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MUSICIANS

BARNETT & COMPANY MASTERWORKS SERIES

VIOLIN IJoshua Holritz, Associate Concertmaster Mark Reneau Caroline DrexlerDavid Katz Janet Kuperstein Nicholas Pappone Christian ZamoraKyra Davies Mary Margaret Neel Nathan BanksHeidi BarkerAlexander Shilfer VIOLIN IISheri Peck, PrincipalRachael McFarlane Jennifer WhittleRebecca James Bryony Stroud WatsonKim HainJessica Peck Josué Loyola Roncal Lee Smith Mary Benno VIOLAMegan Chisom, PrincipalTamara Hobbs Metiney MooreCasie Runkle Gabriel SchlafferMichael HillNichole PittsSusan Kemp

CELLOEric Reed, PrincipalSuzanne Sims Annie Camp David PeytonNicholas Gold Spencer Brewer Kaitlyn Vest Hannah Kuhn

DOUBLE BASSTaylor Brown, Principal Jonathan McWilliamsDexter Bell J. Bret Alford Andrew Chilcote Given Arnold

FLUTEKristen Holritz, PrincipalLisa MeyerhoferAmelia Dicks Principal Piccolo/Utility Flute John L. & Norma B. Anderson Chair

OBOEJessica Smithorn, Principal Norma and Olan Mills II ChairTeresa Spilko Carey Shinbaum

CLARINETRobert West, Principal Emily Bowland Steven Tonkinson

BASSOONEric Anderson, Principal Shelby Jones G. Eddie McCrary Jr

BEETHOVEN PIANO CONCERTO NO. 2

FRENCH HORNGordon James, Principal Kelsey Bentley Richard Williams Joseph DemkoTara Leigh Johnson TRUMPETClayton Chastain Aaron Norlund

TROMBONE Douglas Warner, Principal Prentiss HobbsJeff Koonce

TUBANeil Konouchi, Principal

TIMPANIJonathan Milke

PERCUSSIONDavid Pedigo Keith LloydDavid Luidens David Medina

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GUEST ARTIST - GLORIA CHIEN

Picked by the Boston Globe as one of the Superior Pianists of the year, “… who appears to excel in everything,” pianist Gloria Chien made her orchestral debut at the age of 16 with the Boston Symphony Orchestra. Since then, she has appeared as a soloist under the batons of Sergiu Comissiona, Keith Lockhart, Thomas Dausgaard, and Irwin Hoffman. She has presented recitals at the Isabella Stewart Gardner Museum, Jordan Hall, Harvard Musical Association, Caramoor Musical Festival, Verbier Musical Festival, Salle Cortot in Paris, and the National Concert Hall in Taiwan. An avid chamber musician, Gloria has been the resident pianist with the Chameleon Arts Ensemble of Boston since 2000. She has recorded for Chandos Records, and recently released a CD with clarinetist Anthony McGill. In 2009 she launched String Theory, a chamber music series at the Hunter Museum of American Art in downtown Chattanooga, as its founder and artistic director; and the following year was appointed Director of the Chamber Music Institute at the Music@Menlo festival. A native of Taiwan, Gloria is a graduate of the New England Conservatory of Music (DMA ‘04, MM 01’, BM ‘99) where she was a student of Russell Sherman and Wha-Kyung Byun. She is an Associate Professor at Lee University in Cleveland, TN, and is a member of Chamber Music Society Two of Lincoln Center. Gloria is a Steinway Artist.

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GUEST ARTIST - GLORIA CHIEN

THOMAS LANDSCHOOT

BEETHOVEN PIANO CONCERTO NO. 2

Kayoko Dan, conductorGloria Chien, piano Guest Artist Sponsored by the John T. Allen Piano Fund

BARNETT & COMPANY MASTERWORKS SERIES

Sponsored by National Endowment for the Arts

CSO is an ArtsBuild community arts partner. Additional funding is provided by the Tennessee Arts Commission.

Intermission

Photography and video/audio recording are prohibited. Please remember to turn cell phones off.

This performance will be re-broadcast on Classical 90.5 WSMC on March 15 at 4:00 pm.

Flowers by Gil & Curt.

Join us immediately after the concert for Postlude, our post-concert Meet and Greet with Music Director Kayoko Dan, guest artist, and select musicians.

