SCHEHERAZADE AND
BUTTERFLY LOVERS CONCERTO
Saturday, March 15, 2025 · 7:30pm ·
Cannon Center for the Performing Arts
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Sunday, March 16, 2025 · 2:30pm ·
Scheidt Family Performing Arts Center
Robert Moody, conductor | Timothy Chooi, violin
JOHN ADAMS
(b. 1947)
The Chairman Dances Foxtrot for Orchestra
CHEN GANG & HE ZHANHAO
(b. 1935) (b. 1933)
Butterfly Lovers Violin Concerto
Timothy Chooi, violin
INTERMISSION
NIKOLAI RIMSKY-KORSAKOV
(1844 - 1908)
Scheherazade, Opus 35
I. Largo e maestoso - Allegro non troppo
II. Lento - Allegro molto
III. Andantino quasi allegretto
IV. Allegro molto
Program Notes
by Michelle Pellay-Walker
John Adams (1947- ): The Chairman Dances (Foxtrot for Orchestra)
First Performance: Milwaukee Symphony Orchestra, Lukas Foss, conductor: Milwaukee, January 1986
American President Richard Nixon visited the People’s Republic of China the last week of February in 1972; this visit was the inspiration for John Adams’ opera, Nixon in China. “The Chairman Dances” is not actually a part of the opera itself; it is a separate work that was composed in 1985 to fulfill a commission by the National Endowment for the Arts on behalf of the Milwaukee Symphony Orchestra. The work is scored for a large orchestra that includes woodwinds in pairs (plus two piccolos and bass clarinet), full brass, timpani, percussion (lots of percussion!!), piano, harp, and strings.
Adams explains the piece as follows (www.https://www.earbox.com/the-chairman-dances/): “The Chairman Dances was an “out-take” of Act III of Nixon in China. Neither an “excerpt” nor a “fantasy on themes from,” it was in fact a kind of warmup for embarking on the creation of the full opera…The Chairman Dances began as a “foxtrot” for Chairman Mao and his bride, Chiang Ch’ing, the fabled “Madame Mao,” firebrand, revolutionary executioner, architect of China’s calamitous Cultural Revolution, and (a fact not universally realised) a former Shanghai movie actress. In the surreal final scene of the opera, she interrupts the tired formalities of a state banquet, disrupts the slow moving protocol and invites the Chairman, who is present only as a gigantic forty-foot portrait on the wall, to “come down, old man, and dance.” The music takes full cognisance of her past as a movie actress. Themes, sometimes slinky and sentimental, at other times bravura and bounding, ride above in bustling fabric of energised motives. Some of these themes make a dreamy reappearance in Act III of the actual opera, en revenant, as both the Nixons and Maos reminisce over their distant pasts…”
Chen Gang (1935- ) and He Zhanhao (1933- ): Butterfly Lovers Violin Concerto
First Performance: Shanghai Conservatory Symphony Orchestra, Yu Lina, soloist: Shanghai Music and Dance Festival, May 1959
Chen Gang and He Zhanhao jointly composed the Butterfly Lovers Violin Concerto between 1958 and 1959, while students at the Shanghai Conservatory of Music. It was initially part of a project associated with the 10th anniversary of the founding of the People's Republic of China; students were expected to study and learn traditional Chinese works in connection with the upcoming celebration. This topic would certainly have qualified: The legend of the Butterfly Lovers (sometimes referred to as the Chinese Romeo and Juliet) is an ancient folk tale that was named as one of China’s “Four Great Folktales” by the Folklore Movement of the 1920s. The Concerto is sometimes referred to as Liang Zhu, the names of the two star-crossed lovers of the story (Liang Shanbo and Zhu Yingtai). The orchestral scoring is substantial, including woodwinds in pairs, full brass (no tuba), timpani, percussion, piano, harp, and strings. The solo violin represents Zhu, with a solo cello representing Liang. While presented as a single movement composition, the piece is divided into seven sections which trace the storyline:
Zhu (disguised as a man for the purposes of pursuing scholarly study) travels to Hangzhou, meeting Liang along the way. They become friends, and take an oath of fraternity in recognition of their affinity for each other. Zhu gradually falls in love with Liang over their three years of study. Eventually summoned home by her father, Zhu invites Liang to visit her family for the purposes of courting her sister (not really—she intends to marry him herself). Upon returning home, she discovers that her father has arranged a marriage between her and the son of a rich merchant. Liang eventually arrives,…and discovers that Zhu is actually a woman—and they fall in love. Heartbroken at the news of her betrothal, Liang becomes sick; his health begins to deteriorate, and he eventually dies. Zhu leaves her wedding procession as it floats past Liang’s grave,…and throws herself into the grave. Their spirits emerge joined as butterflies, and they fly away, together at last.
