LETTER FROM THE PRESIDENT & CEO
Happy New Year! The start of a new year always offers an opportunity to reflect on what matters most and to move forward with energy, purpose, and hope. Whether it’s your first visit to Schermerhorn Symphony Center or your first concert of the year as a subscriber, we’re so glad you’re here.
We begin 2026 with Higher Vibrations: Resonate: Symphonic Sound Bath , the second event in our new wellness series. Led by local musician and sound practitioner Kayce Laine alongside Nashville Symphony musicians, this immersive sound bath invites audiences to relax deeply and reconnect through soothing tones and stillness. Curated by Symphony violist Anthony Parce, Higher Vibrations is a powerful reminder of music’s ability to heal, inspire, and set the tone for a peaceful, intentional start to the year.
The month continues with a spectacular lineup which showcases the incredible artistic range of your Nashville Symphony Orchestra. On our Classical Series, presented by HCA Healthcare/ Tristar Health , we feature concerts that include works by Beethoven, John Adams, and Mozart. Conductor Gemma New takes the stage, along with the wonderful pianist, Conrad Tao, in a not to be missed performance. Bluebird at the Symphony returns with a powerhouse lineup featuring some of Nashville’s most gifted songwriters, bringing the heart and soul of Music City to the Schermerhorn stage. And on the Pops Series, we’re pleased to present Coltrane 100 : Legacy, honoring the jazz icon and celebrating the enduring impact of John Coltrane’s music across generations.
We’re also thrilled to offer something for every member of the family. The Gruffalo, our delightful family concert, brings a beloved children’s story to life with music and narration. Disney’s Frozen in Concert and Amadeus Live combine the magic of film with the power of a live orchestra, immersive experiences that blend cinematic storytelling with bold musical expressions.
This month, we also shine a spotlight on our Music Advisor, Leonard Slatkin , who makes his first appearance of the season conducting Leonard Slatkin’s Hollywood . This program reflects his deep passion for cinematic music and his remarkable ability to bring stories to life through the orchestra. The concert also marks the official kickoff of our multiyear programming initiative celebrating America’s 250 th Anniversary through sound, spirit, and storytelling.
As this new year begins, our wish is that you find moments of inspiration and joy within these walls. And may you continue to feel at home here experiencing YOUR Nashville Symphony!
Warmest regards,
Alan D. Valentine | President & CEO
The Nashville Symphony inspires and engages a diverse and growing community with extraordinary live orchestral music experiences.
Mozart's Jupiter Symphony
January 9 & 10
EVENT
Bluebird at the Symphony with Jessi Alexander, The Warren Brothers, and Members of the Nashville Symphony
January 11
Coltrane 100 : Legacy January 15 & 16
18
615.687.6400
info@NashvilleSymphony.org NashvilleSymphony.org
PHOTOGRAPHY & VIDEO POLICY
Video cameras, recording devices, and flash photography are strictly prohibited in the concert hall or in any other space where a performance or rehearsal is taking place. Cameras with a detachable lens may only be used pending approval from the artist and the venue and will be subject to rules and restrictions. For more information, please contact the Nashville Symphony's Communications office
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2025/26 NASHVILLE SYMPHONY
LEONARD SLATKIN
Music Advisor
NATHAN ASPINALL Resident Conductor
FIRST VIOLIN*
Peter Otto, Concertmaster
Walter Buchanan Sharp Chair
Erin Hall, Acting Associate Concertmaster
Gerald C. Greer, Acting Assistant Concertmaster
Tianpei Ai
Isabel Bartles
Francesca Bass
Beverly Drukker
Dawn Gingrich
Anna Lisa Hoepfinger
John Maple
Kirsten Mitchell
Ashley Odom
SECOND VIOLIN*
Jung-Min Shin, Principal
Lucia Nowik, Acting Assistant Principal
Likai He
Daniel Kim
Charissa Leung
Louise Morrison
Laura Ross
Johna Smith
Jeremy Williams
VIOLA*
Daniel Reinker, Principal
Shu-Zheng Yang, Assistant Principal
Michelle Lackey Collins
The Drs. Mark & Nancy Peacock Chair
Christopher Farrell
Anthony Parce
Melinda Whitley
Clare Yang
GIANCARLO GUERRERO
Music Director Laureate
TUCKER BIDDLECOMBE
Chorus Director
CELLO*
Kevin Bate, Principal James Victor Miller Chair
Una Gong, Assistant Principal
Anthony LaMarchina, Principal Cello Emeritus
Stephen Drake
Bradley Mansell
Keith Nicholas
Lynn Marie Peithman
Xiao-Fan Zhang
BASS*
Joel Reist, Principal
Glen Wanner, Assistant Principal
Matthew Abramo
Evan Bish
Kevin Jablonski
Katherine Munagian
FLUTE
Érik Gratton, Principal Anne Potter Wilson Chair
Leslie Fagan, Assistant Principal
Gloria Yun, Norma Grobman Rogers Chair
PICCOLO
Gloria Yun, Norma Grobman Rogers Chair
OBOE
Titus Underwood, Principal ◊
Christopher Gaudi, Acting Principal +
Ellen Menking, Assistant Principal
Kate Bruns +
ENGLISH HORN
Kate Bruns+
CLARINET
Danny Goldman, Acting Principal +
Katherine Kohler, Assistant Principal ◊
Spencer Prewitt
Acting Assistant Principal +
Daniel Lochrie
E-FLAT CLARINET
Katherine Kohler
BASS CLARINET
Daniel Lochrie
BASSOON
Julia Harguindey, Principal ◊
Asha Kline, Acting Principal +
Gil Perel, Acting Assistant Principal
Nicole Haywood Vera Tenorio +
CONTRABASSOON
Nicole Haywood
Vera Tenorio +
HORN
Leslie Norton, Principal
The Dr. Anne T. & Peter L. Neff Chair
Beth Beeson
Patrick Walle, Associate Principal/3rd Horn ◊
Radu V. Rusu, Acting Associate Principal/ 3rd Horn
Hunter Sholar
Anna Spina, Acting Assistant Principal/ Utility Horn +
TRUMPET
William Leathers, Principal
Patrick Kunkee, Co-Principal
Alexander Blazek
TROMBONE
Paul Jenkins, Principal
Anthony Cosio-Marron, Assistant Principal
BASS TROMBONE
Chance Gompert
TUBA
Chandler Currier, Principal
TIMPANI
Joshua Hickman, Principal
PERCUSSION
Sam Bacco, Principal
Richard Graber, Assistant Principal
HARP
Licia Jaskunas, Principal
KEYBOARD
Robert Marler, Principal
LIBRARY
Renee Ann Pflughaupt, Principal Librarian
Amelia Van Howe, Librarian
ORCHESTRA PERSONNEL
Pavana Stetzik, Director of Orchestra Personnel
Sarah Figueroa, Manager of Orchestra Operations
Internationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO), Directeur Musical Honoraire of the Orchestre National de Lyon (ONL), Conductor Laureate of the St. Louis Symphony Orchestra (SLSO), Principal Guest Conductor of the Orquesta Filarmónica de Gran Canaria (OFGC), and Artistic Consultant to the Las Vegas Philharmonic (LVP). He maintains a rigorous schedule of guest conducting and is active as a composer, author, and educator.
The 2025/26 season includes engagements with the National Symphony Orchestra (Ireland), Manhattan School of Music Symphony Orchestra, SLSO, USC Thornton Symphony, LVP, Taiwan Philharmonic, KBS Symphony Orchestra (Seoul), Gunma Symphony Orchestra, NHK Symphony Orchestra (Tokyo), Nashville Symphony, Atlanta Symphony Orchestra, Orchestre Symphonique de Montréal, Warsaw Philharmonic, Franz Schubert Filharmonia (Barcelona), ONL, Prague Symphony Orchestra, Filarmonica George Enescu (Bucharest), OFGC, and Rundfunk-Sinfonieorchester Berlin.
