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FOUNDATIONS C I E N C E S

NASHVILLE SYMPHONY & CHORUS GIANCARLO GUERRERO, conductorTUCKER BIDDLECOMBE, interim chorus directorJESSICA RIVERA, sopranoMICHAELA MARTENS, mezzo-sopranoNICHOLAS PHAN, tenorKELLY MARKGRAF, baritone

ROBERT SCHUMANNSymphony No. 1 in B-flat major, Op. 38, “Spring”

Andante un poco maestoso – Allegro molto vivaceLarghettoScherzo: Molto vivaceAllegro animato e grazioso

INTERMISSION

JOHN HARBISONRequiemPart I. Introit

Sequence I: Dies iraeSequence II: Tuba mirumSequence III:Liber scriptusSequence IV: Quid sum miserSequence V: RecordareSequence VI: Confutatis-Lacrymosa

Part II. OffertorySanctusAgnus DeiLux aeternaLibera meIn paradisum

Jessica Rivera, sopranoSasha Cooke, mezzo-sopranoNicholas Phan, tenorKelly Markgraf, baritone

These concerts are being recorded live for future release on Naxos. To ensure the best quality recording, please keep noise to a minimum.

AN AMERICAN REQUIEM

& S C H U M A N N ’ S F I R S T

FRIDAY & SATURDAY, MAY 12 & 13, AT 8 PM

C L A S S I C A L S E R I E SA E G I S

EST. 2013

FOUNDATIONS C I E N C E S

T H A N K YO U TO O U R PA RT N E R S

EDUCATION PARTNER

MEDIA PARTNER

FUNDED IN PART BY A GRANT FROM THE NATIONAL

ENDOWMENT FOR THE ARTS

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24 MAY 2017

ROBERT SCHUMANN

Composed: 1841First performance: March 31, 1841, in Leipzig, with Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra First Nashville Symphony performance: January 16 & 17, 1978, with music director Michael Charry Estimated length: 30 minutes

Born on June 8, 1810, in Zwickau, Germany; died on July 29, 1856, outside Bonn, Germany

Symphony No. 1 in B-flat major, Op. 38 “Spring”

“R obert Schumann tended to focus his compositional efforts on specific

genres. Aspiring to become a celebrated pianist, Schumann wrote one masterpiece after another for the keyboard in the 1830s. He turned to the art song in 1840 — the same year that he married pianist Clara Wieck, after a tumultuous courtship — and devoted himself to chamber music in 1842. His great “symphonic year” came between those, in 1841. He had made some earlier forays into the symphony, but yielded nothing conclusive. Schumann’s marriage to Clara had reinforced his confidence, and she encouraged him to expand his ambitions beyond the keyboard.

Within a mere four days in January 1841 (including what he described as “sleepless nights”), Schumann sketched out his entire “Spring” Symphony No. 1. One source of inspiration he cited was a poem about spring by Adolf Böttger, the so-called “forgotten poet of Romanticism.” He even translated the rhythm of the poem’s opening line into the striking pattern we hear in the brass at the outset. Schumann initially included subtitles for each of the movements but later abandoned these, remarking that “description and painting were not a part of my intention” — though, he added, “the time in which [the Symphony] emerged may

have influenced its shape and made it what it is.” Instead of citing Böttger, Schumann spoke of “that rush of spring that carries a man away even in his old age and comes back to him afresh each year.”

T he opening summons launches a slow introduction that also serves as the motto for

the entire first movement: sped up in an exciting transition, it becomes the first theme. The music encompasses both primal power and tenderness. Schumann manages to outdo the animated lift-off into the Allegro molto vivace with an even more powerful swelling of youthful energy at the climax of the development section; an extended coda brings a hint of the meditative Larghetto to follow.

Originally titled “Evening,” the slow movement unfolds in a serene outpouring of melody whose initial shape is a slowed-down version of the opening motto — it’s as if the virile blossoming that began the Symphony were now being considered from a more reflective, twilit perspective. Schumann holds a surprise in store by introducing an unexpectedly solemn, almost ecclesiastic utterance from the trombones.

