano had expanded beyond Mozart’s five-octave fortepiano; however, more than another half-century would elapse before that development culminated in an instrument the size and scope we hear this weekend. Beethoven was prescient in his ambition for the piano, writing music so far ahead of its time that the instrument has continued to grow into the music. Surely he would have been delighted with the modern concert grand, and nowhere more so than in the Emperor Concerto.

Beethoven composed the E-flat concerto while Vienna braced for a second onslaught from Napoleon’s army. Ironically, the French Emperor’s brother Jerome Bonaparte, King of Westphalia, had recently invited Beethoven to move to Cassel, Germany to become Kapellmeister. Beethoven was tempted. Then three of his wealthy Viennese patrons pooled resources to provide him with an annuity, thereby persuading him to decline the offer.

Vienna had been home to him for so long that he was unlikely to leave at that point. Ironically, the premiere of the “Emperor” did not take place in Vienna, but in Leipzig, in 1810. Beethoven’s pupil Karl Czerny played the first Viennese performance the following year.

Beethoven tested his boundaries and elasticity of form in this last concerto. One revolutionary move was placing the solo cadenza at the beginning of the first movement, rather than its traditional placement near the end. Full orchestra intones a resonant, fortissimo E-flat major chord. Solo piano replies with a series of arpeggios that cede to a trill, then figuration, passage work and a melodic lead-in to a second chord from

the orchestra, this time in A-flat. Once again unaccompanied piano responds, this time with more elaborate figuration for both hands. The piano ushers in the third, preparatory orchestral chord — no one in the orchestra has yet played more than a single pitch — and answers it with a more melodic, but still virtuosic, passage to the main theme.

Nearly 100 measures of music unfold before we hear the piano again; clearly Beethoven is in no hurry to make his point. (In fact, this opening Allegro is the longest movement he ever composed.) The soloist re-enters with another grand flourish: this time an ascending chromatic scale and a clarion trill, before a simple, elegant statement of the imperial theme. The piano weaves around the principal melodic ideas, etching elaborate figures without obscuring the noble design of each theme. The structure is broad and symphonic, the music commanding, and yes, majestic.

The middle movement is comparatively brief, perhaps because its rich tonality of B major is so potent. Beethoven’s Adagio un poco mosso emphasizes dialogue between soloist and orchestra. He develops his material almost like variations, with an improvisatory character. Perhaps the most inspired moment occurs at the very end, with the bridge to the glorious finale. The horns hold a single pitch for what seems like an eternity, suspended in midair; then, seemingly out of nowhere, the soloist diffidently introduces the triumphant chords of the closing Rondo, initially posing them as a question.

With affirmation forthcoming from the noble horns, the exultant finale launches its irrepressible joy ride for one of the most delightful and positive conclusions in all Beethoven. As in the first movement, the piano choreographs dazzling figures around the principal themes, without obscuring their contour. Our perception of royal splendor remains unimpaired. The “Emperor” ends with every ounce of the magnificent style with which it opened: virile, spacious, and ever confident.

Franz Peter Schubert (1797-1828)

Symphony No. 9 in C major, “The Great” 48 minutes

From the standpoint of orchestration, rich thematic material, and sheer majesty, the “Great” C major is the undisputed pinnacle of Schubert’s symphonic maturity. Sadly, he never heard it performed. He began work on it in 1825. After he presented the manuscript to Vienna’s Gesellschaft der Musikifreunde [Society of the Friends of Music] the following year, he was rewarded by a stipend “in recognition of his achievements and for further encouragement.” In 1827, Schubert had the manuscript copied for the Gesellschaft, still vainly seeking a performance. The Vienna Philharmonic rejected the work, deeming it overly long and too demanding for the players. Even after Schubert’s death in 1828, his brother Ferdinand was unsuccessful in his attempts to sell the score to a publisher.

That changed when Robert Schumann called on Ferdinand Schubert during the winter of 1838-1839. Schumann examined the score and was awed by its genius. The discovery prompted his famous letter to Felix Mendelssohn that has given musical posterity the phrase “heavenly length.” (Schumann was describing Schubert’s inexpressibly lovely Andante.) Mendelssohn conducted the premiere of the symphony with the Leipzig Gewandhaus Orchestra on 21 March, 1839. Even with extensive cuts, it still created a sensation. Publication followed in 1840, and the “Great” C major has been standard symphonic repertoire ever since.

In his earliest symphonies, Schubert relied more heavily on Haydn and Mozart for his inspiration and formal guidelines. In the later ones he took a freer approach, exercising more personal discretion in areas like modulations, formal structure, and proportion, all of which we have come to associate with the romantic (as

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opposed to classical) symphony. These factors reach their apogee in Schubert’s Ninth. It is the strongest symphonic link in the continuum from Beethoven to Brahms, Bruckner, and Mahler.

Schubert was clearly emulating the enormous scale of Beethoven’s Ninth. The duality between classic and romantic styles is one of the “Great” C major’s most compelling fascinations. Scoring details such as the use of trombones in all four movements make it unusual. Formal departures from the norm, for example the full sonata form of the scherzo movement, break from tradition and confirm the individuality of the symphony.

Even the slow introduction, brought to such perfection in the late Haydn symphonies, takes on new character in Schubert’s asymmetrical, heroic opening horn theme. Its second measure dotted rhythm provides the impetus for the entire Allegro to follow; his re-integration of that theme into the development section and the coda is one of many felicitous touches in this magnificent work.

The balance of the symphony adheres to classical models. Principal oboe has the main theme in the Andante con moto, which balances march-like elements and brief string outbursts with wistful woodwind writing. In climactic moments, the brasses play with surprising force. Schubert’s writing almost foreshadows Mahler.

Vigorous rhythms drive the Allegro vivace portion of Schubert’s Scherzo. He balances the rambunctious opening gesture with a gentler Austrian Ländler [a slow waltz]. The central Trio transports us to the world of folk song and rural village dancing. Schubert’s sudden key changes and gentle use of the brass add interest throughout.

The grand finale is like a force of nature: as if Schubert had gathered up all world energy and invested it in his orchestra. The glory of Alpine Austria and the great outdoors pulses through this Allegro vivace, bringing Schubert’s glorious symphony to an exuberant close.


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COFFEE SERIES

POPS SERIES

Friday, May 22, 2020 | 11 amFriday and Saturday, May 22 & 23, 2020 | 8 pm


PATRIOTIC POPSGonzalo Farias, conductor

Calvin and Ellen Hudson Charitable Trust Endowed ChairColor Guard from Sandalwood High School

John Stafford The Star-Spangled Banner * SMITH arranged by SKROWACZEWSKI

Aaron Fanfare for the Common Man * COPLAND

Michael Band of Brothers Suite KAMEN arranged by PHILLIPE

John Phillip Hands Across the Sea * SOUSA

John Phillip El Capitan March SOUSA

Samuel America the Beautiful * WARD arranged by REED

John Midway March WILLIAMS

John Summon the Heroes * WILLIAMS

John Stafford Festival Overture on SMITH The Star-Spangled Banner * arranged by BUCK

INTERMISSION

arranged by BAGLEY National Emblem March

Victor American Fantasia HERBERT

Jay Ashokan Farewell * UNGAR arranged by CUSTER

Bob Armed Forces Salute * LOWDEN

Piotr Ilyich 1812 Overture * TCHAIKOVSKY

* Coffee Concert selection





This Memorial Day, we remember and honor all who have served and made the ultimate sacrifice for our freedom.