Nikolai Rimsky-Korsakov (1844-1908): Scheherazade, Opus 35
First Performance: Russian Symphony Concerts, Nikolai Rimsky-Korsakov, conductor: Saint Petersburg, October 1888
As Nikolai Rimsky-Korsakov worked to complete Alexander Borodin’s opera, Prince Igor, during the winter of 1887, it came into his head to compose a work based on tales from The Arabian Nights (or One Thousand and One Nights). Scheherazade was premiered in Saint Petersburg in October of 1888, with Rimsky-Korsakov conducting the orchestra. The basic premise is as follows: The Sultan, Schariar, upon discovering his wife’s infidelity, has her killed; subsequently, he marries a virgin every night, having her executed the following morning before she can dishonor him. Eventually, no more virgins can be found, at which point Scheherazade, the Vizier’s daughter, offers herself as bride to the Sultan. Each night, she tells the Sultan a tale, but does not finish it. The Sultan, in his desire to hear the conclusion, spares her life. This pattern continues for one thousand and one nights,…by which time he has fallen in love with her and repudiates his vow. The orchestral scoring calls for woodwinds in pairs (plus piccolo and English horn), a full 19th century brass section, timpani plus another half-dozen percussion instruments, harp, and strings. Each of the four movements is given a descriptive title. Scheherazade is represented by a solo violin, with extensive passagework, usually accompanied by harp, in each of the four movements. A stern and sinister motif in the bass instruments represents the Sultan; this motif introduces movements one and four, and is referenced in movement two. Other solo instruments featured prominently throughout the work (not in any particular order) are cello, all woodwind principals plus piccolo, horn, trumpet, and trombone.
On Stage
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Internationally acclaimed conductor Robert Moody in currently enjoying his 18th season as Music Director of Arizona Musicfest, his 9thseason as Music Director of The Memphis Symphony Orchestra (Tennessee), and celebrates his inaugural season as Music Director of the Baltimore Chamber Orchestra.
Under his artistic leadership, AZ Musicfest has become the premiere Winter Music Festival Orchestra in North America, boasting a roster comprised of players from the world’s greatest orchestras. The Memphis Symphony has enjoyed exponential growth in programming, recording, new commissions, and endowment growth to well over $25 Million dollars. Baltimore Chamber Orchestra boasts top players from the largest orchestras in the Baltimore/Washington area and presents innovative and “out of the box” live orchestral programming at world class levels in the Mid-Atlantic. In 2022 he was named Principal Conductor for Lakeland Opera (FL); he leads one major opera production each January with LO, recently including Mascagni Cavalleria Rusticana and Puccini Madama Butterfly. Man of La Mancha is the production for January 2025.
Prior positions have included music director for both the Portland Symphony (Maine) and the Winston-Salem Symphony (North Carolina). Earlier in his career, he held conducting positions with the Phoenix Symphony, Evansville Philharmonic, Santa Fe Opera, Brevard Music Center, Interschool Orchestras of New York City, and apprenticed at Landestheater Opera in Linz, Austria.
He has led many of the major orchestras and opera companies of the world, including Chicago Symphony, Los Angeles Philharmonic, Toronto Symphony, Dallas and Houston Symphonies, Minnesota Orchestra, Washington National Opera, Aachen and Baden Baden Symphony Orchestras in Germany, Orquesta Filarmonica de Bogotá (Colombia), and the Vienna Chamber Orchestra (Austria). He is also a frequent guest conductor in South Africa, and he will return next June for concerts with the three major orchestras there – the Cape Town, Johannesburg, and KZN (Durban) Philharmonics.