Slatkin has received six GRAMMY® Awards and 35 nominations. Naxos recently reissued Vox audiophile editions of his SLSO recordings featuring the works of Gershwin, Rachmaninov, and Prokofiev. Other Naxos recordings include Slatkin Conducts Slatkin a compilation of pieces written by generations of his family—as well as works by Saint-Saëns, Ravel, Berlioz, Copland, Borzova, McTee, and Williams. A recipient of the National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has been awarded the Prix Charbonnier from the Federation of Alliances Françaises, Austria’s Decoration of Honor in Silver, and the League of American Orchestras’ Gold Baton. His debut book, Conducting Business (2012), for which he received the ASCAP Deems Taylor Special Recognition Award, was followed by Leading Tones (2017) and
MUSIC ADVISOR
LEONARD SLATKIN
Classical Crossroads: The Path Forward for Music in the 21st Century (2021). His latest books are Eight Symphonic Masterworks of the Twentieth Century (spring 2024) and Eight Symphonic Masterworks of the Nineteenth Century (fall 2024) , part of an ongoing series of essays that supplement the scorestudy process, published by Bloomsbury.
Slatkin has held posts as Music Director of the New Orleans Philharmonic-Symphony Orchestra, SLSO, National Symphony Orchestra, DSO, and ONL, and he was Chief Conductor of the BBC Symphony Orchestra. He has served as Principal Guest Conductor of London’s Philharmonia and Royal Philharmonic, the Pittsburgh Symphony Orchestra, the Los Angeles Philharmonic at the Hollywood Bowl, and the Minnesota Orchestra.
He has conducted virtually all the leading orchestras in the world, including the New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, Boston Symphony Orchestra, San Francisco Symphony, Los Angeles Philharmonic, Berlin Philharmonic, Bayerischer Rundfunk (Munich), Royal Stockholm Philharmonic Orchestra, Royal Concertgebouw Orchestra (Amsterdam), Orchestre de Paris, Oslo Philharmonic Orchestra, and Israel Philharmonic Orchestra, as well as all five London orchestras.
Slatkin’s opera conducting has taken him to the Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera, Opera Theatre of St. Louis, Santa Fe Opera, Vienna State Opera, Stuttgart Opera, and Opéra Bastille in Paris.
Born in Los Angeles to a distinguished musical family, he began his musical training on the violin and first studied conducting with his father, followed by Walter Susskind at Aspen and Jean Morel at Juilliard. He makes his home in St. Louis with his wife, composer Cindy McTee. For more information, visit leonardslatkin.com.
NATHAN ASPINALL, Resident Conductor
Australian Conductor
Nathan Aspinall has led orchestras across the globe and is widely admired for his thoughtful, nuanced interpretations and powerful performances. His collaborative approach to performing with fellow musicians has resulted in ongoing partnerships and deep relationships with the orchestras with whom he performs.
Nathan currently serves as Resident Conductor with the Nashville Symphony and this season will lead the orchestra in multiple programs including his fourth appearance on the classical subscription series with a program of Berlioz, Ligeti and the Britten Violin Concerto with Benjamin Beilman. In previous seasons Nathan has conducted acclaimed performances with the Nashville Symphony in dynamic repertoire including symphonies of Prokofiev, Tchaikovsky, Dvorak and Sibelius and last season led a special all Ravel program to mark the 150th anniversary of the composers birth.
Aspinall has performed around the world, leading the orchestras of Minnesota, Detroit, St Louis, Atlanta, Sydney and the MendelssohnOrchesterakademie of the Gewandhausorchester
in Leipzig. He has assisted many of today’s leading conductors including Stéphane Denève, Jakub Hrůša, Nathalie Stutzmann, Thomas Søndergård, and Simone Young.
Nathan was a conducting fellow at the Tanglewood Music Center with the Boston Symphony Orchestra where he was mentored by Andris Nelsons, Thomas Adès and Giancarlo Guerrero. He is also a recipient of the Robert J. Harth Conducting Prize at the Aspen Music Festival.
A strong believer that music is for everyone, Nathan is passionate about orchestras reaching an ever-widening audience. At the Nashville Symphony, he spearheads education and community initiatives, the commissioning of new projects and curates community programing. Supporting future generations of musicians, Nathan is an advocate for music education and outreach and has led performances and masterclasses for conservatories, universities and youth orchestras around the country. Festival appearances include the Cabrillo Festival of Contemporary Music, Oregon Bach Festival and the Tanglewood Music Center Conducting Seminar. He studied orchestral conducting with Hugh Wolff at New England Conservatory in Boston and music performance at the University of Queensland.
TUCKER BIDDLECOMBE
Appointed as Chorus Director of the Nashville Symphony in 2016 , Dr. Biddlecombe has raised the bar of excellence for Nashville’s premier choral ensemble through intense musical preparation, diverse programming, and communitybuilding. He also serves as Professor of Choral Studies and Associate Dean for Undergraduate Education at Vanderbilt University’s Blair School of Music, where he directs the Vanderbilt Sixteen and teaches courses in choral conducting and music education.
His work with the Nashville Symphony has included chorus preparation for many of the repertoire’s most revered masterworks. Notable performances have included two Mahler symphonies, Bernstein’s Symphony No. 3 “Kaddish”, and Requiems by Mozart and Verdi. He has prepared the chorus for two major
, Chorus Director
world-premiere recordings, John Harbison’s Requiem (rel. 2018, Naxos) as well as the upcoming release of Gabriela Lena-Frank’s Conquest Requiem and Antonio Estevez’s Cantata Criolla. He has conducted the chorus and orchestra in performances of Haydn’s Creation, Handel’s Messiah , Vivaldi’s Gloria , and the annual Voices of Spring concert.
Tucker is a veteran teacher and advocate for music education. He frequently conducts scholastic honor choirs throughout the United States, with international engagements in England, Scotland, China, and the Czech Republic. Dr. Biddlecombe is a graduate of SUNY Potsdam and Florida State University, where he completed studies in choral conducting and music education with Daniel Gordon and André Thomas, respectively. He resides in Nashville with his wife Mary Biddlecombe, director of the Blair Academy at Vanderbilt, and Artistic Director of Vanderbilt Youth Choirs.
MOZART'S JUPITER SYMPHONY
Featuring Gemma New and Conrad Tao with the Nashville Symphony
FRIDAY & SATURDAY, JANUARY 9 & 10, AT 7:30 PM
NASHVILLE SYMPHONY
GEMMA NEW, conductor
CONRAD TAO, piano
LUDWIG VAN BEETHOVEN
Egmont Overture
JOHN ADAMS
Century Rolls for piano and orchestra
First Movement
Manny's Gym
Hail Bop
INTERMISSION
WOLFGANG AMADEUS MOZART
Symphony No. 41 (“Jupiter”)
Allegro vivace
Andante cantabile
Allegretto
Molto allegro
THANK YOU TO OUR CLASSICAL SERIES SPONSOR
BLudwig van Beethoven
Egmont Overture
Composed: 1809-10
eethoven returned again and again to stories in which darkness is met—and defeated—by the force of human courage. Fidelio, the Fifth Symphony, the Ninth: each imagines a world reshaped by moral resolve. His overture to Johann Wolfgang von Goethe’s tragedy Egmont , written in 1809, belongs to this same family.
Vienna had just endured another assault by Napoleon’s army, and Beethoven was commissioned by the Burgtheater to write music for a new production of Goethe’s stage work. He produced a score of incidental pieces to surround the spoken play; of these, the overture, which itself contains a compact drama of resistance and sacrifice, has survived as a concert staple.
Goethe’s Egmont, completed in 1788 on the eve of the French Revolution, looks back to the Spanish occupation of the Low Countries. The historical Count Egmont, a nobleman who opposed Spanish tyranny and became a symbol of political conscience. In the play, he is imprisoned and condemned as a traitor; unlike Beethoven’s later hero Florestan in Fidelio , Egmont cannot be rescued. His beloved Klärchen takes her own life, and he meets death with clear-eyed defiance. For Beethoven, who had famously torn up his dedication to Napoleon after the general crowned himself emperor, this was not just a historical tragedy but a parable of political and personal integrity. He also took pride in his own Flemish roots, which may have deepened his feeling for Egmont’s cause.
WHAT TO LISTEN FOR
The overture traces the outlines of this story with gripping clarity. It opens in shadow: a slow introduction built from stern, implacable rhythms and grieving phrases, a portrait of a people under domination. A tentative glimmer of hope appears but is quickly swallowed by gathering tension. When the fast-paced section finally breaks free, it does so with Beethoven’s unmistakable fire. Launched by the cellos, the main theme is soon intensified by the full orchestra. It carries a sense of striving that feels almost physical. Surges of energy collide with memories of the opening’s oppressive gesture, as if resistance is continually tested.