March 5, 2020 7:30PM

Tivoli Theatre

WEBER Overture to Der Freischütz, J.277

HINDEMITH Symphonic Metamorphosis of Themes

by Carl Maria von Weber

I. Allegro

II. Turandot: Scherzo

III. Andantino

IV. March

JELENA DABIC Beethaphase

BEETHOVEN Concerto No. 2 in B-flat major

for Piano and Orchestra, op.19

I. Allegro con brio

II. Adagio

III. Rondo: Molto allegro

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PROGRAM NOTESJelena Dabic

(b. April 11, 1982 in Sremska Mitrovica, Serbia)

Beethaphase

(7 minutes)

The finale of Beethoven’s Ninth Symphony begins with six bars of controlled chaos, dissonant and noisy, before a dead stop. Basses and cellos alone state a rising fifth, A to E (held long), and an angular descent. It is a dramatic moment that presages the basso’s famous “O Freunde” entrance on the same notes later.

Dabicćneeded only that snippet of material to create something entirely novel, completely infused with her own style and letting her “confront [Beethoven’s musical expression] with the rhythm and energy of the Balkans.”

The Young Euro Classic Music Festival, a prestigious opportunity for ensembles of players 12 to 28, commissioned Beethaphase and it premiered at the festival August 6, 2010 when Dabic was still young enough she could have been a performer herself.

Just as in Beethoven, the basses first play the rising fifth. Then again and again, adding notes each time, but listeners will be seriously challenged to hear beyond the two-note motif that infuses the whole piece. It is not nec-essary to try, however, as the piece’s exuberance spills out and leaves us spellbound.

Ludwig van Beethoven(b. December 16, 1770 in Bonn; d. March 26, 1827 in Vienna)

Concerto No. 2 in B-flat Major, Op. 19

(10 minutes) Calendar watchers have been anticipat-ing Beethoven’s sestercentennial with growing enthusiasm and ceaseless

reminders will ensure no one with a pulse can miss it. Early in this special anniversary year it feels just right to start with the first of his five numbered piano concertos, Concerto No. 2 (No. 2 because it was published later).

Beethoven sensed that it was his chops as a piano virtuoso that would get him noticed and, very early on, even before he left Bonn for Vienna, he was com-posing concertos for his own concerts. The first effort dates from 1784, but only the solo part survives, and there is no evidence that it was performed in Beethoven’s lifetime. He also began working on what eventually became Concerto No. 2 about the same time. He finished a version of it to show to Haydn when he sought his instruction on arriving in Vienna. That first version debuted at a charity concert March 29, 1795, Beethoven as the soloist and conductor.

Beethoven was not pleased with his effort and immediately began a series of revisions. In the meantime he wrote a C major concerto, that was also premiered later in 1795. Both concertos were published in 1801 but the latter was published first and became Concerto No. 1, Op. 15.

Beethoven was not particularly satis-fied with either of his first concertos and was quickly moving on. He began work on his Concerto No. 3 in 1800 and didn’t look back. That seems to explain why the first two concertos are less often performed, Concerto No. 2, least of all.

The neglect is hardly warranted. Con-certo No. 2 is a gem in the classical tradition, very reminiscent of Mozart, and the demands on the pianist are to play with maximum grace—any errors spoiling the effect (also the same for

PROGRAM NOTES (con’t)

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PROGRAM NOTES (con’t)

for Mozart)—rather than virtuosic bombast and flash.

The first movement, like the beginning of Symphony No. 5 (CSO, January 2020), is marked Allegro con brio, but it is altogether without the Sturm und Drang. The soloist enters modestly after a long introduction. Lyrical mo-ments alternate with punchy dotted rhythms and some pianistic passage work. Beethoven’s cadenza was written in 1809 and shows how his style had evolved since he finished the concerto.

The orchestra begins the slow move-ment soberly, settling into a supporting role as the pianist weaves a lyrical and often improvisatory sounding soliloquy. In fact Beethoven improvised the solo part in his first performances and only got something written down in time for publication.

The boisterous rondo is best character-ized by drawing on high school English class. The memorable theme is trochaic, poetic feet that go DUMda. Think “Once upon a midnight dreary.” This keeps us feeling a little unsettled, reinforced by some syncopations as well. A special moment signals that the end is near: Briefly we get to hear the theme transformed to the more common and comfortable iambic (daDUM, as in “if music be the food of love”) foot. A gracious coda with much pianistic embellishment brings a satisfying close.