SYMPHONIC NIGHT AT THE MOVIESSaturday, May 30, 2020 | 7 pmSunday, May 31, 2020 | 3pm


A STEVEN SPIELBERG Film

SAM NEILL

LAURA DERN

JEFF GOLDBLUM

and RICHARD ATTENBOROUGH

BOB PECK

MARTIN FERRERO

B.D. WONG

SAMUEL L. JACKSON

WAYNE KNIGHT

JOSEPH MAZZELLO

ARIANA RICHARDS

Live Action Dinosaurs STAN WINSTON

Full Motion Dinosaurs by DENNIS MUREN, A.S.C.

Dinosaur Supervisor PHIL TIPPETT

Special Dinosaur Effects MICHAEL LANTIERI

Music by JOHN WILLIAMS

Film Edited by MICHAEL KAHN, A.C.E.

Production Designer RICK CARTER

Director of Photography DEAN CUNDEY, A.S.C.

Based on the Novel by MICHAEL CRICHTON

Screenplay by MICHAEL CRICHTON and DAVID KOEPP



Welcome to Jurassic Park!In Steven Spielberg’s massive blockbuster, paleontologists Alan Grant (Sam Neill) and Ellie Sattler (Laura Dern) and mathematician Ian Malcolm (Jeff Goldblum) are among a select group chosen to tour an island theme park populated by dinosaurs created from prehistoric DNA. While the park’s mastermind, billionaire John Hammond (Richard Attenborough), assures everyone that the facility is safe, they find out otherwise when various ferocious predators break free and go on the hunt.


SYMPHONIC NIGHT AT THE MOVIES

Produced by KATHLEEN KENNEDY and GERALD R. MOLEN

Directed by STEVEN SPIELBERG

A UNIVERSAL PICTURE

Tonight’s program is a presentation of the complete film Jurassic Park with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians

and your fellow audience members, please remain seated until the conclusion of the credits.

Jurassic Park is a trademark and copyright of Universal Studios. Licensed by Universal. All Rights Reserved.

Jurassic Park In Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.

Producers: Steven A. Linder and Jamie Richardson

Production Manager: Rob Stogsdill

Production Coordinator: Sophie Greaves

Worldwide Representation: IMG Artists, LLC

Technical Director: Mike Runice

Music Composed by John Williams

Music Preparation: Jo Ann Kane Music Service

Film Preparation for Concert Performance: Ramiro Belgardt

Technical Consultant: Laura Gibson

Sound Remixing for Concert Performance: Chace Audio by Deluxe

The score for Jurassic Park has been adapted for live concert performance.

With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Kathleen Kennedy, John Williams, Kristin Stark, Carol Nygren, Tamara Woolfork, Patrick Koors, Daniel Posener, Tammy Olsen, Angela

Emery, Shayne Mifsud, Lauren Purnell, Darice Murphy, Chris Herzberger, Noah Bergman, Paul Ginsburg, Mike Matessino, Mark Graham and the

musicians and staff of the Jacksonville Symphony.

www.filmconcertslive.com

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MASTERWORKS SERIESFriday and Saturday, June 5 & 6, 2020 | 8 pm



MAHLER 1Courtney Lewis, conductor

Haskell Endowed Chair

Maurice La valse RAVEL

Thomas Tevot ADÈS

INTERMISSION

Gustav Symphony No. 1 in D major, “The Titan” MAHLER Langsam schleppend Kräftig bewegt Feierlich und gemessen Stürmisch bewegt


Saturday evening’s performance is dedicated in memory of Nettie Mae and Kendrick Kelley, longtime subscribers.



PROGRAM NOTES By Laurie ShulmanMaurice Ravel (1875-1937)

La Valse 12 minutes

La Valse began life as a ballet score for the Russian impresario Serge Diaghilev, who approached Ravel in 1919 about a new work. Ravel returned to an idea that had captured his fancy as early as 1906: an homage to Vienna’s Waltz King, Johann Strauss II. That early project had never progressed beyond sketches, and lay dormant until it was rejuvenated by Diaghilev’s commission.

Several of Ravel’s earlier compositions reflect his fascination with waltzes. Among the more intriguing ones are a piano piece from 1913 entitled “A la manière de Borodin” that mixes Russian style with the Viennese dance, and the ever popular, more Schubertian Valses nobles et sentimentales (1912; versions for piano solo and for orchestra).

Subtitled “choreographic poem,” La Valse consists of 12 minutes of whirling rhythms and dynamics viewed through a kaleidoscope of orchestral colors. A note in the score describes the scenario:

Clouds whirl about. Occasionally they part to allow a glimpse of waltzing couples. As they gradually lift, one can discern a gigantic hall, filled by a crowd of dancers in motion. The stage gradually brightens. The glow of the chandeliers breaks out fortissimo.

Essentially an elongated giant crescendo, La Valse is dynamically related to Boléro, though its tension builds in an altogether different fashion. Ravel thought of it as a “fatefully inescapable whirlpool,” an essentially tragic work whose frenetic mania is cut off by death.

Ironically, Diaghilev rejected the score when he received Ravel’s manuscript, citing prohibitive production expense. The ensuing rift between the two was never mended. Ravel secured an orchestral premiere in December 1920, and La Valse has enjoyed great popularity since.


Thomas Adès (b.1971)

Tevot (2007) 22 minutes

Thomas Adès had a meteoric rise in the world of new music before he turned 30, by which time he already had four commercial recordings devoted to his music. A pianist, organist, and conductor, Adès gravitated toward composition at King’s College, Cambridge. His breakthrough work was Powder Her Face, a chamber opera commissioned by Almedia Opera for the 1995 Cheltenham Festival. A dozen subsequent productions and a recording have made Powder Her Face a modern classic.

Adès has fulfilled the promise that others identified in him a quarter century ago. He has been showered with prizes, and juggles a dizzying schedule as guest conductor, piano soloist, and chamber music coach. From 1999 to 2008 he was Artistic Director of the Aldeburgh Festival. In 2000 he won the Grawemeyer Award—the largest purse in classical music—for his large-scale orchestral Asyla.

Adès’ title has multiple meanings in Hebrew. It means vessel and it can refer to bars of music. According to a note in the score, it also connotes the ark of Noah, and the cradle in which the baby Moses is carried on the river. “I found the concept irresistible,” Adès has said. He describes the work as a one-movement symphony about voyaging and getting somewhere safe, a concept that has recurred in subsequent works. “The idea in Tevot was of a flood, in which you could almost see individuals waving for help.”

“Watching the orchestra play Tevot feels a bit like watching people on a boat,” he told The Guardian. “The music is being thrown from one side of the orchestra and smashing into the other side, almost as if it’s going to capsize — but I don’t think it does.” To deliver this concept — the idea of the ship of the world — Adès expanded his orchestra to quintuple woodwind. Listeners will hear agitation and the undulation of rough seas. Ultimately, tender strains mitigate the chaos, leading to the transcendent beauty of Adès’ close.

The Carnegie Hall Corporation and Stiftung Berliner Philharmoniker commissioned Tevot in 2006. Simon Rattle led the Berlin Philharmonic in the premiere in February 2007.

Gustav Mahler (1860-1911)

Symphony No.1 in D major, “The Titan” 53 minutes

Bruckner and Mahler are so often mentioned in the same breath that music-lovers who probe a little deeper are startled to discover how remarkably different they really were. One similarity holds, however: both composers revised their symphonies, frequently and extensively. The stories and reasons vary, of course, for each man and each of his works. Only rarely was Bruckner or Mahler satisfied with a first effort.

Mahler established that pattern even before composing his First Symphony. His early song cycle, Lieder eines fahrenden Gesellen [Songs of a Wayfarer], occupied him on and off for almost 13 years, from 1883 to 1896. The First Symphony took even longer to bring to final form. His first sketches date from 1884, but Mahler did not publish it until 1899.