These instruments signal the main motif of the Scherzo, which veers into D minor with a syncopated figure reminiscent of the dark minuet from Mozart’s G-minor Symphony No. 40. But this short movement shifts in mood with the insertion of two contrasting trio sections. Another summons prefaces the finale (originally titled “Farewell to Spring”). Here Schumann incorporates a breezy first tune alongside a quote from one of his earlier piano works, Kreisleriana. Grand gestures echo the epic impulses of the first movement and take center stage to end this thrilling paean to creative renewal — in nature and in the artist alike.

Schumann’s First Symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings.

WHAT TO LISTEN FOR

To explain his Symphony No. 1, Schumann spoke of “that rush of spring that carries

a man away even in his old age.”

TONIGHT’S CONCERTAT A GLANCE

• German Romantic composer Robert Schumann was a contemporary of Franz Liszt, Frédéric Chopin, and Felix Mendelssohn — the last of whom conducted the premiere of his First Symphony. John Haribson, the other featured composer on this concert, has noted that these four 19th-century men “form the first musical generation to identify consciously with the Romantic movement long since fully acknowledged in other arts.”

• Subject to periods of prolific creativity and incapacitating depression, Schumann sketched out the entirety of his First Symphony in just four days in early 1941. The previous year, he’d married pianist Clara Wieck, who had encouraged him to move from writing for the piano to composing for full orchestra.

• The “Spring” Symphony derives its name from the fact that Schumann was initially inspired by a poem by German writer Adolf Böttger. The opening line of the first movement is based on the rhythm of the poem’s opening line: “Im Tale blüht der Frühling auf!” (“In the valley spring is blossoming!”)

• Schumann originally assigned descriptive titles to each of the movements but decided to leave them off the final score. “Description and painting were not part of my intention,” he said at the time, though he acknowledged that he was inspired by “that rush of spring that carries a man away even in his old age and comes back to him a fresh each year.”

• A Pulitzer Prize winner and recipient of the prestigious MacArthur Fellowship, Boston-based composer John Harbison has served on the faculty of Massachusetts Institute of Technology since 1969. In addition to composing chamber music, symphonies, concertos, operas, and choral music, he also has a background in improvisation, having played jazz since age 12.

• Harbison is known for incorporating influences from literature into his work, including F. Scott Fitzgerald’s The Great Gatsby (which is the subject of one of his operas) and the poetry of Czesław Miłosz, Louise Glück, and Rainer Maria Rilke. His goal as a composer, he says, is “To make each piece different from the others, to find clear, fresh large designs, to reinvent traditions.”

• Though he began composing the Requiem in 1985, it would take Harbison another 16 years to complete the work. The Boston Symphony provided the impetus with a commission in September 2001 — just prior to the 9/11 attacks. The composer says, “The events of that fall made my purposes clearer. I wanted my piece to have a sense of the inexorability of the passage of time, for good and ill, of the commonality of love and loss.”

• To be recorded live by the Nashville Symphony for future worldwide release on Naxos, Harbison’s Requiem draws on the tradition of Latin sacred music, incorporating the text of the Requiem Mass. The piece opens in the key of D minor — notable as the same key of Mozart’s Requiem.

• Listen throughout for Harbison’s skills as a composer, with notable brass parts and distinctive sounds from the percussion section. Elsewhere, he skillfully weaves the vocal soloists with the full chorus for dramatic effect, and in the Agnus Dei he showcases the soprano vocalist with a moving solo.

ROBERT SCHUMANNSymphony No. 1 “Spring”

JOHN HARBISONRequiem

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All the way up to the end of the last century, Harbison kept finding himself drawn back to the “core musical ideas” from the Introit he had sketched in 1985. “Realizing I was still haunted by the piece,” he says, “[I decided] to move to complete it… It was interesting, a little surprising, to discover how persistent the first view of the piece had become, how closely my idea of the large design, even down to the harmonic outlines, was being pursued. This is unusual in my experience, even in pieces written quickly.”

