CSO Beethoven Pastoral - program 10-28-22

Marcelo Lehninger, conductor Gabriela Martinez, piano

Welcome to our fall season!

Welcome to the 2022–23 season of the Charlotte Symphony!

The opening of a new season is always a cause for celebration and I’m so looking forward to sharing our amazing lineup of concerts with you.

For more than 90 years, this orchestra has been an integral part of the cultural fabric of Charlotte. Both onstage and off — in concert halls, classrooms, breweries, community centers, and care facilities — the Symphony’s amazing musicians are lifting spirits and inspiring our community through the exceptional power of live music.

This new season brings many outstanding artists to the Charlotte Symphony and explores some of the greatest music ever written — new and old! Everyone is welcome and there’s something for everyone to enjoy.

We’re also thrilled to be welcoming back the talented young musicians of our Youth Orchestras for another season of incredible music-making. Across Charlotte, students are gathering again as part of our Project Harmony after-school program and meeting with the Symphony’s dedicated musicians for one-on-one and ensemble instruction.

There are so many opportunities to come and hear us perform in the next few weeks. You can find us at MoRA’s historic dairy barn and silos for a free community concert sponsored by Lowe’s, we’ll celebrate the reigning divas of Soul and R&B at Queens of Soul, perform the best of Disney at Stanly County Agri-Civic Center, present a Spooktacular Halloween family concert, and welcome conductor Marcelo Lehninger to the stage for a thrilling performance of Beethoven’s Pastoral I hope you’ll join us!

David Fisk President & CEO

The CSO is

THAN WHAT’S ONSTAGE.

Did you know that the Charlotte Symphony is much more than what you see on the Belk and Knight Theater stages? Beyond the Classical, Pops, Family, and Movie Series in the theaters, we work to uplift, entertain, and educate our community through inclusive education programs and community performances.

• The CSO has three programs for young musicians: the Youth Orchestra, the Youth Philharmonic, and the Youth Ensemble. CSO musicians participate in coaching throughout the year, and even perform with the young musicians!

• Reaching approximately 15,000 students each season, we also have extensive school programs, including Project Harmony, “Music and the Holocaust,” and “One Musical Family” Education Concerts.

• We perform throughout the region, from community parks and schools to breweries, senior care centers, and places of worship all season long.

Brazilian-born Marcelo Lehninger was appointed Music Director of the Grand Rapids Symphony in 2016. In 2018, he brought the orchestra to Carnegie Hall, its first performance at the famed venue in thirteen years. He previously served as Music Director of the New West Symphony in Los Angeles, for which the League of American Orchestras awarded him the Helen H. Thompson Award for Emerging Music Directors. For five years, Lehninger served as Assistant and then Associate Conductor of the Boston Symphony Orchestra.

Lehninger’s 2022-23 season includes debuts with the Buffalo Philharmonic, Tulsa Symphony, Bellingham Festival of Music, Slovak State Philharmonic, and returns to the Charlotte Symphony and the Minas Gerais Philharmonic in Brazil.

As a guest conductor, Lehninger has led some of the leading orchestras in the United States, including the Chicago, Boston, Pittsburgh, St. Louis, Houston, Detroit, Baltimore, Seattle, National, Milwaukee, North Carolina, Indianapolis, Colorado, Charlotte, New Jersey, Jacksonville, Omaha, Chautauqua, Portland, Princeton, Hawaii, Vancouver, Tucson, Toledo, and Fairfax Symphonies; the Florida, Louisville and Sarasota Orchestras; and the Rochester, Orlando, New Mexico, and Colorado Springs Philharmonics. He made his Carnegie Hall debut in 2011 with the Boston Symphony Orchestra.

In Canada, Lehninger has appeared with the Toronto, Winnipeg, and Kitchener-Waterloo Symphonies, the Calgary and Hamilton Philharmonics, and the Symphony Nova Scotia.

European highlights include engagements with the Deutsches Symphonie-Orchester Berlin, Orchestre Philharmonique de Radio France, Orchestre National de France, Orchestre National du Capitole de Toulouse, Lucerne Symphony, Prague Philharmonia, regular visits to the Slovenian Philharmonic, including on tour to Vienna’s Konzerthaus, Lausanne Chamber Orchestra, and a tour with the Royal Concertgebouw Orchestra assisting Mariss Jansons.