In Mahler’s original conception, the work was a symphonic poem in two parts and five movements. Mahler discarded his original second movement. Jean-Paul Richter’s novel “Titan,” a personal favorite of Mahler’s, was the source of the symphony’s subtitle. In this context, it was intended to connote a “vigorous, heroic man.” Mahler later abjured the subtitle altogether. In 1896, he told a friend that his First Symphony had been inspired by “a passionate love.” Most scholars believe he drafted the work while embroiled in an affair with Marion von Weber, wife of Carl Maria von Weber’s grandson.

Mahler’s First overflows with the excitement and anticipation of youth. In spite of its sardonic slow movement, it is resolutely optimistic, triumphant, and spiritually uplifting. The symphony is cosmic in nature, addressing weighty topics such as love and life itself.

A pregnant slow introduction to the first movement pulsates with the pastoral sounds of a glorious alpine summer morning. Mahler wants us to feel light breezes ruffling our hair, to hear the chirp of birds, the call of shepherds. The famous D major theme of the first movement comes from the second song in Lieder eines fahrenden Gesellen. In this symphonic movement, it dances with untrammeled joy.

The festive atmosphere continues in the second movement, which functions as a scherzo. Mahler borrows both from elegant Viennese ballrooms and country villages; their shared quality is the sheer pleasure of the dance. Ultimately, the Austrian peasant Ländler prevails over the waltz in this compound gesture of homage to Haydn, Schubert and Bruckner.

The third movement opens with what is arguably the best-known string bass solo in the orchestral repertoire. Accompanied by timpani, the bass solo becomes a funeral march crossed with a nursery song, followed by a Jewish street tune. With searing irony and bitter humor, Mahler casts a spell, drawing the listener into a hypnotic, singsong parody by means of a mocking oboe. In the process, he makes the ridiculous sublime: Frère Jacques consorting with a vulgar street fiddler in a bizarre contrapuntal duet.

The finale is monumental, nearly as long as the three prior movements combined. Mahler likened its opening to the cry of a wounded heart. He makes the listener suffer—as he presumably did—before he yields to the victorious strains of D-major in which the symphony resolves. His emphasis on the last movement completely altered the symphony’s emotional impact and psychological weight. This is where we hear most clearly the passionate, personal voice that was to ripen into the rich harvest of the symphonies that lay ahead.

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SPECIAL PRESENTATIONFriday, June 12, 2020 | 8 pm

Saturday, June 13, 2020 | 8 pm


BEETHOVEN’S NINTHCourtney Lewis, conductor

Haskell Endowed ChairElaine Alvarez, soprano

Renée Tatum, mezzo-sopranoCooper Nolan, tenor

Soloman Howard, bassJacksonville Symphony Chorus

Ludwig van Symphony No. 1 in C major, Op. 21 BEETHOVEN Adagio molto - Allegro con brio Andante cantabile con moto Menuetto: Allegro moto e vivace Finale: Adagio - Allegro moto e vivace

INTERMISSION

Ludwig van Symphony No. 9 in D minor, BEETHOVEN Op. 125, “Choral” Allegro ma non troppo; un poco maestoso Molto vivace Adagio molto e cantabile Presto - Allegro assai - Allegro assai vivace


Friday’s performance is dedicated by Charlie and Anne Joseph in honor of the 69th wedding anniversary of Charlie’s parents,

Ed and Wini Joseph.Saturday’s performance is dedicated to Trevor Lee.




Elaine Alvarez, SopranoCuban-American soprano Elaine Alvarez burst onto the international opera scene in 2007, making a break-out company debut with her soulful portrayal of Mimi in Puccini’s La bohème at the Lyric Opera of Chicago. Conducted by Sir Andrew Davis and directed by Renata Scotto, critics were unanimous with praise: “Conveying lyric pathos seems to come as naturally to Alvarez as breathing” (Chicago Tribune).

Recent engagements have featured Alvarez in numerous role and house debuts of iconic leading ladies including Tosca on tour with Choregies d’Orange, Kat’a Kabanova with Boston Lyric Opera, a return to Mimi for Opera National de Bordeaux, major Verdi debuts as Elvira in Ernani and Hélène in the rarely produced Jerusalem for Opera Royal de Wallonie, and a much anticipated role and house debut for San Diego Opera as Florencia en el Amazonas.

The 2018-2019 season included a return to the Metropolitan Opera for La bohème as well as a house debut as Mimi for Finger Lakes Opera, a house debut as Tosca for Opera de Oviedo, and a return to Opera Royal de Wallonie in back to back debuts of Verdi’s doomed princess Aïda and Donizetti’s infamous Tudor Queen, Anna Bolena, marking her first appearance in this bel canto masterpiece.


Renée Tatum, Mezzo-sopranoNoted for her “commanding and dramatic presence” (Opera News), mezzo-soprano Renée Tatum is rapidly gaining critical acclaim on the most prestigious opera stages in the United States. Tatum begins the 2019-2020 season as Flosshilde in Wagner’s Götterdämmerung with The National Theater in Taiwan, followed by her role debut as Kundry in Parsifal for Indiana University Opera Theatre. She also returns to The Metropolitan Opera as the Third Lady in The Magic Flute, makes her role debut as Amneris in Aida with Pensacola Opera, and joins Boston Lyric Opera for Giulio Cesare. On the concert stage, she joins the South Bend Symphony Orchestra for Mahler Symphony No. 2 and The Masterworks Chorale for Beethoven’s Missa Solemnis.

In the 2018-2019 season Tatum returned to The Metropolitan Opera for Nico Muhly’s Marnie, for the Waltraute and Flosshilde in Robert LePage’s famed Der Ring des Nibelungen, with the Savannah Philharmonic for Mahler’s Resurrection Symphony and The Ceclia Chorus of New York City in Brahms’ Alto Rhapsody.

She has recently been heard as Flosshilde and Waltraute in San Francisco Opera’s Der Ring des Nibelungen, Flosshilde in Das Rheingold at The Tanglewood Festival, Francisca in West Side Story at Grand Tetons Music Festival with Donald Runnicles, Jenny in Threepenny Opera for Boston Lyric Opera, and as a Flower Maiden in Parsifal at The Metropolitan Opera. Concert performances included Penderecki’s Credo with Indianapolis Symphony, Durufle’s Requiem with Back Bay Chorale, and in a concert presentation of Das Rheingold with New York Philharmonic.

Previously she was heard as Flosshilde in Gotterdammerung in her return to Houston Grand Opera and at National Taichung Theatre; Olga in Eugene Onegin with Boston Youth Symphony; Handel’s Messiah with Pacific Symphony; Beethoven’s Missa solemnis with Pacific Chorale; Mozart’s Requiem with Omaha Symphony and Rochester Philharmonic; and Beethoven’s Symphony No. 9 with San Diego Symphony.

Cooper Nolan, TenorTenor Cooper Nolan begins the 2019-2020 season making his Carnegie Hall debut in Elgar’s The Kingdom with the American Symphony Orchestra, Leo Botstein conducting followed by debuts with the Quad Cities Symphony Orchestra in the Verdi Requiem and the Jacksonville Symphony in Beethoven’s Symphony No. 9. He will also return to Theater Aachen for Hermann in a new production of Pique Dame.

Last season, he made his role/house debut as Canio in I pagliacci with Opera San Jose. Concert appearances included the Verdi Requiem with Lexington Philharmonic conducted by Scott Terrell and TŌN (The Orchestra Now), Act III of Lohengrin with the Victoria Symphony conducted by Christian Kluxen, Act I of Die Walküre with the Harvard-Radcliffe Orchestra conducted by Federico Cortese, and was a feature soloist in Charlottesville Opera’s Encore: Opera Favorites conducted by Steven Jarvi. Nolan made his Oper Frankfurt debut as the title role in Verdi’s Stiffelio and made his role debut as Cavaradossi in Tosca with the Fort Wayne Philharmonic. He returned to Santa Fe Opera, singing Tybalt in Roméo and Juliette under Harry Bicket, while covering Dick Johnson in La fanciulla del West under Emmanuel Villaume.