Then comes a jolt: a sudden halt, a cry from the violins, and a breath-catching silence. Egmont’s fate is sealed. But Beethoven refuses to end in despair. The overture’s final pages erupt in a major-key blaze—a musical vision of posthumous victory, driven by martial rhythms and bright flashes of piccolo and drums. In this triumph, Beethoven lets the hero’s ideals outlive the man himself.
Scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.
SJohn Coolidge Adams
Century Rolls for piano and orchestra
Composed: 1996
ometime before he began composing Century Rolls in the mid-1990s, John Adams spent a late night listening to recordings of old player-piano rolls—and the strange, superhuman energy of those mechanical performances lit the fuse for what became his first piano concerto. The result is one of the earliest examples of Adams’s deep and ongoing engagement with the concerto form. It has proved particularly suitable since its flexibility gives him space to reinvent the relationship between soloist and orchestra each time, and to shape the music around the personality of a particular performer.
In this case, the spark came from the pianist who requested the piece, Emanuel Ax—an artist celebrated for warmth, lyricism, and Classical-Romantic depth, and an early admirer of Adams’s work. Their friendship dates back to the late 1970s, making the collaboration feel unusually natural.
The title Century Rolls points directly to the image that ignited the score. Adams remembers hearing those old rolls and being struck by how the technology transformed everything it touched—Gershwin, Rachmaninoff, Jelly Roll Morton—into something “that could not have been anticipated before what Walter Benjamin called the ‘age of mechanical reproduction,’” he writes in his commentary on the piece.
The phrase “century rolls” refers to these relics. In the concerto, Adams tried to recapture his startled, delighted response to their mechanical bravura. Yet the concerto is no period pastiche. As the composer puts it (from the perspective of the end of the 20th century), Century Rolls “takes a kind of polymorphousperverse pleasure in the whole past century of piano
music, both popular and classical.” It folds the grand European concerto tradition together with American strains that run through Ellington, Gershwin, swing, and Conlon Nancarrow, the American expatriate who spent decades in Mexico creating some of the most astonishingly complex player piano studies of the mid-20th century.
WHAT TO LISTEN FOR
Like Beethoven, Adams builds drama from sheer kinetic force. The outer movements revel in velocity and precision. The first, untitled movement opens with deceptively delicate sonorities high in the orchestra that gradually descend before the piano enters. Tirelessly energetic patterns echo the bright motor rhythms of the old rolls, but are animated here by the characteristic rhythmic bite that is an Adams signature.
The temperature cools as the music slips—without a break—into the very different world of the second movement, “Manny’s Gym.” The title is a double entendre: a nod to Emanuel Ax’s nickname and a playful allusion to Erik Satie’s Gymnopédies—those gentle, slightly hypnotic piano pieces by the early20th-century French composer that drift along in a calm, cradle-like rhythm. Adams notes that here he aimed “to tame my normally clangorous style” so as to allow the warmth of Ax’s keyboard personality to come through.
The finale’s title, “Hail Bop,” is another play on words, deliberately confusing the Hale–Bopp comet—which became a worldwide spectacle in the mid-1990s while Adams was writing the concerto—with the quick-footed spirit of jazz bop, whose off-kilter rhythms animate so much of the movement. Here the relationship between piano and orchestra becomes almost comic: Adams joked that “the orchestra seems at the piano’s heels like a barking terrier.”
In addition to solo piano, scored for piccolo and 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 3 horns, 3 trumpets, 2 trombones, timpani, percussion (vibraphone, chimes, glockenspiel, marimba, xylophone, woodblock, bongo), harp, celesta , and strings
TWolfgang Amadeus Mozart Symphony No. 41 in C major, K. 551 (“Jupiter”)
Composed: 1788
he final symphony that Mozart completed— later nicknamed the “Jupiter”—grew out of an extraordinary burst of creativity in the summer of 1788. Mozart wrote his last three symphonies in roughly six weeks, a pace that would be impressive under any circumstances. That he achieved this during a period marked by financial strain, the death of an infant daughter, and worries over his wife Constanze’s health only deepens the sense of wonder. Yet from that difficult stretch emerged a trilogy of works, each a masterpiece with its own character and scope.
The last of these, the Symphony in C major, K. 551, eventually took on the “Jupiter” nickname—a posthumous addition but one that fits. The music carries a commanding, larger-than-life energy that suggests the immortal Olympian ruler evoked by the name.
Exactly why Mozart wrote these symphonies remains a mystery. No surviving commission explains their origin. Whatever the circumstances, the “Jupiter” is the work of a composer fully in command, thinking on a large scale and writing with supreme confidence.
That self-assured sweep even seems to anticipate the declarative energy Beethoven would bring to his Egmont Overture nearly two decades later. For all its status as a pinnacle of Classical style, the “Jupiter” reaches backward and forward at once. Mozart draws on the lively, interwoven style of the Baroque while also pointing toward the muscular musical language Beethoven would make his own.
WHAT TO LISTEN FOR
The “Jupiter” announces its expansive character right away: punctuated by drums and trumpets, the opening measures establish a bold attitude of C major. Soon after, Mozart lightens the mood with a more agile idea whose playful trills add a touch of theatrical wit, sharpening the contrast between the movement’s ceremonial and conversational sides.
In the Andante, muted strings create a soft halo around the woodwinds, giving the music its distinctive sense of suspended calm. The movement alternates gently between shadow and warmth. The Minuet begins with a slithery descending line that lends an unexpected hint of tension to its otherwise stately
profile. When the trio arrives, the sound thins and softens, ushering in a more relaxed, pastoral warmth. Then comes the finale, the part of the symphony that has earned the most admiration over the years. Mozart starts with an unassuming four-note motive in a simple pattern that listeners of the time would have instantly recognized from church “Amen” cadences. As the movement gathers force, Mozart draws on techniques he admired from the Baroque— especially the art of weaving independent musical lines together—while keeping everything grounded in the clarity of Classical style.
ABOUT THE SOLOIST
Conrad Tao is a pianist and composer celebrated for his boundary-defying artistry as well as his powerful performances of traditional repertoire. Described by New York Magazine as “the kind of musician who is shaping the future of classical music,” and praised by The New York Times for his “probing intellect and open-hearted vision,” Tao appears regularly as a soloist with leading orchestras and at major venues across the world.
In the 2025/26 season, Tao returns to the Chicago Symphony Orchestra as both soloist and recitalist, performing Bartók’s Piano Concerto No. 3 with Karina Canellakis and later presenting a recital program featuring Gershwin song arrangements alongside works by Schoenberg, Strayhorn, Schumann, and others. Recital highlights include debuts at Berlin’s Philharmonie and Hamburg’s Elbphilharmonie, as well as returns to Klavierfestival Ruhr, and to the Celebrity Series of Boston, and the Seattle Symphony with Poetry and Fairy Tales, a program blending works by David Fulmer, Rebecca Saunders, Todd Moellenberg, Brahms, and Ravel.
Tao reunites with Robert Spano for performances of John Adams’s Century Rolls (San Diego Symphony) and Bernstein’s The Age of Anxiety (Atlanta Symphony). He also joins Matthias Pintscher and the Konzerthausorchester Berlin for Pintscher’s NUR, and travels to Tokyo to perform Mozart’s Piano Concerto No. 17 with the NHK Symphony and Jaap van Zweden. He makes his harpsichord debut at Princeton University in Patricia Kopatchinskaja’s Dies Irae.
In the final minutes, Mozart stacks and interlocks his various musical strands so naturally that the effect feels both exhilarating and inevitable. This brilliant concluding section goes beyond a display of craftsmanship and shows Mozart at his most joyfully inventive.
Scored for flute; pairs of oboes, bassoons, horns, and trumpets; timpani; and strings
− Thomas May is the Nashville Symphony's program annotator.
Recent highlights include his return to Carnegie Hall with Debussy’s 12 Études and his original composition Keyed In, as well as appearances with the San Francisco Symphony and Nicholas Collon, Philadelphia Orchestra and Marin Alsop, Boston Symphony and Dima Slobodeniouk, New York Philharmonic and Jaap van Zweden, and Cleveland Orchestra and Jahja Ling. In 2024, he also toured Europe with the Kansas City Symphony and Matthias Pintscher to mark the 100th anniversary of Rhapsody in Blue , with sold-out performances at the Elbphilharmonie, Berlin Philharmonie, and Concertgebouw.