In addition to South Africa, guest conducting debuts this season include Kansas City Symphony/Lyric Opera of Kansas, Tulsa Philharmonic, Tampere Philharmonic (Finland), and Timasoara Philharmonic (Romania). He also returns to Sewanee Summer Music Festival (TN), National Repertory Orchestra (CO), Portland Symphony (ME), and the Greensboro Symphony (NC).
A frequent collaborator with opera superstar Renée Fleming, he will conduct her on multiple occasions in the upcoming season, featuring Kevin Puts’ The Brightness of Light (also with Rodney Gilfry) and “Voice of Nature,” the song cycle created with Ms. Fleming and National Geographic.
Moody’s work is available on several commercial recordings, including the Canadian Brass albums Bach and Legends, R. Carlos Nokai’s Fourth World album, and with Memphis Symphony Orchestra and trumpet legend Ryan Anthony on his Re:Mission Rubato album.
Robert is also a close friend and collaborator with Grammy winning composer Mason Bates. Their friendship spans over 30 years, and Moody was the first conductor to commission a full orchestral work from Bates. Robert also commissioned several major works of Mason’s, including Rusty Air in Carolina, and the much lauded Desert Transport. He is excited to lead a premiere performance of Bates’ newest concerto – a triple concerto for Grammy winning ensemble Time For Three.
A South Carolina native, Moody holds degrees from Furman University and the Eastman School of Music, where he earned his conducting degree with Donald Neuen. Additional studies included an undergraduate term abroad in Vienna, Austria, and a summer of study with Otto Werner Mueller at Le Domaine Forget in Quebec. He is a Rotarian and has served on the boards of AIDs Care Services, Winston-Salem YMCA, WDAV Classical Radio, and the Charlotte Master Chorale.
Moody celebrates the life and work of organist/conductor Jimmy Jones, his spouse of 18 years who passed away unexpectedly early in 2024. He now dedicates all his musical endeavors to Jimmy.
Moody lives in Memphis with their two dogs; he is an avid runner, swimmer, history buff, “Jeopardy!” addict, and snow-skier.
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Internationally acclaimed violinist Timothy Chooi, (pronounced “Chewy”), continues to mesmerize global audiences with his electrifying performances and profound musical interpretations. Renowned for his passionate renditions and extensive repertoire, Chooi has cultivated a vast following, with millions of viewers captivated by his artistry both on stage and across digital platforms.
Chooi first burst onto the international scene by securing First Prize at the Joseph Joachim International Violin Competition in Hannover, Germany, and later earned Second Prize at the prestigious Queen Elisabeth International Competition. His accolades include the highly coveted Yves Paternot Prize from the Verbier Festival in Switzerland. These achievements have led to performances with top-tier orchestras, including the Deutsches Symphonie-Orchester Berlin, Belgian National Orchestra, Royal Philharmonic Orchestra, Royal Liverpool Philharmonic, and Wiener Concert-Verein. His appearances at iconic venues such as Carnegie Hall, the Musikverein Wien, Berlin Philharmonie, Amsterdam’s Concertgebouw, and London’s Royal Albert Hall have garnered him critical acclaim.
The upcoming touring season promises to be a thrilling chapter in Chooi’s career. He is set to collaborate with London’s Royal Philharmonic Orchestra, featuring Emmy Award nominee composer Brian Tyler. He will also make his highly anticipated return to the Toronto Symphony Orchestra, Vancouver Symphony Orchestra, and Amsterdam’s Concertgebouw.
Chooi’s music is broadcasted globally on prestigious stations, and in 2023, he recorded with Anne-Sophie Mutter and Mutter’s Virtuosi for Deutsche Grammophon. His performance with the Royal Liverpool Philharmonic Orchestra was featured on Medici TV, and his work has been aired on NPO Radio Klassiek Amsterdam, WQXR New York, RTBF Belgium, Swiss Public Radio, CBC Radio Canada, Deutschlandfunk Kultur, and Danish Public Radio.
Born in Canada, Chooi’s multicultural heritage includes Chinese, Indonesian and Malaysian roots. His journey began at the age of sixteen, with a debut performance with the Montreal Symphony Orchestra (Orchestre Symphonique de Montréal) that launched his career on the global stage. Inspired by his older brother, Nikki Chooi, Timothy has since established himself as one of the leading violinists of his generation.