Nolan was a resident artist at Minnesota Opera performing Don José in Carmen and Trin in La fanciulla del West, in addition to covering Nemorino (L’elisir d’amore) and taking part in the world premiere of Kevin Puts’ The Manchurian Candidate. In Summer 2015, he joined the Apprentice Program at Santa Fe Opera, covering both Narraboth (Salome) and Teague in the world premiere of Jennifer Higdon’s Cold Mountain.

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Soloman Howard, BassWinner of the Kennedy Center’s 2019 Marian Anderson Vocal Award, Soloman Howard is a graduate of Washington National Opera’s Domingo-Cafritz Young Artist Program and garners high praise from the press for his vivid performances on the great opera and concert stages of the world. Soloman Howard’s voice is described as “sonorous” by The New York Times, “superhuman” by The Denver Post, and “a triumph” by The Guardian.

Soloman Howard’s 2019-2020 season features debuts at the Lyric Opera of Chicago in the company’s new production by Francesca Zambello of Luisa Miller conducted by Enrique Mazzola, at English National Opera in the same title in a new production by Barbora Horáková Joly conducted by Alexander Joel, and at the Gran Theatre del Liceu as Basilio in Il barbiere di Siviglia.

Additional credits of the season include a return to the Metropolitan Opera as Sarastro in The Magic Flute and Fafner in the Lyric Opera of Chicago’s presentation of a new production of Der Ring des Nibelungen.

Last season Howard appeared at the Metropolitan Opera in Aida conducted by Nicola Luisotti, Los Angeles Opera in Don Carlo under the baton of James Conlon, Santa Fe Opera in La bohème conducted by Jader Bignamini, and at Washington National Opera reprising the title role he created for the company in The Lion, The Unicorn, and Me by Jeanine Tesori and J.D. McClatchy.

Highlights of the recent past include performances of Jacopo Fiesco in a new production of Simon Boccanegra at the Opéra national de Bordeaux conducted by Paul Daniel, Timur in Turandot at San Francisco Opera for his debut led by Music Director Nicola Luisotti, Commendatore in Don Giovanni at Santa Fe Opera, and Il Re in Aida for his debut at the Teatro Real. On the concert stage, he has given performances of Beethoven’s Ninth Symphony with Gustavo Dudamel and the Los Angeles Philharmonic on a European tour and with Christian Arming and the Vienna Chamber Orchestra on tour in Asia.

The Anti-Defamation League presented Howard with their “Making a Difference Award” in the summer of 2016 for raising awareness of voting rights though his performances of Appomattox at the Kennedy Center; and for bringing opera into the larger community. Howard is a proud graduate of the Manhattan School of Music and of Morgan State University.

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Donald McCullough, Director, Jacksonville Symphony Chorus Tom Zimmerman Endowed Chair

Hailed by the Washington Post for his “dazzling expertise” on the podium, Donald McCullough is considered one of America’s pre-eminent choral conductors. He became the director of the Jacksonville Symphony Chorus in 2012. In November 2014 he led the Jacksonville Symphony Chorus on its first appearance in Carnegie Hall.

Previously, he was the director of the Master Chorale of Washington in the John F. Kennedy Center Concert Hall for more than a decade, developing a reputation for creating choruses that sang “with an innate sense of lyricism and musical poise” and “sensitive, scrupulous and heartfelt” (Washington Post).

During his tenure with the Master Chorale, the 120-member symphonic chorus performed 16 world premieres, produced three nationally distributed CDs, and toured twice throughout Central Europe. The Chorale earned The Margaret Hillis Achievement Award for Choral Excellence in North America.

McCullough is also a composer whose works have been critically acclaimed throughout North America and Europe. Routinely sought after for commissions, his works have been described as “powerful and heart-wrenching,” “mystically beautiful” and “remarkably inspirational.”

Previously, McCullough was the founder and music director of two Norfolk-based choruses: the Virginia Chorale and the Virginia Symphony Orchestra Chorus. He holds bachelor’s degrees in organ and vocal performance from Stetson University and master’s degrees in sacred music and vocal performance from Southern Methodist University. A native of Jacksonville, FL, he recently moved to Atlantic Beach, FL, to focus on his expanding composing career.

Jacksonville Symphony ChorusThe Jacksonville Symphony Chorus, under the direction of Donald McCullough, is an all-volunteer group of over 120 rigorously auditioned individuals from all walks of life who share a love of singing choral music.

When choosing voices, McCullough said, “I look for focused voices with enough ring to project over the orchestra and into the hall. They must also be sizeable enough to make a contribution to the huge sound required for symphonic choral music.”

During an audition, other considerations include the singer’s ability to sing in tune, which must be impeccable; their flexibility; range; diction; vocal color and innate sense of musicality.

The Chorus is celebrating its 34th season this year and was founded by past Music Director Roger Nierenberg. In 2014, the Chorus traveled to New York City for perform under McCullough’s direction in the Lincoln Center premiere of his cantata In the Shadow of the Holocaust.

This season the chorus will participate in several performances including Handel’s Messiah, Holiday Pops and the highly anticipated performance of Beethoven’s Ninth Symphony.

Choral singing is the most popular form of participation in the performing arts according to a recent study by Chorus America. Over 18% of American households report one or more adults participate in a chorus.

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Jacksonville Symphony Chorus

William AdamsDavid AveryDeborah BakerJerrye BakerSusan BakerCarole BanksAnn BarrowAlla BartoshSamantha BassoNoah Battle Sr.El BattleJessica BergstolPaula BoydHilary BrooksLouise BrooksDorothy Jean BushRita CannonGloria CardonaChuck CarrollRobb CatesKenneth ChinEstelle ChisholmMelody ChoateSandy ClarkeEllen ClaytonSusan ConnorsBradley CornerNancy CrookshankJulie CrossKatherine CrowellMarley CurtisJane DaughertyJulie DavisTracy DavisAlyce DeckerStephanie DoerrJeff ElledgeIleana FernandezRobert FernandezGregory Fisher Jr.Jennifer FlaggeKate FlintVeronica GibsonBonnie Goldsmith

Claudia GuanesMichele HaleDeborrah HoagDennis HoltKathy HuntKiki KarpenGeorge KawaleyGrear KimmelKen KutchAlwynne LampRobert LappaWayne LetiziaGinger LindbergAnnette LittlefieldBryan LogueLeyse LowryMark MaccoLinda MacLeodJim MaherWalter MattinglyLiz McAlhanyMarianne McAlhanyDonald McCulloughJames McGuffinKate MedillOzzie MedinaPat MedlockBill MeiselJanet MetcalfBarbara MillerMolly MillerStephanie MillerLibby MontgomeryJohn MorrowJoseph MurrayChristina NgTyler OsborneVanessa PaganJane PalmerAnne PetersenJohn PetersenDavid PiersonDeborah PiersonPaepaeala Pimienta

Laura Jane PittmanJessica PooleCaroline PriceVickie PrinceJohn PughNancy PurcellAmy QuinnEric QuinnPaulina RagunasJanine RansomMark ReasonerNancy RedfernWynn RedmonCaitlin ReganPatti RobertsonMark RobinsonKim RowlandAnne Julie RuvaneJose SastreJen SchlechteJeffrey SchroerKeith SchroyerAmy ShealyDeborah SheltonChloe SmithJanet SnellSharon SnowRobbie SumnerRichard SykesHugh TobiasSheri Van OrdenAnna VrabelMark WalterNadiya WanEileen WardJerri Lea WareEmily WasekJill WeisblattJohn WeitzelLinda WerringAusten WilsonCindy WohlPeter WynkoopSam Young


PROGRAM NOTES By Laurie ShulmanLudwig van Beethoven (1770-1827)

Symphony No. 1 in C major, Op. 21 26 minutes

Beethoven’s first symphony was completed and premiered on 2 April, 1800, on a program that also included the Septet, Op. 20 and, historians believe, the Viennese premiere of his First Piano Concerto. The young German had initially established his reputation as a pianist in the 1790s. This concert was a turning point in his career, decisively shifting Vienna’s perception of him to that of a composer. Beethoven found himself in the enviable position of being the most prominent composer in Vienna apart from Haydn—and Haydn, at the age of 68, was an exceedingly old man by the standard of the day.