The Boston Symphony, which has been responsible for several other major works from the composer, helped bring the work to fruition by officially commissioning Harbison to complete his Requiem in the first week of September 2001. Though the origins of the piece dated back 16 years, Harbison points out that “the events of that fall made my purposes clearer. I wanted my piece to have a sense of the inexorability of the passage of time, for good and ill, of the commonality of love and loss. I wanted to open up an aural space where this could be acknowledged.”

H arbison decided to forgo the path chosen by Britten: mixing texts from the ancient liturgy

with modern poetry. Instead, he chose a broader portion of the texts originally associated with the Requiem Mass than the ones found in other famous Requiems, dividing his work into two parts, with the first comprising the Introit (with Kyrie) and the lengthy so-called Sequence (also known as the Dies Irae, from its opening verses).

The Requiem opens with a dark chord of D minor (the key of Mozart’s unfinished Requiem), but with an added dissonance of D-flat/C-sharp in the bass line and timpani. That special “flavoring” is characteristic of Harbison’s linguistic color throughout, which adds an edge to very traditional harmonic building blocks. The harmony becomes clouded and dense, while the Kyrie brings the first of the Requiem’s several striking episodes of involved fugal writing.

The Sequence elicits a wide range of imaginative approaches to what the composer describes as “an old, poetically primitive medieval poem.” Whole steps and anxious half-steps recur throughout to tie together this kaleidoscopically ranging

WHAT TO LISTEN FOR

canvas of images. Harbison’s skills as an orchestral composer likewise benefit his setting: note his use of various assortments of brass and the uncanny sonorities from the percussion, as well the interplay of full chorus versus soloists. The final part of the Sequence (Lachrymosa) is one of the emotional high points of the entire Requiem, joining the solo vocalists and chorus before closing with a fugal setting of “Amen.”

Following the ominous language of the Sequence, Part II seems to begin with a fresh outlook in the Offertory. But for the solo singers, the most challenging music is to come in this section, with the “Quam olim Abrahae.” Hints of Bernstein’s jazzy rhythmic patterns from The Chichester Psalms enliven the ensuing Sanctus, where the bell sounds that were part of the Dies Irae sequence now become joyful. Harbison brings the soprano solo into the spotlight (with a line rising up to a high C) for the moving Agnus Dei. In the Lux aeterna, all four soloists join in a reprise of the words that began the ritual (“Requiem aeternam”).

The soloists also have a major part in the Libera me, which includes a subtly altered reprise of the music from the Introit. While Verdi had set this text as the capstone to his Requiem, Harbison goes on to include the concluding prayer In paradisum, which is most famous from Gabriel Fauré’s gentler Requiem setting. For Harbison, this prayer inspires a celestial musical vision of tuned percussion, harp, and solo violin. Observes the composer: “I wanted a sense of ancient inheritance to inhabit my setting, a ritual steeped in the inevitability of death — gradually moving toward consolation and acceptance.”

Harbison’s Requiem is scored for soprano, mezzo-soprano, tenor, and baritone soloists; four-part chorus (soprano, alto, tenor, and bass); and an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons (2nd doubling contrabassoon), 2 horns, 2 trumpets, 3 trombones, timpani, three percussion players, piano, celesta, harp, and strings.

— Thomas May, the Nashville Symphony’s program annotator, is a writer and translator who covers classical and contemporary music. He blogs at memeteria.com.

JOHN HARBISON

Composed: 1985-2002First performance: March 6, 2003, with Bernard Haitink conducting the Boston Symphony Orchestra and Tanglewood Festival Chorus First Nashville Symphony performance: These are the orchestra’s first performances. Estimated length: 58 minutes

Born on December 20, 1938, in Orange, New Jersey; currently resides in Cambridge, Massachusetts

Requiem

“J ohn Harbison’s Requiem takes its place within a remarkable tradition of sacred-

music compositions that have spurred far-reaching creative extremes, in the process embodying the experience and technical wisdom of a lifetime. Born in 1938 in Orange, New Jersey, he has been a familiar name among leading American orchestras thanks to the success of his symphonies and concertos. His catalogue includes opera, chamber music, and art songs, along with an impressive amount of sacred choral music. A graduate of Harvard and Princeton, Harbison has for decades been on the faculty of the Massachusetts Institute of Technology, and he has left his mark on generations of young composers as a teacher at Tanglewood since 1984.