Tao continues performing his own works, including Flung Out, an homage to Gershwin, which he played recently at the Aspen Festival, and The Hand , a companion to Beethoven’s Piano Concerto No. 1, which was commissioned and performed by the Kansas City Symphony. His orchestral work Everything Must Go premiered with the New York Philharmonic and later in Europe with the Antwerp Symphony. He also tours Counterpoint, his collaboration with dancer Caleb Teicher, and performs regularly with the Junction Trio alongside Stefan Jackiw and Jay Campbell. Additional recent collaborators include vocalist Charmaine Lee, artist Avram Finkelstein, choreographer Miguel Gutierrez, and brass quartet The Westerlies.
Tao’s acclaimed recordings include Voyages, Pictures, and American Rage (all on Warner), as well as the loser by David Lang, and Bricolage with The Westerlies.
He is a recipient of the Avery Fisher Career Grant, the Gilmore Young Artist Award, and a New York Dance and Performance “Bessie” Award for his collaboration with Caleb Teicher on More Forever.
CONRAD TAO piano
ABOUT THE CONDUCTOR
GEMMA NEW
Known for her “unique sensitivity and a heightened attention to detail and texture” (The Washington Post) and “programming prowess” (Vancouver Sun), New Zealand-born Gemma New (ONZM) is Artistic Advisor and Principal Conductor of the New Zealand Symphony Orchestra, and a highly sought-after guest conductor worldwide. She is the recipient of the prestigious 2021 Sir Georg Solti Conducting Award and was appointed an Officer of the New Zealand Order of Merit in 2024.
Highlights of New’s 2025/2026 season include her debuts with the Pittsburgh Symphony Orchestra, KBS Symphony Orchestra, City of Birmingham Symphony Orchestra, Nashville Symphony Orchestra, Belgian National Orchestra, SWR Sinfonieorchester, and with Houston Grand Opera leading a production of Rossini’s The Barber of Seville. In the United States and Canada, she returns to lead the Atlanta Symphony Orchestra, San Diego Symphony Orchestra, Seattle Symphony Orchestra, and the National Arts Centre Orchestra in Ottawa, Canada. Equally in-demand in Europe, she returns to the BBC Philharmonic, Orquesta y Coro Nacionales de España, Münchner Rundfunkorchester, BBC National Orchestra of Wales, BBC Scottish Symphony Orchestra, Orquesta Sinfónica de Castilla y León, and Bochumer Symphoniker.
In her fourth season as Artistic Advisor and Principal
Conductor of the New Zealand Symphony Orchestra, New conducts a string of fall 2025 performances in Wellington, Christchurch, and Auckland, featuring the World Premiere of an NZSO commission by Tabea Squire and collaborating with mezzo-soprano Joyce DiDonato and saxophonist Jess Gillam. Other 2025 highlights with the NZSO include performances of Bruckner’s Symphony No. 7 and Mahler's Sixth Symphony.
In 2026, New conducts Mahler Symphony No. 1, Elgar's Enigma Variations, and Beethoven Symphony No. 9, collaborating with violinist James Ehnes and pianist Sir Stephen Hough, and a special “Rhythm and Dance” concert featuring Bernstein’s Symphonic Dances from West Side Story as well as the New Zealand premiere of Gabriela Ortiz’s Antrópolis The NZSO will also feature works by New Zealand composers Gillian Whitehead and Ross Harris, who will receive a World Premiere.
2023/2024 marked New’s ninth and final season as Music Director of the Hamilton Philharmonic Orchestra in Ontario, Canada. She previously served as Principal Guest Conductor of the Dallas Symphony Orchestra, Resident Conductor of the St. Louis Symphony Orchestra and Associate Conductor of the New Jersey Symphony. A former Dudamel Conducting Fellow with the Los Angeles Philharmonic and Conducting Fellow at Tanglewood Music Center, New was awarded Solti Foundation U.S. Career Assistance Awards in 2017, 2019 and 2020, before receiving the 2021 Sir Georg Solti Conducting Award.
BLUEBIRD AT THE SYMPHONY
with Jessi Alexander, The Warren Brothers, and Members of the Nashville Symphony
SUNDAY, JANUARY 11 AT 7:30 PM
MEMBERS OF THE
NASHVILLE SYMPHONY
JESSI ALEXANDER, songwriter
THE WARREN BROTHERS, songwriter
UPCOMING CONCERTS
BLUEBIRD AT THE SYMPHONY with Brandy Clark, Josh Osborne, and Shane McAnally February 18
BLUEBIRD AT THE SYMPHONY with Jon Nite, Natalie Hemby, and Rivers Rutherford April 3
ABOUT THE CONCERT
For the second year in a row, this one-of-a-kind experience expands to Schermerhorn Symphony Center’s grand stage, where the musicians of the Nashville Symphony join forces with The Bluebird Cafe to bring you Bluebird at the Symphony.
Since 1982, Nashville’s iconic Bluebird Cafe has celebrated the artistry of songwriters, offering an intimate, acoustic environment that pulls back the curtain on the “Heroes Behind the Hits.” Over four decades, countless artists and songwriters have launched their careers at The Bluebird, giving audiences an exclusive front-row seat to the creative process.
Bluebird at the Symphony offers an unforgettable fusion of Nashville’s rich songwriting tradition and the unparalleled talent of the musicians of the Nashville Symphony, showcasing the songwriting soul of Music City in a new way. Witness the creativity of the songwriters, enhanced by the grandeur of world-class musicians of the Nashville Symphony, as timeless songs come to life like never before.
ABOUT THE SONGWRITERS
JESSI ALEXANDER
Established singer/ songwriter Jessi Alexander is the writer of numerous charttopping hits on country radio.
Alexander has penned 10 #1’s including “I Drive Your Truck,” which was recorded by lee brice and won Song of the Year from the 2013 CMA Awards, 2014 ACM Awards, and 2013 NSAI Awards. Additional #1’s include Blake Shelton’s “Mine Would Be You” and “Drink On It.”
Alexander’s career skyrocketed with her song “The Climb.” Miley Cyrus recorded the song. It soon became the anthem for her box office hit The Hannah Montana
THE WARREN BROTHERS
The Warren Brothers are a songwriting duo that have written hits for Tim McGraw, Faith Hill, Taylor Swift, Toby Keith, Keith Urban, Martina McBride, Dierks Bentley, Jason Aldean, Blake Shelton, and Chris Young to name a few. They started as recording artists and made three records for BNA records.
Their sense of humor landed them a series on CMT, celebrity judges on Nashville Star, part-time
Movie and won the 2009 MTV Movie Awards' ‘Best Song From A Movie’.
In September 2024, Jessi received two back-to-back #1’s with “Chevrolet” by Dustin Lynch featuring Jelly Roll and “Ain’t No Love in Oklahoma” by Luke Combs which was also a two-week #1, was featured in the movie Twisters, and was nominated for a GRAMMY® for Best Song Written For Visual Media.
In October of 2024, Jessi was honored by the NMPA as the Female Songwriter of the Year. In 2025, she was also nominated for Songwriter of the Year by the Academy of Country Music.
radio personalities, and even a few film cameos. They won a daytime Emmy for outstanding original song for “Good Afternoon America”. They were Nominated for a GRAMMY® for Best Country Song “If You’re Reading This” (Tim Mcgraw) and CMA Song of the Year for “Anyway” (Martina McBride).
The Warren Brothers moved from Tampa, Florida to Nashville in 1995, and in 1997 signed a record deal with RCA Records. They have also had their songs recorded by Luke Bryan, Little Big Town, Lady A, Thomas Rhett, Cole Swindell, Steven Tyler, Gary Allan, Lynyrd Skynyrd, and many other A-list artists.