It is apparent from Beethoven’s sketches that he had worked on this First Symphony for several years beforehand. No doubt he recognized that his work would be compared to the symphonies of his famous contemporaries, who had their advocates in the Austrian capital. The eminent British writer Donald Francis Tovey called this work “a fitting farewell to the eighteenth century,” and Beethoven certainly drew upon the lessons he had learned from the symphonies of Mozart, Haydn and others.

To a listener who knows the Eroica, Pastorale, and Choral symphonies, Beethoven’s First sounds traditional, almost conservative. In fact, it was regarded as innovative, even daring, when it was first performed. Both the first and last movements have slow introductions that sound as if they are in another key in their opening measures. Especially for the opening of a symphony, this was adventurous indeed. Another startling innovation was Beethoven’s use of timpani in the slow movement. Contemporaries also noted the extensive use of woodwinds throughout the symphony.

The third movement, though entitled Menuetto, races along with the sparkle and momentum of a scherzo. It is the minuet of the Haydn symphonies in name only. Papa Haydn’s influence is more discernible in the country dance finale. The first violins tease us with a tentative ascending scale, inching up one step further each time

it is reiterated. Finally the full octave is achieved, and the slow tempo abandoned in favor of a high-spirited frolic. Audiences in Beethoven’s time were moved to laughter by this sly musical joke. It is easy to understand why the First Symphony was among the most popular of Beethoven’s works during his lifetime.

Ludwig van BeethovenSymphony No. 9 in D minor, Op. 125, “Choral” 65 minutes

What makes Beethoven’s Ninth Symphony so memorable? Entire books have been written to answer that question, and many more will doubtless follow. But the immediacy of a live performance enhances the symphony’s impact. The Ninth always provides a revelation, whether to a first time listener or the veteran concert-goer.

According to Richard Wagner, Beethoven’s Ninth Symphony signaled the death knell of the symphony. Fortunately for modern orchestras and audiences, Wagner’s dire prophecy proved inaccurate. He was correct, however, in his prediction that symphonic music was forever changed. The Ninth is enormous even without its splendid finale, a setting of Friedrich von Schiller’s “Ode to Joy.” Each of its movements is written on an extremely large scale. So different are Beethoven’s four movements in mood and musical content that their philosophical breadth seems to encompass the universe. Beethoven was revolutionary in incorporating the Schiller poem. His pacific message, as expressed in choral finale with the “Ode to Joy,” is as appropriate to end our subscription season as it is to close his magnificent symphony.

A poem with a punchSchiller wrote his poem “An die Freude” [“To Joy”] in 1785. Beethoven read it as a youth and felt a strong affinity with Schiller’s philosophy of the joy that unites all humankind in brotherhood. As early as 1793 he considered setting the text. By 1818, he had come up with the revolutionary idea of incorporating voices into a symphony.

Finally, in 1822, his thoughts germinated in the finale to the Ninth Symphony. Selecting about half of Schiller’s 18 sections, Beethoven rearranged and repeated stanzas to suit his musical needs. The result is a very personal interpretation of the poem, emphasizing the call to universal brotherhood.

The Ninth is inextricably identified with its choral finale. But to overlook the massive impact of the first three movements is impossible. Each segment of this enormous symphony broke musical ground in a striking way.

About the music At the outset, the strings outline a groundswell of open fifths, stark and rumbling, before the main theme erupts in a decisive D minor downward unison swoop. The battle has begun in this longest of all Beethoven’s opening movements. He takes time for sweeping, majestic music, culminating in the spine-chilling coda. At the very point of emotional exhaustion, when we are certain that the power and drama of this movement is played out, Beethoven hammers home the darkness of D minor with thunderous finality.

Only in this symphony did Beethoven place his scherzo second rather than third. Listeners of a certain age still associate this movement with NBC-TV’s Huntley/Brinkley Report (1956-1970). The Molto vivace concentrates the storm of the first movement into sheer nervous energy. A virtuoso showpiece, it is both a brilliant five-voice fugato and a fully developed sonata form. Timpani tuned in octaves underlines its principal rhythmic motive, with electrifying effect. Some relief from the rhythmic and harmonic tension occurs in the D-major trio section.

All volcanic rumblings and dark clouds dissipate in the slow movement. Beethoven’s architecture starts to become clear. He transcends the earthly struggle of the symphony’s first half in an Adagio of ineffable, heavenly beauty. After the thunderclaps of the scherzo, the tranquil woodwind chord that opens the Adagio is an oasis of beauty and calm. The music that follows is deeply tender and emotionally intense: this is Beethoven at his most human and loving.

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Famous finale: a call to brotherhoodA cacophonous shriek opens the finale, shattering the celestial calm. The music leaves no doubt that what will follow is of major importance. Beethoven briefly alludes to the three previous movements before presenting the Ode melody. This bold gesture makes his Ninth one of the first cyclic symphonies and heightens the dramatic effect of the Ode. By the time the orchestra delivers the simple, step-wise melody, it has the effect of a rainbow. From there, Beethoven declaims several orchestral variations on the theme before introducing the bass recitative and the chorus.

After the buildup to a climactic pause, Beethoven’s sense of humor surfaces in a march for German military band. The double fugue that ensues is the last section for orchestra alone. Fiendishly difficult, it serves as a brilliant transition. When the chorus re-enters, it sings forth with the most exuberant declamation yet of praise and thanksgiving. Through his four heroic movements, Beethoven wages a struggle between minor and major, with an ultimate victory by major mode. The emergence of triumph out of tragedy—the triumph of universal brotherhood—is the essential message of this miraculous symphony.


ENCORE 71

Mark and Rita AllenMr. and Mrs. Bruce Anderson

Sandra Sue AshbyMs. Laura BaileyRick E. Bendel

Jacob F. Bryan IVElizabeth I. Byrne, Ed.D.

Carl and Rita CannonClarissa and Warren Chandler

Estelle and Terry ChisholmCol. and Mrs. Robert B. Clarke

Patrick and Linda ClyneMike and Naomi Coffey

Luther and Blanche CogginElizabeth Lough Colledge, P.H.D.

Elizabeth Schell ColyerRuth P. Conley

Caroline S. CovinMr. and Mrs. Robert A. CowdenDr. Amy Crowder in memory of

Carole V. EwartSara Alice Bradley Darby*Stephen and Suzanne Day

Ann DerbyChris and Stephanie DoerrMr. and Ms. Pete Doolittle

Jeff Driggers*Julian Farris and James A.