Carl Maria von Weber (b. November 18, 1786 in Eutin [near Lübeck],

Germany; d. June 5, 1826 in London)

Overture to Der Freischütz, Op. 77

(28 minutes)

Carl Maria von Weber is arguably one of the greatest composers you’ve

never heard of. He defined an early Romantic style and showed a mastery of orchestration that influenced generations of composers that followed him.

Today clarinetists and other wind players are familiar with him because he provided a substantial repertoire for instruments that have tended to be neglected. His tune from Invitation to the Dance, a piano piece rarely played anymore, may also seem familiar, even if the composer’s name is not, because Benny Goodman used it in the theme song for the radio show Let’s Dance.

His opera Der Freischütz (The Free-Shooter) found instant fame following its 1821 premiere and remained popular for decades after. Opera singer Jenny Lind, the “Swedish Nightingale” sang the Der Freischütz role of Agathe in her debut in 1838.

Although the opera is rarely staged today, its overture is still programmed by most orchestras from time to time.

The music depicts, quoting Weber, “the life of the hunter and the rule of demonic powers.” The horn quartet represent the hunter; strings playing low along with clarinets and bassoons signify demonic powers.

In the slow introduction the four horns figure prominently. The rest of the piece is much faster and most of the way to the end is emotionally equivocal until a two bar pause heralds a celebration befitting the optimistic ending of the opera.

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Paul Hindemith (b. November 16, 1895 in Hanau, Germany;

d. December 28, 1963 in Frankfurt)

Symphonic Metamorphosis (21 minutes)

In many respects Hindemith was quintessentially German. He worked hard throughout his life and composed a substantial body of work while at the same time staying busy as a violist, teacher, music theorist, and conduc-tor. It is telling that, in the 1930s, as he developed and published his theories of how music worked, he felt compelled to go back and “fix” some of his earlier works where they did not fit the theo-ries. It also offers insight as to how, even with a Jewish wife, he saw himself as an ambassador of German culture and cooperated with the Nazi regime until controversy around his Jewish connections and what authorities called his “degenerate music” became too intense. He emigrated to Switzerland in 1938 and to the United States in 1940.

Leonide Massine, once Hindemith’s friend, suggested Symphonic Metamor-phosis as a ballet based on themes of Carl Maria von Weber. Although Mas-sine had successfully choreographed Tchaikovsky’s Symphony No. 5 and Beethoven’s Symphony No. 7, the col-laboration collapsed with hard feelings on both sides; however, the musical ideas were not lost. Hindemith complet-ed the work as we know it in 1943 and it premiered January 20, 1944 in New York, Artur Rodzinski conducting.

The four movements are based on five different Weber themes, the first three each using one and the last movement the remaining two. Music critic Olin Downes, based apparently on per-sonal contact with Hindemith, wrote, “As for what Mr. Hindemith has done with the Weber themes he must take

the full responsibility. He has remarked that because these are by no means the best of Weber themes, he has felt the freer to treat them as he pleases! Nothing like frankness between friends, and the wonderful Carl Maria is safely in his grave!”

The first movement is filled with rhyth-mic energy, emphasizing the brass, but not neglecting any part of the orches-tra, percussion being the last to come to the fore.

Turandot, the second and longest movement, refers to Weber’s inciden-tal music to a play based on the same legend as Puccini’s opera. The theme seems intended to sound Chinese to match Turandot’s setting. The flute states the theme first then, in pro-cessional fashion, the sections of the orchestra are paraded by, the theme always present but always freshly decorated. Percussion again gets the spotlight last as the music disappears into the distance.

The short andantino flows gently, the clarinet given the theme first. A vir-tuoso flute solo demands our attention for the final minute—just in case it had begun to wander—but the movement ends as gently as it began.

The final march movement is joyous af-fair. Whether Hindemith fully embraced the humor in it no longer matters. We can hear bits that could be Mahler or “ever see such a sight in your life” from “Three Blind Mice”—a wonderful pastiche that should bring a smile to hardened cynics. The big-screen style finish a John Williams must envy.