COLTRANE 100: LEGACY with the Nashville Symphony
THURSDAY & FRIDAY, JANUARY 15 & 16 AT 7:30 PM
NASHVILLE SYMPHONY
JONATHAN TAYLOR RUSH, conductor
JOE LOVANO, saxophone
PAT COIL, piano
DANNY GOTTLIEB, drums
JACOB JEZIORO, bass
ABOUT COLTRANE 100: LEGACY
To John Coltrane, a musician was a message-giver; making music was an endeavour tied to a larger, greater good. His compositions and recordings are now permanent parts of the canon of great American music, recognized by the Library of Congress, with many inducted into the GRAMMY® Hall of Fame; all are now required study for young musicians hoping to unlock the secrets of the jazz tradition. In today’s mainstream media, Coltrane is often name-checked on television shows and referenced in major Hollywood films like Malcolm X, Mo Better Blues, Jerry McGuire, Mr. Holland’s Opus, and many others.
In 1995, the United States Postal Service placed Coltrane on a commemorative postage stamp. In 1997, he was bestowed the GRAMMY® Lifetime Achievement Award. In 2001, the National Endowment for the Arts chose “My Favorite Things” for its list of 360 songs of
the century. In 2007, Coltrane was awarded a Pulitzer Prize, as a special citation for a lifetime of innovative and influential work. In 2018, the release of Both Directions at Once: The Lost Album put Coltrane at the top of album charts in 20 countries around the world, his strongest sales to date.
Now, with Coltrane 100: Legacy, the compositions of John Coltrane are given a new treatment that has never been heard. With the larger format of a symphony orchestra playing new arrangements specifically written for this setting, audiences will hear Coltrane’s most enduring work expanded and reimagined by the most lauded arrangers of the current era. Coltrane played his songs in new ways in every performance, and that quest to discover new meaning in the pieces continues today.
ABOUT JOHN COLTRANE
John Coltrane was born on September 23, 1926 in Hamlet, North Carolina and died on July 17, 1967 in New York City. He is one of the most important—and controversial—individuals in the history of jazz. Many consider the saxophonist a father figure in the development of avant-garde jazz, and his recordings during the period of 1961 to 1967 have become the foundation of modern jazz.
Coltrane’s father was a tailor who played several instruments. In school, young Coltrane studied the E-flat alto horn and clarinet before taking up the saxophone. In 1939, his father and grandfather died, and he moved to Philadelphia, where his mother lived, and studied at the Ornstein School of Music. Coltrane’s real musical education came on the bandstand, and he made his professional debut in 1945 in that city, performing at a cocktail lounge.
Coltrane served in the Navy and performed with the Navy Band in Hawai'i from 1945 to 1946, then
ABOUT THE CONDUCTOR
JONATHAN
TAYLOR RUSH
Jonathan Taylor Rush, hailed as "a continually rising talent in the conducting world" by the Baltimore Sun, brings passion, unique interpretation, and a refreshing energy to the orchestral experience. Rooted in his musical upbringing within the church, Rush's approach to conducting is imbued with elements of gospel and soul music.
Previous conducting highlights include debut performances with the likes of Chicago Symphony Orchestra, Philadelphia Orchestra, Minnesota Orchestra, Detroit Symphony Orchestra, Baltimore Symphony Orchestra, Chicago Sinfonietta, Nairobi Philharmonic, and many more, including his opera debut with the Washington National Opera at the Kennedy Center.
The 2024/25 season included performances with Nashville Symphony, Minnesota Orchestra, Baltimore Symphony, Atlanta Symphony, Louisiana Philharmonic, North Carolina Symphony, Savannah Philharmonic, and Hartford Symphony. He is committed to the performances of living composers and has premiered works by James Lee III, Fernando Arroyo Lascurian, and Carlos Simon. Rush is also a champion of the music of William Grant Sill, Florence
toured as a road musician with Eddie “Cleanhead” Vinson’s R&B group and Dizzy Gillespie’s group, where he switched to tenor sax. In the 1950s he played with Earl Bostic’s combo, Johnny Hodge’s group, and Miles Davis’s ensemble. During the summer and fall of 1957 Coltrane played with Thelonious Monk at the Five Spot club in New York City, then rejoined Miles Davis in January 1958. Coltrane performed with Davis off and on from 1955 until 1960.
John Coltrane did not begin his solo career until 1960, when he was 33 years old. He recorded for Prestige, Atlantic, and Impulse, and the seven years of intense solo activity—done by the time he was 40—constitutes one of the major bodies of work in jazz. Coltrane’s solo work parallels the intense period of civil rights in the United States, and his artistry and life captured—and were captured by—the political consciousness and action of African Americans during that period.
Price, and Samuel Coleridge Taylor.
As well as the traditional classical canon, Rush often welcomes creative powerhouses from other genres to the orchestral stage and has worked with the likes of Cypress Hill, Leslie Odom Jr., hip hop writer/performer Wordsmith, singer songwriter Ledisi, rapper Big Freedia, Darin Atwater, and Karen Clark Sheard.
Rush was named Assistant Conductor, and was later promoted to Associate Conductor, of Baltimore Symphony Orchestra from 2020 to 2023. At Baltimore Symphony, he curated the orchestra's inaugural Gospel Fest. While with the Baltimore Symphony, Rush also served as Artistic Director of the Baltimore Symphony Youth Orchestras. As Artistic Director, Rush led the ensemble on its first-ever international tour through Europe, showcasing their talents at renowned venues such as Dvořák Hall in Prague.
His most recent release, on Decca Classics, is the world premiere recording of Carlos Simon’s brea(d)th. His academic accomplishments include a Bachelor of Music Education degree from The Ohio State University and a Master of Music degree in Orchestral Conducting from the Peabody Institute of Johns Hopkins University. Jonathan’s mentors and teachers of conducting are Joseph Young, Mei-Ann, and Marin Alsop.
THE GRUFFALO with the Nashville Symphony
SUNDAY, JANUARY 18 AT 3 PM
NASHVILLE SYMPHONY
DANIEL WILEY, conductor
THANK YOU TO OUR FAMILY SERIES SPONSOR
This concert will last approximately 50 minutes.
ABOUT OUR SENSORY FRIENDLY CONCERTS
All Family Series concerts have the following sensory friendly supports available. Ask an usher or visit the information kiosk in the Main Lobby for more information!
• Flexible seating areas
• Booster seats
• No shushing in the concert hall—it’s OK to make noise!
• Closed captioning
• American Sign Language interpreting
• Fidget toys
• Noise-cancelling headphones
• Quiet spaces
• Social stories, maps, and more!
Learn more at NashvilleSymphony.org/SensoryFriendly
WHEN THE CONCERT BEGINS...
The concertmaster will arrive to help the orchestra tune their instruments.
Then, the conductor will arrive!
IT’S TIME FOR THE ORCHESTRA TO PLAY!
RAVEL
Suite of Five Pieces from Ma Mère l'Oye [Mother Goose]
Pavane of the Sleeping Beauty
Tom Thumb
Laideronette, Empress of the Pagodas
Conversations of Beauty and the Beast
The Enchanted Garden
MACKENZIE
The Gruffalo
MACKENZIE
The Gruffalo's Child
WHEN THE CONCERT IS OVER...
The conductor will turn around and the orchestra will stand up. You can clap for the orchestra if you liked the music!
LEONARD SLATKIN'S HOLLYWOOD
WEDNESDAY, JANUARY 21 AT 7:30 PM
NASHVILLE SYMPHONY
LEONARD SLATKIN, conductor
KORNGOLD
The Sea Hawk Overture
HERRMANN
Suite from Psycho Theme Murder Finale
NEWMAN
Theme from The Song of Bernadette
RÓZSA
Spellbound Concerto for Piano and Orchestra
GOLDSMITH
"The Enterprise" from Star Trek: The Motion Picture
INTERMISSION
WILLIAMS
The Cowboys Overture
NEWMAN
Suite from The Natural
HORNER
"My Heart Will Go On" from Titanic
GUÐNADÓTTIR
"Subway / Bathroom Dance / The Kiss" from The Joker
ZIMMER
"Corynorhinus" from Batman Begins
SOUNDSTAGE BRAT: A HOLLYWOOD BACKSTORY
A NOTE FROM THE CONDUCTOR: LEONARD SLATKIN
Lucky me. As a child of musicians who worked in two of the most prestigious studios in Los Angeles, I spent many hours attending both filming and recording sessions. My father was the concertmaster at 20th Century Fox, and my mom was the first cellist at Warner Brothers.