A jazz pianist as well, Harbison also enjoys making arrangements of pop songs and jazz standards, and he has achieved acclaim for the inspired ways in which his works cross-pollinate the familiar with the new and unexpected. Writing about his Pulitzer Prize-winning oratorio The Flight into Egypt — an attempt to depict “the darker side of Christmas” — the composer announced his artistic credo as follows: “To make each piece different from the others, to find clear, fresh large designs, to reinvent traditions.”

His Metropolitan Opera-commissioned version of F. Scott Fitzgerald’s The Great Gatsby and his

cycle The Canonical American Songbook are characteristic of this interest in bringing fresh perspectives to cultural signifiers. A prominent literary sensibility is another important strand in Harbison’s compositions. Both the Second and Fifth of his six symphonies show the influence of the Nobel Prize-winning Polish poet Czesław Miłosz, for example, and the latter of these works addresses the myth of Orpheus and Eurydice as elaborated by Miłosz, Louise Glück, and Rilke.

Reckoning with loss is another thematic thread that emerges in Harbison’s work. In addition to exploring the archetypal myth of Orpheus and Eurydice in his Fifth Symphony, Harbison wrote his Fourth Symphony, he says, “about the imminence and inevitability of loss at times we of course do not choose.”

With his Requiem, Harbison takes on the sacred music tradition most closely associated with the ultimate loss — and with those left behind grieving. Musical settings of the Latin Mass for the Dead reach back to the origins of Western classical music. Over time, these works have functioned as de facto self-portraits of their composers, whether in the humanist consolation of Brahms’s Ein Deutsches Requiem, Verdi’s passionately dramatic Requiem, or Benjamin Britten’s fusion of ancient tradition and 20th-century poetry in A War Requiem. “I found it important to consider what my piece could add to the many distinguished pieces of its type,” Harbison writes in the preface to his score.

Fittingly for a work of such ambitions, its genesis proved to be quite lengthy, growing in scope as the ideas behind it took on new associations and significance. Harbison began work on the Requiem in 1985, when he used the opposite side of paper on which he had begun composing his first ideas for what would become The Great Gatsby. These notes included much of the music destined for the first movement (Introit) and became the font for several other parts of the Requiem over the following years. A decade later, Harbison was commissioned in 1995 by Hellmuth Rilling to participate in a collective composition, the Requiem of Reconciliation, honoring the victims of World War II on the 50th anniversary of the conflict’s end. One of 14 composers, he contributed a section of the Dies Irae sequence (Juste judex).

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NICHOLAS PHANtenor

N amed one of NPR’s Favorite New Artists of

2011, American tenor Nicholas Phan is increasingly recognized

as an artist of distinction. Praised for his keen intelligence, captivating stage presence, and natural musicianship, he performs regularly with the world’s leading orchestras and opera companies. Also an avid recitalist, he co-founded the Collaborative Arts Institute of Chicago (CAIC) in 2010 to promote art song and vocal chamber music.

In the 2016/17 season, Phan returns to The Cleveland Orchestra, Philadelphia Orchestra, San Francisco Symphony, St. Louis Symphony, Baltimore Symphony Orchestra, North Carolina Symphony, and the National Arts Centre in Ottawa. He also appears twice with Bach Collegium Japan and makes his role debut as the title role in Oedipus Rex with Esa-Pekka Salonen and the Philharmonia Orchestra of London. As artistic director of CAIC, he will curate and perform in the organization’s fifth annual Collaborative Works Festival, a vocal chamber music festival held in venues throughout Chicago.

An avid proponent of vocal chamber music, Phan has collaborated with many chamber musicians, including pianist Mitsuko Uchida, pianist Jeremy Denk, and violinist James Ehnes. His many opera credits include appearances with the Los Angeles Opera, Houston Grand Opera, Glimmerglass Festival, Chicago Opera Theater, Seattle Opera, Portland Opera, Glyndebourne Opera, Maggio Musicale in Florence, Deutsche Oper am Rhein, and Frankfurt Opera.