In addition to his performance career, Chooi is deeply committed to the art of teaching. As the Professor of Violin at the University of Ottawa, he is recognized not only for his virtuosic playing but also for his dedication to nurturing the next generation of musicians. Chooi is celebrated for his innovative teaching methods, which combine traditional techniques with contemporary approaches to violin performance. His students have benefited from his unique perspective as an active performer on the world stage, gaining insights into both the technical and artistic aspects of playing. Under his mentorship, many of his students have gone on to win prestigious competitions and secure positions in leading orchestras worldwide. Chooi’s contributions to the academic community have made him a respected figure in the field of music education, where he continues to influence and inspire through masterclasses, workshops, and personalized instruction.
Timothy Chooi performs on a distinguished collection of violins, including the 1741 “Titan” Guarneri del Gesù, on loan from Canimex of Drummondville, Québec since 2023; the 1709 “Engleman” Stradivarius, provided by the Nippon Music Foundation in Japan; and the 1761 Landolfi violin, which is endowed to him as the Professor of Violin at the University of Ottawa.
Memphis Symphony Orchestra
Violin I
Barrie Cooper, Concertmaster
The Joy Brown Wiener Chair
Wen-Yih Yu, Assistant Concertmaster
Diane Zelickman Cohen, Assistant Principal
Priscilla Tsai
Janaina Fernandes*
The Rebecca Webb Wilson Fellow
Daniel Gilbert
Jordan Musgrave
Gabriela Fogo
Carissa Perez
Martin Palacios
Ann Pretzer
Ana Maria Trujilo
Violin II
Gaylon Patterson, Principal
The Dunbar and Constance Abston Chair
Erin Kaste, Assistant Principal
Lenore McIntyre, Assistant Principal
Yennifer Correia
Daniel Parker*
The Judith and Sheldon Korones Memorial Fellow
Rebeca Rathlef
Sam Spurbeck
Julia Mendez Farhi Johnson
Miguel Lesmes
Janet Cooper
Viola
Jennifer Puckett, Principal
The Corinne Falls Murrah Chair
Michelle Pellay-Walker, Assistant Principal
Aaron Tubergen, Assistant Principal
Beth Luscombe
Matthew Finley*
The Joyce McAnulty Blackmon Memorial Fellowship
Michael Brennan
Sarah Cote
Rossana Cauti
Luzi Barrionuevo
Cello
Ruth Valente Burgess, Principal
The Vincent de Frank Chair
Hannah Schmidt, Assistant Principal
Jeffrey Jurciukonis, Assistant Principal
Lisandro Acosta*
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Mark Wallace
Christine Sears
Otavio Kovakama
Alisha Rufty
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Scott Best, Principal
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Andrew Palmer
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Garrett Kirk
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Shantanique Moore, Principal
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Rena Feller
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Caroline Kinsey, Principal
The Morrie A. Moss Chair
Jimmy Rhine, Assistant Principal
Robert Patterson
Jeremiah Frederick
Dan Vidican
Trumpet
Scott Moore, Principal
The Smith & Nephew Chair
Elizabeth Carter
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Greg Luscombe, Principal
Micah Everett
Mark Vail
Tuba
Charles Schulz, Principal
The Charles and Sharen Schulz Chair
Timpani
Ed Murray, Principal
Percussion
David Carlisle, Principal
Bill Shaltis, Assistant Principal
Stewart Plumlee
Brian Graiser
Dwight Van de Vate
Harp
Frances Cobb Kenney, Principal
The Ruth Marie Moore Cobb Chair
Piano/Celeste
Adrienne Park, Principal
The Buzzy Hussey and Hal Brunt Chair
*Circle of Friends Fellow
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Shelley Ost
Max B. Ostner, Jr.