Montgomery, MD.Brock Fazzini

Josephine FlahertyMr. and Mrs. David FoersterFriend of the Symphony (8)

Mr. and Mrs. George D. Gabel, Jr.Mr. and Mrs. Allan Geiger

John L. Georgas*Linda Barton GillisMargaret Gomez

Rabbi Robert and Marilyn GoodmanSue Gover

Mary T. Grant*Camille Clement Gregg Charitable

Remainder Trust in memory of Ruthwood Craven SamekDr. Dan W. Hadwin and

Dr. Alice Rietman-HadwinSuna Hall

Preston H. HaskellMr. and Mrs. Bill Hetzel

Richard Hickok and Andrea AshleyBev and Bill Hiller

Calvin and Ellen Hudson Charitable Trust

Wes and Beth JennisonVirginia Johnsen

Rebecca and Randolph JohnsonMrs. Rita H. Joost*

Robert and Cynthia KastnerElizabeth Kerr

Frances Bartlett Kinne, Ph.D.Norman and Dolores KramerDr. and Mrs. Ross T. KruegerE. Michael and Heidja Kruse

Mrs. Edward W. Lane, Jr.Mr. and Mrs. Ronald Lindsey

Dr. D’Anne and Mr. Daniel LombardoLeyse Lowry

Jean Lumpkin*Dr. Joseph Marasco

Doug and Laura* MathewsonAmbassador Marilyn McAfee

Allison McCallumFrances Watts McCurryLee and Bobbie Mercier

Roxie Merrill*Robert A. and Fay Mills*

Sherry Murray*Mr. and Mrs. E. William Nash, Jr.*

Mr. and Mrs. Russell B. Newton, Jr.Christine Ng and Herbert Wolfsen

Janet and Joseph NicosiaLloyd Hamilton Oakes Charitable

Remainder Trust in memory of Ruthwood Craven Samek

Mr. Val PalmerMr. and Mrs. Joe Peters

Ruth (Rusty) PierceRichard and Leslie Pierpont

William PtakJoAnne Reilly

J. William RossRuthwood C. Samek*

Carol and Bob* ShircliffMrs. Sally Simpson*

Ann H. Sims*Mr. and Mrs. Al Sinclair*

Helen Morse and Fritz SkeenAna and Hal Skinner

Virginia Smith*David and Linda Stein

Mary Love StrumMary Virginia Terry

Gwynne* and Bob TonsfeldtChip and Phyllis Tousey

Rev. W. Glenn TurnerMary Jane and Jack Uible

Tom Vickery and Elizabeth McAlhanyMark O. and Cheryl A. Walter

Stephen R. WickershamStephen Williams

Renee WinklerQuentin E. Wood

Thomas C. Zimmermann*

*Designates deceased

An invitation to play your part in the future of our Symphony

The Jacksonville Symphony gratefully acknowledges these members for including the Symphony in their estate planning.

Cadenza Society members are a group of dedicated supporters who have made a future financial commitment to ensure that the orchestra you love will be able to keep making vibrant music for generations to come.

Membership is easy. No immediate donation is necessary. You simply need to name Jacksonville Symphony as a beneficiary in your will, trust, insurance policy, donor advised fund or foundation.

Cadenza Society Members receive recognition in Encore as well as invitations to:

• An exclusive Cadenza Society gathering with Music Director Courtney Lewis

• Onstage Open Rehearsals

• Annual Donor Appreciation Night

Jennifer Barton, 904.354.2767JaxSymphony.org/legacy

CADENZA S O C I E T Y

Annual Cadenza Society Luncheon


The Jacksonville Symphony Association gratefully acknowledgesthe generosity of the following individuals:

Gifts to the Annual Fund between July 1, 2018 and February 14, 2020Δ Designates a gift in-kind * Designates deceased

CONDUCTOR’S CLUB FORTE$10,000 - $24,999Anonymous (2)Sandra Sue AshbyJoanne and Doug BooherThe Richard and Barbara Borzilleri

Family FoundationSandra and Phillip BurnamanCarl and Rita CannonMr. and Mrs. A. R. “Pete” CarpenterDr. Elizabeth Lovett ColledgeSally and Tyler DannSusan P. DavisDr. Sandra Every Dean and

Mr. Michael DeanJane and Jack DickisonDriver, McAfee, Peek & Hawthorne, P.L.Jon A. Ebacher and Jill T. WannemacherAndrew FarkasMrs. Josephine FlahertyMargaret GomezPaul and Nina GoodwinCheryl GrabensteinBetty Lu GruneDr. Anne H. HopkinsCalvin and Ellen HudsonMichael and Maryann ImbrianiRebecca and Randolph JohnsonMalcolm* and Mary Virginia JonesCharlie and Anne JosephBob and Cindy KastnerMr. Alfred G. KelleyMichel and Heidja KruseMrs. Anne KufeldtMrs. Edward W. Lane, Jr.Trevor LeeMargaret Leu MeansLee and Darlene NutterMary Carr PattonRiverplace Capital ManagementMr. and Mrs. John RyzewicCarol and Bob* Shircliff*Samuel ShorsteinMr. and Mrs. Ross SingletaryKent and Marie SmithDavid and Linda SteinDavid and Elaine StricklandJohn and Kristen SurfaceGwynne* and Bob TonsfeldtChip and Phyllis TouseyJim and Joan Van VleckTom Vickery and Sarah McAlhanyWarner and Sherrie Calvert WebbDr. and Mrs. Scott WiedenmannThe Winston Family FoundationDr. Eugene and Brenda Wolchok

CONDUCTOR’S CLUB VIVACE$5,000 - $9,999AnonymousDrs. Julie R. and James D. Baker, IIIByron and Cynthia BergrenJohn and Cherie Billings

Annette and Bill BolingMr. and Mrs. William BlumeBorkowski Family FoundationPaul and Kathy BoslandMr. and Mrs. David B. BoyerNancy and Ted BurfeindMary Ann Burns and

Suzanne Burns DaltonDr. John D. and Mrs. Chung-Hae CaslerLinda L. and Patrick W. ClyneMeade and Alvin CoplanCornehl Family FoundationMr. John P. CranstonIn Memory of Larry Karasic, M.D.Tom and Jesse DattiloSusan P. DavisMs. Virginia A. DeroyMrs. Susan DohertyMr. and Mrs. Walter H. DrewMr. and Mrs. George W. Gibbs IIIMr. William G. GingrichCynthia and Walter Graham, Jr.Becky and Tommy GrimesBill and Nancy HetzelIra and Eva JacklerLillian and Bunky JohnsonLawrence and Kathy KanterPhilanthropic Fund of the JCFPeter and Kiki KarpenDavid and Sally KetchamPatty and Jim KleckMr. and Mrs. Eugene J. KovarikDr. and Mrs. Ross T. KruegerDave and Mary Pat KulikJudy and Scott McCue and the

Elizabeth F. Cheney FoundationMagnolia FoundationBill and Barbara MaletzMrs. Frances W. McCurryJulie and Michael McKennySheila McLenaghan and Duke ButlerJanet and Joseph NicosiaRobert and Flo Anne O’BrienDeborah and David PiersonMr. and Mrs. Thomas PippinAnn Saunders Roberts and H.B. RobertsMr. and Mrs. Raymond A. Ross, Jr.Sheila and Louis RussoEd and Whitney SeloverShorstein Family FoundationStephen and Joan ShewbrooksMr. and Mrs. Richard L. SisiskyHelen Morse and Fritz SkeenMs. Debbie J. SnyderDr. Mark A. Spatola and

Dr. Mihaela IonescuJoseph and Anna SpiakRobert and Patricia StichwehMs. Barbara W. WebsterDr. and Mrs. Charles N. WintonTim and Evelyn WoodwardMrs. Martha YoheCarleton and Barbara Zacheis