Phan’s recent solo album A Painted Tale was named one of the Best Classical Albums of 2015 by the Chicago Tribune. His growing discography also includes a GRAMMY®-nominated recording of Stravinsky’s Pulcinella with Pierre Boulez and the Chicago Symphony, Scarlatti’s La gloria di Primavera with Nicholas McGegan and Philharmonia Baroque, the opera L’Olimpiade with the Venice Baroque Orchestra, and the world premiere recording of Elliott Carter’s orchestral song cycle, A Sunbeam’s Architecture.

KELLY MARKGRAFbar itone

P ossessing a voice that The New York Times calls

“heart¬stirring,” American baritone Kelly Markgraf has distinguished himself as a

dynamic artist of commitment and gravity on the opera and concert stages. In recent seasons, he has presented the groundbreaking premiere of the world’s first transgender opera, As One, at Brooklyn Academy of Music and again at Utah State University, returned to Madison Opera for his role debut as Pizarro in Fidelio, and sang in an evening of chamber music with the Schubert Club.

Markgraf also sang the leading role of Heathcliff on the world premiere recording of Carlisle Floyd’s Wuthering Heights, which was recorded live with the Milwaukee Symphony Orchestra. Other recent and upcoming performances include the Santa Fe Chamber Music Festival, his Swiss debut with Opéra de Lausanne, his role debut as Marcello in La Bohème with Hawaii Opera, and his company debut with Florentine Opera (Elisir d’Amore).

Markgraf is a distinguished graduate of the Juilliard Opera Center, where his work included the roles of Mamoud in a staged concert of John Adams’ The Death of Klinghofer, conducted by the composer, and Ford in Verdi’s Falstaf in a production directed by Stephen Wadsworth and conducted by Keri¬-Lynn Wilson. He is a former member of the Resident Artist Program at Minnesota Opera.

The artist’s honors include a First Prize Award from the Gerda Lissner Foundation Competition (2010), the Sullivan Foundation’s Sullivan Award (2009), the Grand Prize in the Opera Index Competition (2009), awards from the Giulio Gari Foundation and the Licia Albanese Puccini Foundation (2009), a Richard F. Gold Career Grant (2009), an Outstanding Apprentice Award from the Santa Fe Opera, and the Civic Music Association Competition Grand Prize. A native of Wisconsin, he holds degrees from Boston University, the University of Cincinnati-College Conservatory of Music, and The Juilliard School.

JESSICA RIVERAsoprano

T he intelligence, dimension, and spirituality with

which GRAMMY®-winning soprano Jessica Rivera infuses

her performances has garnered her collaborations with many of today’s most celebrated composers, including John Adams, Osvaldo Golijov, Gabriela Lena Frank, Jonathan Leshnoff, and Nico Muhly, and has brought her together with such esteemed conductors as Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano, Bernard Haitink, and Michael Tilson Thomas.

During the 2016/17 season, Rivera appears with the Calgary Philharmonic for Mozart’s Requiem under Roberto Minczuk, and returns to the Atlanta Symphony Orchestra and Chorus for Vivaldi’s Gloria in D Major and Handel’s Messiah. She again joins the ASO and Chorus under Maestro Spano for Christopher Theofanidis’ Creation/Creator in Atlanta and at the Kennedy Center’s 2017 SHIFT Festival of American Orchestras. Rivera gives the World Premiere of Gabriela Lena Frank’s Requiem with baritone Andrew Garland and the Houston Symphony and Chorus, conducted by Andrés Orozco-Estrada.

Rivera has worked closely with John Adams throughout her career, receiving international praise for the world premiere of Adams’ opera A Flowering Tree, singing the role of Kumudha in a production directed by Peter Sellars as part of the New Crowned Hope Festival in Vienna. She made her European operatic debut as Kitty Oppenheimer in Sellars’ production of Adams’ Doctor Atomic with the Netherlands Opera, a role that also served for her debuts at the Lyric Opera of Chicago, Finnish National Opera, and Teatro de la Maestranza in Seville, Spain.