I am speaking about the late Forties and early Fifties, when my passion for films first began. In 1953, I met Marilyn Monroe on the set of How to Marry a Millionaire . I was only eight years old, so my hormones had not yet kicked in, but I was enchanted by the magic being made on those hallowed Hollywood soundstages.
Over the years, as scoring techniques developed and evolved, I observed how the industry changed. I continued to adore the movies from my childhood when the studios were bursting with creativity, and the scores reflected the grandeur of classic Hollywood.
On our program, we present a mixture of old and new. The first half of the concert features music by composers who worked with my parents. Erich Wolfgang Korngold, who wrote a cello concerto for my mother, is best remembered for his lavish, lush melodies and brilliant orchestrations. Bernard Herrmann, Benny to his friends, brought horror into a new dimension with the soundtrack to Psycho Alfred Newman, the music director at Fox, wrote
more than 300 film scores. The one we will play is an adaptation of music arranged by my father and orchestrated by my wife, Cindy McTee. Miklós Rózsa evoked psychological menace in the score for Spellbound , which features a bizarre electronic instrument called the theremin. And Jerry Goldsmith, well, he simply did it all.
The second half features composers who are still active in the motion picture industry. John Williams is a close friend of my family, dating back to the days when he was a recording studio jazz pianist. The aforementioned Alfred Newman was the scion of an incredible musical family that includes his nephew Randy Newman, a longtime pal of mine. James Horner continues the tradition set by the composers on the first part of the program with his use of full orchestral sonorities. Rounding out the concert are contemporary film composers Hildur Guðnadóttir and Hans Zimmer, the latter being the force behind the new wave of writers who incorporate electronics and AI into their music.
Along the way, I will tell some stories about these composers and their contributions. I am genuinely looking forward to reuniting with the Nashville audience and taking you back to some very special times.
Enjoy the evening!
SATURDAY, JANUARY 24 AT 11 AM & 7:30 PM | SUNDAY, JANUARY 25 AT 2 PM
NASHVILLE SYMPHONY
DEANNA THAM, conductor
DISNEY’S FROZEN IN CONCERT
Songs by KRISTEN ANDERSON-LOPEZ and ROBERT LOPEZ
Original Score by CHRISTOPHE BECK
Story by CHRIS BUCK, JENNIFER LEE, SHANE MORRIS
Screenplay by JENNIFER LEE
Executive Producer JOHN LASSETER
Produced by PETER DEL VECHO, p.g.a.
Directed by CHRIS BUCK JENNIFER LEE
Voice Cast
KRISTEN BELL “Anna”
IDINA MENZEL “Elsa”
JONATHAN GROFF “Kristoff”
JOSH GAD “Olaf”
SANTINO FONTANA “Hans”
ALAN TUDYK “Duke”
CIARAN HINDS “Pappie”/”Grandpa”
Distributed by WALT DISNEY STUDIOS MOTION PICTURES
©2013 DISNEY ENTERPRISES, INC.
Original Soundtrack available from WALT DISNEY RECORDS at Disneymusicemporium.com
Today’s performance lasts approximately 1 hour and 43 minutes, including a 20 minute intermission. This film is rated PG
The performance is a presentation of the feature film Frozen with a live performance of the film’s score. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the end credits.
© DISNEY
ABOUT THE COMPOSER
Canadian composer Christophe Beck started piano lessons at five, and by eleven he was learning Bee Gees songs by ear and performing with his first-ever band, the unfortunately-named Chris and The Cupcakes. During high school he studied piano, saxophone, and drums, and wrote many tender 80’s love ballads.
While studying music at Yale, Beck wrote two musicals with his brother Jason (a.k.a. Gonzales, the Paris-based pianist-producer-TV Host-prankster), as well as an opera based on “The Tell-Tale Heart” by Edgar Allen Poe.
Upon graduation, Beck moved to Los Angeles to attend USC’s prestigious film scoring program, where he studied with Jerry Goldsmith. A personal recommendation from the legendary Buddy Baker, then head of the USC Music
ABOUT THE SONGWRITERS
Kristen Anderson-Lopez and Robert Lopez are the Oscar, GRAMMY ® , and Emmy winning, married songwriting team behind the Disney animated films, Frozen and Frozen 2. Together they also wrote the Oscar winning song “Remember Me” from Pixar’s Coco and songs for Marvel’s WandaVision (Emmy Award win for “Agatha All Along”). They wrote songs for the Obama’s series We the People and adapted Frozen for the Broadway stage. Robert co-conceived and co-wrote the hit musicals Avenue Q and The Book of Mormon, both earning him
ABOUT THE CONDUCTOR
Powerfully compelling, Deanna Tham is known for her captivating and tenacious spirit on and off the podium. She is currently the Associate Conductor of the Oregon Symphony and Music Director of the Union Symphony Orchestra.
Previously, Tham was the Assistant Conductor of the Omaha Symphony, following her tenure as Assistant Conductor of the Jacksonville Symphony and Principal Conductor of the Jacksonville Symphony Youth Orchestras. In 2024, she appeared in the prestigious La Maestra Conducting Competition in Paris, France where she was a semi-finalist. She has performed at the Proms in Royal Albert Hall, Elbphilharmonie Hamburg, and Seiji Ozawa Hall at the Tanglewood Music Center working with Maestros James Ross, Joseph Young, and Sir Antonio Pappano, as well as renowned artists Isobel Leonard and Joyce DiDonato. Tham has additionally appeared with the Oregon Symphony, Victoria Symphony, Spokane Symphony, Ballet Idaho, Opera Idaho, Orpheus PDX, 45th Parallel, and Present Music Milwaukee. Recent highlights of the include leading the all-women Broadway Sinfonietta in the world-premiere of SpiderMan: Into the Spider-Verse live with symphonic score, Jacksonville Symphony’s first educational Martin Luther
Department, led to his first assignment for a Canadian TV series called White Fang. Several TV series later, he was asked to score the second season of WB Network’s Buffy the Vampire Slayer. Beck received the Emmy Award for Outstanding Music Composition for his score to the Buffy episode “Becoming, Part 1.”
In 2000, the cheerleading comedy Bring It On launched Beck’s film career, which includes such diverse credits as Under The Tuscan Sun, Edge of Tomorrow, Crazy Stupid Love, Pitch Perfect, and the Hangover trilogy. More recently, Chris scored the Oscar and GRAMMY®-winning animated film Frozen, and both of Marvel’s Ant-Man films.
Christophe works out of his studio in Santa Monica, California.
Tony Awards. Kristen’s show In Transit made history as the first all a cappella musical to run on Broadway, after an award-winning Off-Broadway run. Anderson-Lopez and Lopez have written for television, film, and stage, including Finding Nemo: The Musical ; songs for The Wonder Pets (two Emmy Award wins) and the Winnie the Pooh animated film. Anderson-Lopez and Lopez both serve on the Dramatist Guild Council. Graduates of Yale University and Williams College, respectively, they now reside in Brooklyn with their two daughters.
King Jr. tribute concert and the Union Symphony’s first city-community Pops on the Plaza collaboration of Latin American pop and classical music. Additional recent engagements include Assistant Conductor of the National Youth Orchestra (NYO-USA and NYO2) and Assistant Conductor of the Chicago Sinfonietta with Maestro Mei-Ann Chen. Tham is additionally a cover conductor for the San Francisco Symphony. Her past positions include those with the Boise Philharmonic Youth Orchestra, Louisville Youth Orchestras, and American Chamber Opera. In 2013, Tham’s work with the National Music Festival was featured on National Public Radio as well as American Public Media. Tham holds a Professional Studies Certificate from the Cleveland Institute of Music in Orchestral Conducting studying with Maestro Carl Topilow. She received her Master of Music in conducting from Northwestern University studying with Dr. Mallory Thompson. There, she additionally worked with Dr. Robert Harris, Victor Yampolsky, and Dr. Robert Hasty. Tham received her Bachelor of Fine Arts degree in horn performance studying with Dennis Abelson, Zachary Smith, Bob Lauver, and Steven Kostyniak at Carnegie Mellon University.
BRING MUSIC TO LIFE FOR THE NEXT GENERATION
Every gift helps the Nashville Symphony open doors to music, creativity, and inspiration for young people across our community:
$10 $15 0 $200 $40 0 $700 $1,000
Gives 10 students the joy of attending a Young People’s Concert – often their first orchestral experience.