CONDUCTOR’S CLUB ANDANTE$2,500 - $4,999AnonymousMr. Thomas ArgyrisDavid and Beth ArnoldTeri and Jim BabcockStephen E. and Phyllis C. BachandMr. and Mrs. Don BaldwinSally and Jim* BaldwinClaudette and Richard BarkerMs. Jennifer BartonDr. and Mrs. Dwight S. BayleyRebecca BlackJoyce R. BlackburnMr. and Mrs. James C. BlantonSandy and Jack BorntraegerMr. and Mrs. Raymond W. BoushieThe Honorable and Mrs. BowmanJohn and Cletia BowronRod and Pat BrockMark and Beth BrockelmanMr. Daniel BroderickCecilia Bryant and Richard LipseyMr. & Mrs. Ronald T. BuckinghamMr. Stanley W. CairnsMrs. Diane CannonJack and Dorothy CernikWarren and Clarissa ChandlerSandra and Andrew ClarkeSharon and Martin ConnorCaroline Covin in Memory of

Robert CovinMs. Jean CoxPeter DalmaresHarvey and Lois Dann FoundationMr. and Mrs. Bruce R. DarnallMs. Emily J. DavisMr. and Mrs. Thomas P. DavisMs. Trace DuryeaGreg and Helen EustonMr. Mark R. EvansMike and Renee FavoMrs. Betty FippMr. and Mrs. David FoersterDr. Daniel Fulmer and Kim VermillionMr. Stephen M. GahanDr. John GalloClark and Lauretta GaylordLawrence and Phyllis GoldbergRabbi Robert and Marilyn GoodmanMel and Debbie GottliebHelen I. Graham FoundationMr. Wayne Greenberg andMrs. Elizabeth ShahanDr. Dan Hadwin and

Dr. Alice Rietman-HadwinSuna HallMr. and Mrs. Victor A. Hughes, Jr.Mr. and Mrs. Burton V. KagenAndrew and Gurmeet KeavenyMr. and Mrs. Charles KellerDon and Donna KinlinDr. Annette Laubscher

ENCORE 75

Janine Leland and Thomas LarsonNorman and Mary Ellen LedwinHarriet LeMasterMr. Courtney LewisDr. Lawrence A. and Emily LisskaRichard LombardiMrs. John R. MackrothTony and Gayle ManningMs. Carol J. NevilleRobert Massey and Lisa PontonAnn and Bob MaxwellAlison McCallumRosemary and Allan* McCorkleDavis and Sandra McCartyJames McGuffin and Kathleen MullenMarcia MederosLee and Bobbie MercierMrs. Jeanne MoomawMrs. Laurel NewNewman Family FoundationJohn* and Dorothy NutantCapt. John and Mrs. Carol O’Neil, Jr.

(USN Ret.)Marie and Joel PangbornThe Honorable Mayor John Peyton &

Dr. Kathryn P. PeytonSusanne and Lee ReinekeBruce Rosborough and Judy HamMr. Harry RuhsamDr. and Mrs. Wilbur C. RustPeter Ryan in Memory of Sandra J. RyanDr. and Mrs. Ralph A. SawyerMrs. Miyuki ScheidelMrs. Lorraine ScrubyMr. and Mrs. Joseph E. SherinMr. Benjamin Shorstein and

Ms. Nicole NissimMr. and Mrs. Mark J. ShorsteinSteve and Judy SilvermanDr. Edward and Mary Ellen SmithDr. Mandell and

Rita Diamond StearmanMr. and Mrs. Benson I. SteinMarianne and Ben SteinMrs. C. G. StrumMr. and Mrs. John TancrediMireille and Robert ThrelkelMr. and Ms. James M. TilleyRolf and Neely ToweRon and Maureen TownsendMr. and Mrs. Richard TufaroDr. William H. Haas andMrs. Brenda B. VerbackMrs. Georgia WahlCarol and Manuel* WallaceMary V. and Frank C. WatsonDrs. Lowell and Leslie WeinerMs. Barbara C. WestDrs. Thomas Gonwa and

Dr. Mary Alice WestrickArlene and Phil WiesnerStephen WilliamsLinda F. WilkinsonMr. and Mrs. Chester WitczakMr. and Mrs. A. Daniel Wolff IIIHon. Gwen Yates and

Lt. Col. Alton W. Yates, USAF (Ret.)Carolyn and Elliot Zisser

CONCERTMASTER’S CIRCLE$1,000 - $2,499Mark and Rita AllenDr. and Mrs. Pierre AllaireAnonymous (2)Dr. and Mrs. George F. Armstrong, Jr.Dr. William and Linda Ann BainbridgeBarbara H. ArnoldMr. and Mrs. Robert W. Beers, Jr.Mr. and Mrs. William BennettBerman Family FoundationMr. and Mrs. Charles BermanPeter T. and Hollis J. BoydMr. and Mrs. Peter BraganTeresa BrewerKaren and Mark BrownMs. Sandra BryantMrs. Lynn CabreraDr. and Mrs. William H. CaldwellRon Clark and Karrie HaeseleJeff and Lee Ann ClementsTom and Pat ConwayMs. Mary Ann CarrollJonathan ColesMrs. Sandra CorbettMr. and Mrs. Robert A. CowdenMr. Richard Cullen andMr. Robert Finnerty, Jr.Harriett L. DameNoel and Mildred DanaMr. and Mrs. Bernard S. DatzMr. and Ms. Robert DerrCathy DriscollDr. Jeff and Mrs. Sharon DunlapMr. and Mrs. Thomas A. Fernley IIIMr. and Mrs. Andrew FogartyBill and Judy FransonMr. and Mrs. Michael S. FrenchDr. John GalloMr. and Mrs. James GiblinPat and Fred GiegMr. and Mrs. Roland and

Sara-Ann GomezMr. and Mrs. Otis C. Gregg, Jr.Gisela HaemmerleJanice HallBill and Kent HambJack and Grace HandHarriet HartMr. and Mrs. Coleman HawkMr. and Mrs. Keith HayesBill and Helen HendrichDr. Hazem Herbly and

Sahar Aboudan, MDDorothy M. HillDavid and Carole HoltPaula and Kenneth HornMr. Robert L. HunterMs. Jo Carol S. HutchinsDr. Diane DeMell JacobsenJacksonville Symphony

Players AssociationMartha JonesLuke and Sandy KarlovecRuth and Jack KellyRichard and Nancy KennedyMrs. Elaine Weistock and

Mr. Ronald KeysorDr. Frances B. Kinne

Mr. Ronald KoblitzMr. Henry C. KocmondDavid LakariMr. and Mrs. Jim LangerJames and Karen LarsenDr. Charis LauAlison R. LeonardCarolyn Marsh LindsayEleanor L. LotzHal and Frances LynchMr. and Mrs. Donald W. MaleyJudith and Ray MantleMr. and Mrs. Ron M. MasucciMr. Patrick Mayhew and

Ms. Helen KirkpatrickMrs. Rose C. McCallDr. J. Mark McKinneyMr. and Mrs. Frederick W. McNabb, Jr.P. L. McWhorterLydia Saris, M.D. and

Daniel MechenbierMr. and Mrs. George MedillMr. and Mrs. Harold MedinaMr. and Mrs. Francis MonacoDr. Lesley MorganLinda Crank MoseleyRobert and Monica MylodTom and Harriet NesbittMs. Carol J. NevilleDavid and Kathryn OlsonDr. and Mrs. Matthew C. PattersonMr. and Mrs. Lawrence PereiraCharles PeterRichard G. PohligMrs. Jane PrestonHeather PuckettMichael Ranne and