Committed to the art of recital, Rivera has appeared in concert halls in New York, Los Angeles, Chicago, San Francisco, Cincinnati, Oklahoma City, Las Vegas, and Santa Fe. She was deeply honored to have received a commission from Carnegie Hall for the world premiere of a song cycle by Nico Muhly entitled The Adulteress, given on the occasion of her Weill Hall recital performance.

MICHAELA MARTENSmezzo-soprano

T he Boston Globe hails Michaela Martens for

her “dense, color-saturated voice” and declares, “She is a

passionate and sympathetic vocal actress.” Martens is fast becoming known for her portrayals of some of the most difficult mezzo-soprano roles in the repertoire, beginning with a triumphant last-minute debut at the Lyric Opera of Chicago as die Amme in Die Frau ohne Schatten, a role she repeated for the Oper Graz in a new production by director Marco Marelli.

Martens began the 2016/17 season as Freia in Das Rheingold with North Carolina Opera. She has also sung the role of Herodias in Salome with Pittsburgh Opera and performed John Adams’ The Gospel of the Other Mary with the St. Louis Symphony at Carnegie Hall. This season, she also debuts with Washington Concert Opera in the title role of Hérodiade and sings Ortrud in Lohengrin with Opernhaus Zürich.

Last season, Martens performed the role of Judith in Bluebeard’s Castle in concert with the New Japan Philharmonic in Tokyo, Cassandre in Les Troyens with Geneva Opera in Switzerland, and Kostelnicka in Jenůfa with English National Opera. In the 2014/15 season, she returned to the Metropolitan Opera as Marilyn Klinghoffer in John Adams’ The Death of Klinghoffer, Judith in Bluebeard’s Castle, and Gertrud in Hänsel und Gretel — a role she reprised later that season in her debut with the Bayerische Staatsoper in Munich.

Martens performed as Kundry in Parsifal and the 2nd Norn in Götterdämmerung at the Metropolitan Opera in the 2012/13 season. The previous season, she made her Carnegie Hall debut with the American Symphony Orchestra singing the title role in Albéric Magnard’s Berenice. Opera Today said, “She can indeed sing softly, though clearly...but it is the fierce and tireless, unwavering solidity of Martens’ voice that Wagnerians will find exciting.”

ABOUT THE SOLOISTS

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CELEBRATING 25 YEARS OF SERVICE

T he Nashville Symphony Chorus congratulates

Cathi Carmack for her 25 years of service as an alto in the chorus. Except for a brief period when she was finishing her master’s degree, Carmack

has been a member of the Nashville Symphony Chorus since January 1989. She manages the Archival Technical Services Section of the Tennessee State Library and Archives, where she’s worked for 30 years.

Born in Nashville, Carmack grew up in Arlington, Virginia, and Murfreesboro, Tennessee. Music has always been part of her life, especially school band and chorus. Her very favorite experience will always be marching as a flutist with the Pride of the Southland Marching Band at the University of Tennessee under Dr. W.J. Julian. “Nothing can top opening that T,” she says.

“Throughout my life I had wonderful band and choral directors and teachers to whom I

owe so much,” Carmack continues. “In addition to Dr. Julian, thanks go to Carolyn Via, Tom Horrocks, John J. Pickeral, Glenn B. Davis, Walter McDaniel, and Dolly Hough Davis for an incredible music education. To sing with a premier choral organization like the Nashville Symphony Chorus and to be associated with an organization as wonderful as the Nashville Symphony is the thrill of a lifetime. I especially appreciate the professionalism and high standards that Dr. George Mabry, Kelly Corcoran, and now Dr. Tucker Biddlecombe have brought to the chorus.”