Sends our musicians into local schools for a sectional performance that sparks a lifelong love of music.
Introduces 100 students to the magic of the violin (or is it a fiddle?) through our partnership with the Country Music Hall of Fame.
Brings the Storytime Ensemble to a classroom or community center, blending music and imagination.
Sends a quartet to a school for one performance, bringing music to the students directly.
Presents a Chamber Music performance, giving audiences an unforgettable experience of live artistry.
When you give, you’re not just making a donation—you’re putting instruments in children’s hands, music in their ears, and possibility in their hearts. Together, we can inspire tomorrow’s music lovers, creators, and performers.
DONATE TODAY
Your gift will make a difference right now.
AMADEUS LIVE with the Nashville Symphony
SATURDAY, JANUARY 31 AT 7:30 PM | SUNDAY, FEBRUARY 1 AT 2 PM
NASHVILLE SYMPHONY
NATHAN ASPINALL, conductor
THE SAUL ZAENTZ COMPANY presents A MILOŠ FORMAN FILM
AMADEUS
F. MURRAY ABRAHAM
TOM HULCE
ELIZABETH BERRIDGE
SIMON CALLOW
ROY DOTRICE
CHRISTINE EBERSOLE
JEFFREY JONES
CHARLES KAY
DIRECTOR OF PHOTOGRAPHY BY MIROSLAV ONDŘÍČEK
FILM SCORE RECORDING CONDUCTED AND SUPERVISED BY NEVILLE MARRINER
PRODCUTION DESIGN BY PATRIZIA VON BRANDENSTEIN
CHOREOGRAPHER
TWYLA THARP
SCREENPLAY AND ORIGINAL STAGE PLAY BY PETER SHAFFER
PRODUCED BY SAUL ZAENTZ
DIRECTED BY MILOŠ FORMAN
Amadeus LIVE is a production of Avex Classics International
INDIVIDUALS
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The Nashville Symphony is deeply grateful to the following individuals who contributed between November 1, 2024 and November 1, 2025 to support the concert season and services to the community through their generous gifts to the Annual Fund, Endowment and support for Special Events.
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While we strive to recognize all our donors at the appropriate levels, mistakes can happen. If you believe an error has been made, please contact giving@nashvillesymphony.org.
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Mr. M. Bradshaw Darnall III
Mrs. Anne Davis
Beatrice deVegvar
Myrtianne Downs and Robert McMahan
Kathleen Duer
Mr. and Mrs. Steve Dugas
Mr. & Mrs. Thomas Eck
Sherie Edwards
Mr. & Mrs. Charles Anthony Elcan
Drs. James & Rena Ellzy
Jason and Susan S. Epstein
Megan & Steven Epstein
Dr. & Mrs. Jeffrey B. Eskind
Mrs. Ethel T. Fennell
Mr. Brian T. Fitzpatrick
Drs. Ricardo Fonseca & Ingrid Mayer
Mr. & Mrs. Steven B. Franklin
Mrs. Karyn M. Frist
Dr. & Mrs. Robert A. Frist
Dr. & Mrs. Ronald E. Galbraith
Mr. & Mrs. Stuart Garber
Mrs. Virginia Ingram and Mr. Chris Garchitorena
G. Waldon & Renee Garriss
Carlene Hunt & Marshall Gaskins
Mr. Norman B. Gillis
Mr. & Mrs. Martin E. Gilmore
Mr. Leonard C. Glass Sr.
Andrew & Alene Gnyp
Mr. Harry W. Graves Jr.
Lisa & Douglas Gregg
Mr. Matthew T. Grimm
Karen & Daniel Grossman
Bob & Judy Gunter
Cuong Ly & Gina Guo
Stephen & Marilynn Halas
Mrs. Robbie J. Hampton
Mr. and Mrs. Tom Harrington
Mr. and Mrs. Aubrey Harwell Jr.
Mr. & Mrs. John Burton Hayes
Steve Hesson
Ms. Sylvia Hix
Aurelia L. Holden
Ms. Mary A. Hooks
Bill & Carolyn Hunter
Mr. & Mrs. Donald J. Israel
Mr. & Mrs. Clay T. Jackson
Mr. & Mrs. John F. Jacques
Elizabeth Jennings
The Kirkland Foundation/Chris & Beth Kirkland
Mr. & Mrs. David J. Klintworth
Dr. & Mrs. Mike LaDouceur
Bobbie Jean Lamar
Mr. Edward Lanquist
Martha & Larry Larkin
Kevin & May Lavender
Mr. and Mrs. Gaylon M. Lawrence
Mr. and Mrs. Shawn Lehman-Grimes
John & Mary Leinard
Mr. & Mrs. Jeremy R. Lemmon
Ted & Anne Lenz
Douglas & Mizuho Leonard
Alice & John Lindahl
Mr. & Mrs. James C. Lundy Jr.
Mr. George Luscombe II
BEYOND THE STAGE
The Nashville Symphony is dedicated to sharing live orchestral music experiences with communities across Middle Tennessee — at Schermerhorn Symphony Center and beyond. Your support helps send our musicians into schools, community centers, and parks throughout the region.
EASY WAYS TO GIVE SCAN THE QR CODE TO DONATE NOW!
via phone: 615.687.6494
via mail: One Symphony Place Nashville, TN 37201
Online: NashvilleSymphony.org/Donate
* denotes donors who are deceased
David & Sarah Mansouri
Joelle Maynard
Dr. Mark & Mrs. Theresa Messenger
Ingrid Meszoely MD
Mr. David K. Mitchell
Mr. & Mrs. S. Moharreri
Bill & Cindy Morelli
Mr. Wayne E. Morris
Dr. & Mrs. Kelvin A. Moses
Ms. Karen Mufarreh
Matt & Rhonda Mulroy
Johnny Mutina & Earl Lamons
Michael & Patricia Nelson
Mr. & Mrs. Carl A. Neuhoff Jr.
Mr. Randall Newman
Mr. & Mrs. Robert J. Notestine
Ashley & Aaron Odom
Mr. & Mrs. Bond E. Oman
David & Pamela Palmer
Susan Holt & Mark Patterson
Mr. and Mrs. Joseph Ross Pepper
Dr. and Mrs. Philip Perdue
Melinda C. Phillips
Robert & Laura Pittman
Robert Pitz & Carol Armes
Mr. Jason E. Poole
Mr. & Mrs. Thomas F. Potter
Donna and Tom Priesmeyer
Mr. & Mrs. Gustavus A. Puryear IV
Mr. & Mrs. W. Edward Ramage
Neil & Ella Redkevitch
Ms. Petra Radova
Ms. Anna Reahl
Mr. Allen Reynolds
Mr. & Mrs. Don Ricketts
Jan Riven
Amy Robertson & Carl Marshall
Ms. Judith A. Robison
Anne Roos
Ms. Sara L. Rosson & Ms. Nancy Menke
Mr. Alexander Ruth Sr.
Karen W. Saul
Daniel Schafer & Melissa Rose
Dr. & Mrs. John Schneider
Mr. & Mrs. Hank Schomber
Teresa Sebastian and Steven Tunis
Mr. & Mrs. Todd Seifferth
The Honorable Wayne C. Shelton & Mrs. Patty Shelton
Jennifer Shinall
Mrs. Judith F. Simmons
Mr. & Mrs. Kevin S. Smith
Nan E. Speller
Mr. & Mrs. Thomas H. Stearns
Mr. and Mrs. Thomas R. Steele
Barbara Newton & Kent Stewart
Robert & Virginia Stewart
Suzanne and Andrew Storar
Rachel Zamata Swanson
Mr. & Mrs. David B. Thomas Sr.
Mr. Jerry Thursby
Mr. and Mrs. Cromwell Tidwell III
Mila & Bill Truan
Patricia Parker and John Vayda
Veronica Votypka Mclean
Mrs. Janet M. Wade
Mr. & Mrs. John E. Waggener Jr.