Outhone Sonesana
Cindy Pace
Paige Dumas
John Palmer
Marvin Palmer
Pam Golding
Elena and Helena Parfenova
Mr. and Mrs. Parker
Patrice Curry
Patrick Drummond
Rushton Patterson
Trinette Patterson
Paula Joyner
Amanda Paule
Eugene Pearlman
Atanas and Katyusha Pehlivanov
Jim Pentecost
Alan and Sally Perry
Peter Wiley
Valdas Petrouskas
Phil Goossens
Virginia Pilcher
G. Dan and Chloee Poag
Albert Pope
Porshure Richardson
Reginald and Sonya Porter
Peter Pranica
Howard and Margaret Pritchard
Rosemary Purdy
Jessica Reed
Kerry Regen
Reginald Richard
Ulrike Reiss
Joanne Rhodes
Richard Sutch
Curtis and Patricia Ringold
Rita Smith
Rev. Phoebe A. Roaf
Kari Robbins
Beverly Robertson
Carol Robertson
Betty Robinson
Jessica & James A Robinson
Ellen Rolfes
Ronna Martin
Monica Rose
Meryl Rosen
Victoria Ross
Ruben Caballero Pineda
Fedoria Rugless
Russell Savory
Ruthie Pride
Ryan Quinlivan
Diane Sachs
Sally Helms
Tracey and Peter Sanders
Sanjar Umarov
Aimee Santucci and John Jolly
Sara Alvarez
Savanna Eggenberger
Sayra Medina
Beth and Sandy Schaeffer
Chrisann Schiro-Geist
Karl and Gail Schledwitz
Jean Schmidt
Jutta Schneider
Connie and Eric Scott
Valerie Scott
Art and Janet Seessel
Elizabeth Senhausen
Patricia Seubert
Douglas Seymour
Frank and Marian Shaffer
Shannon Bryant
Fran and Phil Shannon
Anne Shaw
Lucy Shaw
Karen Shea
Paul Shifflet
Shirley Turner
William Short
Susan & Matt Shorter
Martina Sigal
Liz and Rouben Simonian
Elizabeth and David Simpson
Gregory Skinner
Jerald and Louise Sklar
Dr. William Skoog
Harriet Skupin
Stephen & Chelsea B Slabaugh
Peter Slavish
John Sligh
Corey Smith
Joel Smith
Pamela K. Smith
Sonya Walton
Sophia Woods
Katharine Sorenson
David and Jackie Spear
Diane Spears
Raymond and Gayle Spence
Michael and Aimee Spikes
Susan Springfield
Stacey Bowers
Barbara Stafford
Tracey Stallings
Rebecca Stanfield
Lindsey Stanfill
Dianne Stanford
Terry Starr
Julian Steelmen
Jeremiah Steinbrink
Stephanie Johnson
Edith Stern
John Stewart
Lauran Stimac
John and Anne Stokes
Donna Stroup
Karen Stuart
David and Mary Anne K. Sullivan
Suzanne Drewry
Tabitha Arrington
Owen and Margaret Tabor
Tabrina Davis
Taylor Wilmott
Terri Williams
Robin Thoda
Sally Thomason
Kimberly Thompson
Sarah Tillman
Timothy Todd
David Tipton
Mark Tittle
Tom Ebers
Tom Timimak
Benjamin Trainor
Tuesday Study Club
Michael Ulm
Jennilynn Utkov
Jo Vail
Alan Valentine
Bill and Peggy Veeser
Carmel Verrier and Walter Heger
Vicki Carayiannis
Virginia Terrell
Charles Walker
Russell Walker
Philip Walkley
Julie Wallace
Erin Walter
Paula Walter
Gavin Ward
Kathleen and Tim Waters
Samantha Watts
Alonzo and Suzane Weaver
Gina and Jeffrey Webb
Debra West
Benny and Gayle Westmoreland
A C and Ruby Wharton
Lain Whitaker
Willard & Catherine Whitaker
Justin White
Alvin and Myra Whitney
Reggie Whitney
Ogden Whyte
Marilyn Wiener
William Koenig
William Page
William Scott
William Ufferman
Suzanne Williamson
Linda Willis
Willow Blythe
Wilson Hubbard
Teresa Wilson
Dean and Lauran Wingo
Dorothy Work
Yavette Gray
Linda Yoakum
Jason and Susan Young
David and Nelie Zanca
Carolyn & Robert Meza
Jennifer Diprizio & Patrick Krolik
Mary Van Dyke
Ann Marie Person
Mary Stuart David
Sharon Devine Harris
Victoria N Crozier
Angel David Martinez Nieto
This list recognizes philanthropic contributors to the MSO made between July 1, 2023 - August 28, 2024 . While compiling this list every effort has been made to reflect the accuracy of our donors. If your name has been misspelled, omitted, or misrepresented please contact us at 901-537-2500 and will correct our records. We appreciate your generosity and understanding.