(c) 2009, 2011, 2020 by Steven Hollingsworth,Creative Commons Public Attribution 3.0

United States License.Contact steve@trecorde.net

PROGRAM NOTES (con’t)

Matching Gift ProgramsExxon Mobil Foundation • GE Foundation • Volkswagen Chattanooga

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CORPORATE & FOUNDATION SUPPORT $25,000+

The Tucker Foundation

William Montague Performing Arts Fund

$10,000+

$5,000+

$2,500+

Artistic Color GraphicsBlueCross BlueShield of Tennessee

BlueCross BlueShield of Tennessee Community Trust

Chattanooga Metropolitan Airport AuthorityConversant Group

M & M Industries, Inc.The Mark Hite Team

Peace CommunicationsPerforming Arts League

Pinnacle Financial PartnersThe Trust Company

Matching Gift ProgramsExxon Mobil Foundation • GE Foundation • Volkswagen Chattanooga

Target CorporationTri-State Musicians’ Union Local 80, AFM

$1,000+Chambliss Law

Delta Dental of TennesseeDerryberry Public Relations

Elder’s Ace Hardware

Grace M. Russell Scholarship FundMemorial Healthcare System

Publix Super Markets CharitiesWomen’s Philharmonic Advocacy

$500+

Supporting the CSO means supporting a vibrant community of musicians, students, music-lovers, and volunteers... all working, learning, playing, and enjoying the incredible art form of live symphonic music - together. Thank you for your continued support!

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ANNUAL FUNDListed below are donors who have given to the CSO’s Annual Fund or other giving from February 15, 2019 through February 25, 2020. Despite our best efforts, names are sometimes misspelled or omitted. If corrections need to be made, please contact Cathy Dreger at cdreger@chattanoogasymphony.org.

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Listed below are donors who have given to the CSO’s Annual Fund or other giving from February 15, 2019 through February 25, 2020. Despite our best efforts, names are sometimes misspelled or omitted. If corrections need to be made, please contact Cathy Dreger at cdreger@chattanoogasymphony.org.

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Patron Circle ($250-499)Dr. Mario AbrilMr. & Mrs. Max BahnerMr. & Mrs. Ben W. BaucomGuy and Judy BeatyMs. Rowena BelcherIla Raye BenningtonMr. & Mrs. Thilo BestDr. Peter and Mrs. Lauren BoehmMrs. Priscilla CaineJudge and Mrs. Bill CarterNancy J. CollumBrandon and Randi CoppingerSydney & Nicola CrispJohn and Kristen DavisRalph DeciccoDr. Ann FoltzAdmiral Vance and Charlynne FryPhillip and Barbara GordonDorothy GriggsMs. Rita Heckrotte & Mr. Jim RoxloPam C. Helton & Gary R. HeltonPeter & Clare HetzlerWalt JenisonDr. and Mrs. William S. JohnsonMr. & Mrs. William F. JohnsonLinda KeeneyGary & Millie LanderPeter MasicDaisy Maurya-BallardThomas McCallieGeorge and Mary McCleskeyRoger A. Meyer, Ph.D.Shirley MillerMr. Leonard MurrayYuji & Alison NomaJames E. PatchingMr. and Mrs. David L. PattonDavid and Linda PennebakerDr. and Mrs. Glenn N. PomeranceDr. Tom & Mrs. Carol PrevostMs. Katherine PriorJuliana RatliffLes RoddyDr. Marilyn RogersMr. Thomas RoyerAnne and Bob RozaThomas and Glenda SajwajFred and Carol ShumakerJames and Jen StanfieldJanis F. SwansonClark and Judy TaylorJudge and Mrs. Neil Thomas, IIIRobert and Ruth Anne VagtBarbara WaltonBarbara WaltonSue Anne WellsSteve and Sandy Zabel