Richard Hatfield 54 years of serviceWilliam Hodge 40 years of serviceCarla M. Davis 35 years of serviceElizabeth Gilliam 30 years of serviceBeverly Anderson 29 years of serviceJan Staats Volk 28 years of serviceDavid M. Satterfield 26 years of service Stephen F. Sparks 26 years of service

Nashville Symphony Chorus would also like to recognize the following singers for their 25-plus years of service in the ensemble:

NASHVILLE SYMPHONY CHORUSTUCKER BIDDLECOMBE, interim chorus director

SOPRANOBeverly Anderson†Esther BaeAmie BatesElizabeth BeldenMary BiddlecombeJill BoehmeStephanie BreiwaSara CurtissClaire DelcourtAmanda Leigh DierSarah DonovanKatie DoyleKacie DunhamBecky Evans-YoungKelli GauthierJennifer Goode StevensGrace GuillAlly HardOlivia HeanerVanessa Jackson*Jené JacobsonCarla JonesNicole LakeKatie LawrencePenny LueckenhoffJennifer LynnAlisha MenardAnna MercerJean MillerJessica MooreKameri MuirCarolyn Naumann*Angela Pasquini CliffordBeth RingDebbie SchraugerRebecca ShieldRenita Smith-CrittendonAshlinn SnyderMaria SpearAnna SpenceClair SusongMarva SwannMarjorie TaggartAngela ThomasJennice ThrelkeldJan Volk†Janelle WaggenerPaige WetzelKathryn WhitakerSylvia WynnCallie Zindel

ALTOAllison AaronCarol ArmesMelissa BourneMary Parker BucklesMary Callahan*Cathi CarmackKelsey ChristianLauren ChristiansTeresa CissellLisa CooperJaci CordellHelen CornellKaitlin CroffordJanet DaviesLeriel DavisCarla Davis†June DyeAnna FlauttCara FrankKatie GillettElizabeth Gilliam†Deb GreenspanJudith GriffinStefanie GriffithLeah Handelsman*Mary HewlettCallie JacksonLeah KoestenStephanie KraftShelly McCormackSarah MillerStephanie MoritzKatharina Nowotny-BolesLisa PellegrinElla RadcliffeStacy ReedDebbie ReylandJacqueline ScottLaura SikesMadalynne SkeltonEmily StubbsRose ThompsonLauren UrquhartAmara UzokaSarah WilsonLucy Wrenn

TENORIrving BasañezEric BoehmeAustin BurchetteKeyton CarrBrett CartwrightAustin ChannellDavid DuBoseJoe FitzpatrickFred GarciaDanny GordonCarl HellmersKory HenkelSteven HigginsBill Hodge†John MansonLynn McGillDon MottMark NaumannRyan NorrisBill PaulJohn Perry*Keith RamseyGeorge Rowe IIIDavid Satterfield*†Daniel SissomEddie SmithSteve Sparks†Joel TellinghuisenChristopher ThompsonTeddy WeckbacherJames W. WhiteJordan WilliamsScott WolfeJonathan YeaworthPhillip Zuehlke

BASSGary AdamsGilbert AldridgeRobert AndersonAnthony BartaJames CortnerNicolas DavidsonKenton DickersonThomas EdenDaniel ElderMark FilosaJohn FordStuart GarberGeorge GoetschelTim GoodenoughRichard Hatfield†Michael HopfeCarl JohnsonKenneth KeelJeffrey KeeverJustin KirbyNeal KoleskeBill Loyd*Rob MahurinTommy McCormacWilly McNamaraBruce MeriwetherAndy Miller*Salvador MirandaChris MixonSteve MyersSteve PrichardJonathan RajPaul Roark†David RussellScott SandersJesse SarloLarry StrachanDavid ThomasAlex TinianowSam TrumpBrian WarfordEric Wiuff

* Section Leader† 25+ year membersJim White, presidentSara Crigger, librarianJeff Burnham, accompanist

DO YOU LIKE TO SING?

NASHVILLE SYMPHONY CHORUS IS SEEKING NEW SINGERSIf you love to sing, then consider joining the Nashville Symphony Chorus!

Auditions for new chorus members will be held on July 30 and August 6 at Schermerhorn Symphony Center.

Auditions will be five minutes in length and will consist of:• A brief musicianship quiz• An excerpt of your choosing• Sight-reading

Singers will be graded on pitch, accuracy and intonation; rhythmic accuracy; dynamic control, phrasing, expressiveness, and style; diction and vowel production; and tone quality, resonance, freedom, and control.

For more information and complete audition requirements, visit NashvilleSymphony.org/chorusauditions or email chorusauditions@nashvillesymphony.org.