Julia Suddath-RanneGiles Renaud andGladys Draper-RenaudRev. and Mrs. John S. RogersClaudia and Steve RusseyAnne and John RuvaneJeff and Chelly SchemberaFaith SchonfeldTom and Jane SchmidtMs. Ruth SchwarzmannMr. and Mrs. Chris SeubertMr. and Mrs. Wheaton SimisDr. Richard G. Skinner, Jr.Townsend SmithDr. Suzanne SpanierMr. and Mrs. Benson I. SteinProf. and Mrs. G. J. Rod SullivanMr. Ralph Talbott and

Ms. Suzanne PlaineMr. and Mrs. Michael TierneyMr. Hugh TobiasSusan and James TowlerMr. Rudolf E. UrbanGabriele Van ZonSusan VanhoeijJohn Tobias and Rebecca WellsMr. and Mrs. Thomas WhittemoreDr. and Mrs. Daniel WohlDr. Mary Ellen YoungZimmerman Family FoundationMary Jean Zimmerman


PLAYER’S CIRCLE$500 - $999A-B Distributors, IncorporatedRichard AbdullahMr. and Mrs. Bruce AndersonGlenda AnthonyMr. B. David AveryJanean C. BakerRita BanhunyadiMr. and Mrs. George BanksMs. Martha E. BarrettMrs. Beatrice BeckenbachRobert BellMr. Timothy B. BellMr. and Mrs. Joseph P. Bender, Jr.Dr. and Mrs. James P. BollingMr. and Mrs. Francesco BorgheseMr. and Mrs. William BraddockMr. and Mrs. Charles BrayMr. Thomas BrayMs. Crystal BroughanShepard Bryan, Jr.Jim and Carol BryceCaren and Dennis BuchmanDr. and Mrs. William BullockMichael ByrdDavid and Lynne CampbellIan M. CharltonMr. Kevin J. Chase and

Ms. Ileana FernandezGary and Barbara ChristensenMr. and Mrs. Joe ClareMrs. Linda CliffDr. and Mrs. Yank D. Coble, Jr.Elizabeth Schell ColyerMrs. Lucille ConradLinda J. CooperMr. and Mrs. John D. CorseBill and Kathy CosnottiMrs. Alice M. CoughlinMr. and Mrs. Mort CrimDr. and Mrs. Julius DeanMr. and Mrs. Bruce DempseyMr. Walter DeReuMr. Robert J. DeversMr. and Mrs. Henry D’HulstMarian Dickson in Memory of

Steve DicksonMr. and Mrs. William G. DietrichDonald DinwiddieMr. and Mrs. Patrick R. DoranMargie and George DorseyMs. Barbara J. DrakeMr. and Mrs. James F. DuffyDr. Kathleen M. DullyCharles and Virginia DunnDr. and Mrs. A. R. EckelsCatherine EdgeJulia M. EdgertonMr. George and Dr. Anne EganMr. David EismontVirginia M. ElliottMr. and Mrs. Richard EzequelleJulian Farris andJames A. Montgomery, MDSharon FeingoldMrs. Patricia FlockMr. Jaime A. FriasMr. and Mrs. Ben FrischYves GenreMr. and Mrs. Pete Gibbons

Dr. and Mrs. Richard GlockSusan Goldring and Horton HickersonDrs. Thomas Gonwa andMary Alice WestrickMs. Elinor M. GregoryRichard HabresHoward Haims and

Carole Cooper-HaimsMr. Glenn and Mrs. Denise HansenDrs. Alfred D. and Katherine A. HardingHelen HauseMs. Barbara A. HawsMr. and Mrs. Lemuel H. HawverMrs. Elizabeth HeadRuth and Ron HedgeDrs. Richard and Maryanne HelffrichMr. and Mrs. Philip R. HenriciMs. Carol L. HicksMr. and Mrs. Hal HigdonMr. and Mrs. H.C. HolderfieldMs. Evelyn HowardMrs. Martha Huntley-RobertsonMr. and Mrs. Michael HuskeyBarbara JohnsonMs. Gloria E. JohnsonMr. and Mrs. Terrence D. JonesGary and Patricia JosephsonStanley and Sharon KantorMr. and Mrs. Peter E. KaplanMr. and Mrs. Emery J. KapplesWilliam Kastelz, Jr.In Memory of Sandra Keith KimballMr. and Mrs. Frank C. KillackeyWilliam M. KillenMr. and Mrs. Thomas F. KirkSunny and Harold KrivanRuth and Richard KleinKaren and Fred KochMr. and Mrs. Ronald E. KolarMrs. Sylvia KraemerMr. and Mrs. Harold KrivanMr. Ted LarsonMs. Catherine H. LemmeMark and Mary LemmenesWayne LetiziaDr. Leonard J. LipkinDr. and Mrs. Dean C. LohseMr. Clifford P. LovelandMr. and Mrs. David LovettLeyse LowryMr. and Mrs. William MacLeodJim Maher and Richard SykesKenneth M. ManningFaith MartinMr. and Mrs. Joseph MartinDr. Mike and Marilyn MassCapt. Carl M. Mayer USN RetMr. and Mrs. Joseph E. McCauleyMs. Carole L. McManusMr. and Mrs. Charles E. McTiernan, Jr.Rich MidkiffLisa MillerMr. and Mrs. Michael A. MillerMr. and Mrs. David MironMr. and Mrs. Gary MooreJohn and Kathie NevinMr. and Mrs. J. Kenneth E. NoonMr. and Mrs. Wayne NovakThomas OrrMr. Parker and Ms. Diane HaleMr. and Mrs. Charles Parliment

Audrey B. PattersonSuzanne C. PerrittMr. and Mrs. Rickie PetersenJoseph and Phyllis PowerDr. George B. Pruden, Jr.Mr. and Mrs. Eric PuestowMr. and Mrs. Robert QuinbyMrs. Judith J. RatcliffeMs. Valerie W. RedmonWynn RedmonIna W. RichterMr. and Mrs. Thomas J. RodellDr. Daniel S. Yip and

Teresa Rodriguez-YipMr. Neil Rose and Dr. Jeannie RoseR. E. Rosemund, Jr.Mr. and Mrs. George E. RossColleen Andrea SanchezTrish and Ric SeiterDr. Ralph W. SeveliusBrittany and Nathan SheffieldMrs. Betty J. ShepardAaron SigallMr. and Mrs. Harry SkiltonRobin SmathersDr. Carolyn H. SmithTracy SmithRaul Soto-Acosta, MDGeorge and Shirley SpanielDr. David A. SpringDewitt Storm and Kathy StormDr. Richard and Gina StrombergMr. James StronskiWilliam J. StruckMr. and Mrs. Mark A. SurLinda and Jim SylvesterDorcas G. TannerSharon Howard TannerBernadette E. TasherMr. and Mrs. Bruce TeerlinkMs. Carol C. ToddDonald and Gwendolyn ToddJacqueline TomassettiMrs. Diana R. TopeMr. and Mrs. Thomas TorresAlice and John TrainerSherilyn Van OrdenMr. Gerald VeldmanMr. and Mrs. James VerbeckMr. and Mrs. William R. VineyardMs. Grace L. Voyles andMs. Mary E. VoylesCornelia and Olin WattsEndowment FundMs. Cynthia WahlBilly J. and Nettie T.* WalkerDr. and Mrs. Robert S. WaltonMs. Eileen WardMr. and Mrs. David WeisblattWilliam and Elizabeth WeitzelMr. and Mrs. Neil J. WickerstyMr. and Mrs. John P. WilchekSue WilliamsChrista WilsonRobert and Dianne WilsonMary Emma WilsonJamie Woodward and Max ChmuraMs. Mary Wysong andMs. Sylvia G. CotnerDrs. Steven G. and Linda YounkinMr. and Mrs. Sergei Zelenkov

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