Kris & G. G. Waggoner
Mike & Elaine Walker
Dr. & Mrs. Mark Wathen
Sam R. McColl & Christy A. Watkins
Talmage M. Watts & Debra Greenspan Watts
Mrs. Lisa W. Wheeler
Mr. James L. White
Ms. Judith B. Wiens
Missy Williams
Mr. Lanny Willis
Mr. & Mrs. William M. Wilson
Ira & Elaine Work
Mr. & Mrs. D. Randall Wright
Ms. Pamela J. Wright
Mr. and Mrs. Darryl Yochem
Mr. Craig Zimberg and Ms. Tara Sawdon
Dr. & Mrs. Victor L. Zirilli
And deepest thanks to all our donors who made gifts of any size. We’re so appreciative of you and your support!
It’s never too late to add your name to the list with a generous contribution to the Nashville Symphony Annual Fund. Your support makes this performance and many more possible. Visit NashvilleSymphony.org/Donate to give and see your name in lights soon.
2025/26 BOARD OF DIRECTORS
OFFICERS
Mary Cavarra Board Chair
Pamela Carter Immediate Past Board Chair
Teresa Sebastian Board Chair-Elect
Dr. Mark Peacock Vice Chair
Hank Ingram Vice Chair
Jonathan McNabb Treasurer
Emily Humphreys Secretary
Alan D. Valentine President & CEO
DIRECTORS
Steve Abelman
Grace Awh
Alec Blazek*
Teresa Broyles-Aplin
Alexis Caddell*
Dr. Andre Churchwell
Starling Davis Clark
Eric Cook
John Crosslin
Yuri Cunza
Nick Deidiker
Robert Dennis
Travis Dunn
Dr. Stephen Eaves
Catherine Grace
Brenda Griffin
Cesar Gueikian
Tonya Hallett
Michael Hayes
Likai He*
Vicki Horne
John Huie
Henry Ingram
Martha R. Ingram*
Neil Krugman
Dr. Trey Lee
2025/26 ASSOCIATE BOARD OF DIRECTORS
OFFICERS
Courtney Orr Chair
Keeley Locke Immediate Past Chair
Steven Attorri Chair-Elect
Hank Ingram Chair Emeritus
Branden Burkey Secretary
Trent Janos Development Chair
Virginia Adamson Governance Chair
Katherine Richardson Membership – Engagement Chair
Alex Wilhelm Membership – Recruitment Chair
Lindsay Stevenson Performance & Special Events Chair
Jasmine Greer Spirits of Summer Co-Chair
Alexandria Payton Spirits of Summer Co-Chair
Samantha Breske Magee
Rhonda Mulroy
Phylanice Nashe
Courtney Orr
Victoria Chu Pao
Anthony Parce*
Dr. Mark Peacock
Brett Ponton
Marielena Ramos
Christopher Redlich
Jeanie Rittenberry
Will Robinson
Jim Rooney
Valentina Guidi
Gina Guo
Laura Ross
Dr. Kenneth Sands
Benjamin Scott
Michael Sposato
David Thomas Sr.
Jim Todd
Bryce VanDiver
Bill Wade
Gail Williams
Peter Witte*
Karr
Devin Mueller
Owen Thorne
Trey Watson
CORPORATIONS & FOUNDATIONS
INSTITUTIONAL PARTNERS
Thank you to our corporate and foundation partners for their generous support of the 2024/25 season and our education and community engagement activities. Partners through July 31, 2025 .
SPONSORS
Accurate Healthcare
Actual Food
Ann Hardeman and Combs L. Fort Foundation
Beam Smile Design
Brown Brothers Harriman
Bruce Pittman, Inc.
Burroughs Family Foundation
Carolyn Smith Foundation
Christenberry Anderson Loomis
Family Foundation
Coca-Cola Bottling Company Consolidated
The Cockayne Fund Inc.
Corrections Corporation of America
Daniel A. Hatef M.D.
The Danner Foundation
DeLozier Plastic Surgery
Dillard's Corporation
Earl Swensson Associates, Inc. (ESa)
Ernest & Selma Rosenblum Fund
Ernst & Young
GOVERNMENT SPONSORS
Fifth Third Bank
Gilpin Facial Plastics
Goodin Lawncare
The Hermitage Hotel
The Hendrix Foundation
The Heritage at Brentwood
Hewlett Packard
Hilton Nashville Downton
Jewish Federation of Nashville and Middle Tennessee
KraftCPAs PLLC
Laroche Family Foundation
Lightning 100
Los Angeles Philharmonic Association
M. Stratton Foster Charitable Foundation
The Mall at Green Hills
Melkus Family Foundation
The Memorial Foundation
Metropolitan Government of Nashville & Davidson County
Morgan Stanley Gift Fund
Modern Woodmen
Nashville Plastic Surgery Institute
Northern Trust
Oakwood Cleaners
Private Edition
Publix Super Markets Charities
R. H. Boyd Publishing Corporation
Ryman Hospitality Properties Foundation
Samuel M. Fleming Foundation
Sebastian-Tunis Foundation
Soundtrack My Drink
StillWater
Styleblueprint
The Swanson Family Foundation
THNKS
Thrivent Financial
UBS
Vanderbilt University Medical Center
COUNIHAN FAMILY FOUNDATION
THE WILLIAM STAMPS FARISH FUND
WASHINGTON FOUNDATION, INC.
PATRICIA AND LOUIS TODD FAMILY FOUNDATION
AMERICAN ENDOWMENT FOUNDATION
NASHVILLE SYMPHONY STAFF LISTING
EXECUTIVE
Alan D. Valentine, President & CEO
Jeff vom Saal, COO
Amy Killett, CFO
Melinda C. Phillips, CDO
Heather Romero, Senior Executive Assistant & Board Liaison
ARTISTIC ADMINISTRATION
Angelica Franzino -Brown , Vice President of Artistic Planning
Evann Brantley, Director of Artistic Operations
Abby Sams, Manager of Artistic Planning
Andrew Risinger, Organ Curator
COMMUNICATIONS
Sherry D. Gibbs, Vice President of Communications
Alina Van Oostrom, Director of Digital Graphics
DEVELOPMENT
Jillian Neal, Senior Director of Development
Kimberly DePue, Development Officer
Byron Harvey II, Development Officer
Ashton Jennings, Senior Director of Corporate Partnerships
Serena Collins, Corporate Partnerships Assistant
Meredithe Hyjek, Director of Development Events
Ross Bader, Director of Donor Relations & Volunteer Services
Robert Esposito, Assistant Director of Development Operations
Emma Rojo, Development Operations Specialist
Jennie Humann, Grants Manager
Victoria Leniar, Development Coordinator
EDUCATION & COMMUNITY ENGAGEMENT
Kimberly Kraft McLemore, Vice President of Education & Community Engagement & General Manager
Bryson Finney, Director of Learning
Kelley Bell, Director of Community Engagement
Phillip Ducreay, Education & Community Engagement Manager
FINANCE
Karen Warren, Controller
Sheri Switzer, Senior Accountant
Bobby Saintsing, Payroll & Accounts Payable Manager
HUMAN RESOURCES & INCLUSION
Junico Cardwell, Director of Human Resources
I NFORMATION TECHNOLOGY
Trenton Leach, Senior Director of IT
MARKETING & TICKETING
Luke Henry, Director of Customer Service
Julia Towner, Ticketing & Customer Service Specialist
Nathan Stone, Director of CRM & Ticketing Operations
Elise Boling, Ticketing Operations Specialist
Garrett Seeds, Ticketing & Sales Supervisor
Richard Byington, Sales Specialist
Misha Robledo, Group Sales Specialist
ORCHESTRA OPERATIONS & PRODUCTION
Orchestra Personnel
Pavana Stetzik, Director of Orchestra Personnel
Sarah Figueroa , Manager of Orchestra Operations
Production
Josh Walliser, Senior Director of Production
Trey Franklin, Senior Lighting Director
Cameron Martin, Lighting Director
Cameron Lambert, Audio Director
Brent Mitschke, Audio Engineer & Production Manager
Kai Nakkim, Assistant Production Manager
VENUE
MANAGEMENT
Eric Swartz, Vice President of Venue Management
John Sanders, Chief Technical Engineer
Kenneth Dillehay, Chief Engineer
Wade Johnson, Facility Director
Amber Arthur, Senior Event Manager
Abigail Imthurn, Event Supervisor
Kamiljon Bouranov, Beverage Manager
Dominic Vulcano,
Assistant Beverage Manager
Robert Gibbs , Director of Security
Tonesha Greer, Stage Door Receptionist