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Wilbur T. DavisMs. Cindy DearingSamuel DelkDorothy DePhillipZachary DeSutterJudith DiStasioDr. Dan DotsonJoshua DozierJoy DuvalMr. Brian DyerKyle DykesLeticia EcheandiaTamara EdwardsPeter & Sue Carol ElvinJohan EscribanoJennifer EubanksMs. Jenny EwingRosella Ewing-TerryHouston FarmerMs. Ellen FarrowMegan FergusonAlyssa FinlayMr. David FishmanChris FlansburgDrs. Cristina and Radian FloreaKen and Jennifer FlynnMr. I. FranciscoEllen FreibergKathryn FreundBrenda GallagherSylvia GardenhireBrad & Melony GardnerJames GaskinJanet GeerlingsCharles GeterJohn GiardinoCaroline GoldschmittMrs. Ruth GonterPamela GordonMr. Andy GrahamApril GranbergBrian GreenMargaret GreesonSarah HaaseLarry and Judy HaightIrene HamiltonMalu HammansDr. Melissa HampSherrye HamptonMikko HangasmaaMr. Steve HankinsShiley HarperJohn & Anne RankinConnie HartKimberly M. HayenMike and Natasha HaynesCandice and Robert HaysJeanne HelmsHeather HicksGreg HighwoodRandy HillAlice Faye HitchcockMs. Carol HobbsBrent HobbyMs. Mary HollandJohn HornMs. Linda HostetlerMr. Vincent HottonJohn HowardKarl HuntTom HusbandLori IvyWill JacksonBruce JenkinsMs. Janet JobeMs. Caroline JohnsonJody JohnsonMr. Matt JohnsonNancy JohnsonMs. Pam JohnsonDarlene Johnston & Hailey WhitakerCarla and Chuck Jones

Kris C. JonesLogan JonesDr. Natasha JonesElisabeth JordanMichael JorgensenMs. Terri JoyceFrank & Dorothy JumpEunjoo KalJennifer KaleBerneet KaurKelli KaylorTiffany KeenerAdam KellerMr. Ray KellumEarl KendallMr. & Mrs. Wilson von KesslerMary and Burrell David KetchersidElizabeth & John KillianJason KilmerYeji KimLori KingDrs. Matt and Angela KodsiMr. Stephen KolderupSteven KrugDonna KubergBrian KutschkeDavid LanamanNatalie LandauTiffany LangleyWillie LassetterSusan LaughreyMr. and Mrs. Jack LeatherSusan LeeAndrew B. LeftonRebecca LeVallyDr. Richard LewallenCarla LewisMr. Robert L. LewisErin LindleyKathleen LockerWilliam LoweryMr. Kendall LowreyJoseph & Anne LubinskiMissy LucePia MacDonaldKathryn MacGregorChristian MannDavid MannoDiane MarbleStephen MarkwayRebekah L. MarrDendy MarshallDarry MartinSamuel MassengaleMr. and Mrs. Thomas MayMatt MaynorCoreena MaytonDr. Michael MazzoliniAmy McCannJames McCoyMr. Eddie McCraryAndrea McCurdySteve and Linda McGannOlivia and Geoff McGowenStella McHughLynn McKeeNancy McLodaSusan I. McRaeScarlett MeadowsAlix MichelJanet MiddlebrooksLindsey MiddletonBrian MillerTammi MillerTroy MinchewCatherine MiskellyMr. and Mrs. Marshal MizeRaquel MondidoMs. Claire MooneyAmy MooreFloyd & Lynn MooreO. James Morgan and R. Anne Barron

Thomas MorrowMarian MoselRobin MossEmma MullinsMr. William MullinsHeather MyersDr. and Mrs. David NeallGeorge NelsonSusan NewmanJennifer NicelyMs. Samantha NiemeyerKimberly NydickAngela NyeJoy OdomPaula OffuttHideyuki OiMichael O’ShieldsDavid OturugbumMrs. Rhonda PalmourPam and Richard ParkTimothy PascarellaJames PassmoreKen & Debby PatricJames PattersonJennifer PattersonJohn PayneMs. Claire PeacockAustin & Haley PedigoBillie PelhamVince & Sheila PereskiMr. and Mrs. Mark PetersonJennifer PettitMr. George PiperMs. Andrea PitkowRandal PlattsCarey PorterAlison PostonMr. Brian PoteetJan PourquoiNorman & Gloria PoynterJohn & Janie PrescottSusan Colville PrudowskyJerry & Katherine RagonMr. Clayton RhodesLeah RhodesMr. & Mrs. Joel W. Richardson, Jr.Robert RichmondBrett RobinsonMary RochelleJeanette RodriguezRonald RogersTimothy RogersJeffrey RoseMr. and Mrs. Barry RossRobert RothPat RozaDavid & Judith SachsmanShelly SackAileen San LuisLara SandersBob & Marlene SauerAlan SchideMr. Larry SchlabachCynthia SchmidlinJacob SchwartzChip PerlewitzWilliam ScottDavid SeabergMs. Carol SecordMary SegarsChristina SeminarioRay SextonMontana ShadrickKristin SharpDr. C. Wayne ShearerDiane ShellyPatrick ShollTravis ShortMr. Mark Siedlecki and The Rev. Erik BroerenMs. June SilverMaria Silvey

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In Tribute Anonymous In honor of Kathy AllisonMr. Leonard Murray and Ms. Jacqueline Marschak In memory of Robert BurksRobert and Lisa Lee In memory of Mary BarkerHelen Pregulman In honor of Kim GavinHelena Binder & Jim Zien In honor of Bob Bernhardt

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This list reflects tribute gifts made from September 2019-present.

CONCERT ETIQUETTEWe want everyone to have a great concert experience! Please take a minute to review these symphony etiquette tips to make the show comfortable and enjoyable for yourself and others. If you want to learn more, visit our website at chattanoogasymphony.org/experience/faq.

CLAPPING: CSO musicians love to hear people applauding, but there are times when you normally don’t applaud at a classical concert. For our Barnett & Company Masterworks concerts, people generally clap after the entire piece is done. There may be three or four “parts” or movements in each piece, but it’s best to wait until after the entire piece is performed and the conductor has dropped the baton. If in doubt, watch for the conductor to completely lower their arms and begin to acknowledge the orchestra. If you’re still unsure, wait until others begin clapping and follow their lead! That being said, don’t feel embarrassed if you do clap. We appreciate it!

HALL/INTERMISSION: Guests are welcome to leave their seats and move about the venue during intermission, but we ask that you wait until the lights have been turned on before attempting to exit. Please refrain from entering or exiting the hall during a piece, or wait until in between movements.

THINGS TO AVOID: Even the smallest sounds are amplified in a performance hall. Before the performance begins, please unwrap candy, turn down hearing aids and turn off all pagers, cell phones, beepers, and watch alarms. While we hope you are excited to discuss the performance post-concert, we ask that you please refrain from holding conversations while a piece is being performed. Photography and sound recordings are not permitted. Avoiding these and other distractions helps create an environment in which the music can be heard and enjoyed by all. If you are a student and would like to take notes for your paper, please ask the box office or an usher to seat you close to the stage or towards the back of the hall so you can have some light to write.

Thank you for your consideration. Enjoy the show!

In-Kind DonorsAlimentariArea 61 GalleryBantam + BiddyWarren BarnettBig Kahuna WingsBruce Baird ClothierChattanooga Football ClubChattanooga Theatre CentreMr. and Mrs. George S. ClintonCoca-Cola Bottling CompanyKimberly ConnorKayoko Dan and Andrew TempleDish T’PassElder’s Ace HardwareMr. Jim ElkinsEmbellishHart GalleryJessica Klaaren JewelryBryan and Mindy KellyLarimar MedSpaMs. Rebecca MillerPeace CommunicationsBridgeman’s Chophouse

Brent SandersSequatchie Cove CreameryMr. Mark Siedlecki and The Rev. Erik BroerenBill & Carolyn SilzlePat StarkeThe Tivoli Theatre FoundationTupelo HoneyLarry VarnellRobert WestHarriett & Berton Whitaker

Eric Herbst In memory of Douglas HerbstAnonymous In honor of Mark and Jenni SmithMr. Thomas Royer In honor of William Royer Patricia Daniel In honor of Martha Mackey Jeff and Cindy Coppage In memory of Janet LanterDavid and Linda Pennebaker In memory of Jim Kennedy Jr.

CSO SPECIAL EVENT

Saturday, March 28, 20202:00PM & 7:30PM · Tivoli Theatre

Kayoko Dan, conductor

Join the Chattanooga Symphony & Opera for a magical journey into storytelling and music as only the timeless tales of Disney can evoke. Brought to life by the talents of four Broadway-caliber singers and featuring high resolution Animated Feature Film sequences, Disney In Concert Tale as Old as Time explores iconic moments, plot twists and feats of daring heroics from Frozen, Beauty and the Beast, Cinderella, The Little Mermaid, Tangled, The Lion King and many more. This musical celebration is certain to remind the young and young at heart that through the magical storytelling of Disney, wishes can be made on stars, hope is eternal, and love conquers all.

Presentation licensed by Disney Concerts © All Rights Reserved.

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