Marcelo Lehninger

guest conductor

Lehninger was Music Advisor of The Orchestra of the Americas for the 2007-08 season. In summer of 2008, he toured with the orchestra in South America, conducting concerts in Argentina, Brazil, and Uruguay. He has led all of the top orchestras in Brazil, and served as Associate Conductor of the Minas Gerais Philharmonic Orchestra, where he returns regularly as guest conductor.

Chosen by Kurt Masur in 2008, Lehninger was awarded the First Felix Mendelssohn-Bartholdy Scholarship sponsored by the American Friends of the Mendelssohn Foundation. He was Maestro Masur’s assistant with the Orchestre National de France, Gewandhaus Orchestra in Leipzig, and the New York Philharmonic. In 2011, he participated in the Bruno Walter National Conductor Preview, organized by the League of American Orchestras, conducting the Louisiana Philharmonic, and debuted with the National Symphony Orchestra at the Kennedy Center as part of the National Conducting Institute in 2007.

Before dedicating his career to conducting, Lehninger studied violin and piano. He holds a Master’s degree from the Conductors Institute at New York’s Bard College. His mentors also include Kurt Masur, Mariss Jansons, Leonard Slatkin, and Roberto Tibiriçá. A dual citizen of Brazil and Germany, Marcelo Lehninger is the son of Brazilian pianist Sônia Goulart and German violinist Erich Lehninger.

Versatile, daring and insightful, Venezuelan pianist Gabriela Martinez is establishing a reputation on both the national and international stages for the lyricism of her playing, her compelling interpretations, and her elegant stage presence. Delos recently released Ms. Martinez’s debut solo album, Amplified Soul, which features a wide-ranging program including works by Beethoven, Rachmaninoff, and Szymanowski. She also pays homage to acclaimed composers Mason Bates and Dan Visconti, whose title selection, Amplified Soul (world premiere recording), was written for her. Ms. Martinez collaborated with Grammy Award-winning producer David Frost on the recording. A music video of Amplified Soul can be found on Ms. Martinez’s YouTube Channel.

Since making her orchestral debut at age 7, Ms. Martinez has played with such distinguished orchestras as the San Francisco, Chicago, Houston, New Jersey, Tucson, Pacific, and Fort Worth symphonies; Germany’s Stuttgart Philharmonic, MDR Leipzig Radio Symphony Orchestra, Nuremberg Philharmonic; Canada’s Victoria Symphony Orchestra; the Costa Rica National Symphony and the Simon Bolivar Symphony Orchestra in Venezuela. Recent season highlights include debut appearances with the Buffalo, Boulder, and National Philharmonic orchestras and the Jacksonville, Delaware, Akron, Modesto, Rogue Valley, Springfield (MO), Topeka, and Wichita symphony orchestras. She has performed with Gustavo Dudamel, James Gaffigan, James Conlon, Marcelo Lehninger and Guillermo Figueroa, among many others, and has performed at such esteemed venues as Carnegie Hall, Avery Fisher Hall, Merkin Hall and Alice Tully Hall in New York City; the Broad Stage in Santa Monica, El Paso Pro Musica Series, the Kansas City Harriman-Jewell Series; Canada’s Glenn Gould Studio; Salzburg’s Grosses Festspielhaus; Dresden’s Semperoper; Copenhagen’s Tivoli Gardens; and Paris’s Palace of Versailles.

Gabriela Martinez

piano

Her festival credits include the Mostly Mozart, Ravinia, and Rockport festivals in the United States; Italy’s Festival dei Due Mondi (Spoleto); Switzerland’s Verbier Festival; the Festival de Radio France et Montpellier; and Japan’s Tokyo International Music Festival.

Her wide-ranging career includes world premieres of new music, live performance broadcasts, and interviews on TV and radio. Her performances have been featured on National Public Radio, CNN, PBS, 60 Minutes, ABC, From the Top, Radio France, WQXR and WNYC (New York), MDR Kultur and Deutsche Welle (Germany), NHK (Japan), RAI (Italy), and on numerous television and radio stations in Venezuela.

Ms. Martinez was the First Prize winner of the Anton G. Rubinstein International Piano Competition in Dresden, and a semifinalist at the 12 th Van Cliburn International Piano Competition, where she also received the Jury Discretionary Award. She began her piano studies in Caracas with her mother, Alicia Gaggioni, and attended The Juilliard School, where she earned her Bachelor and Master of Music degrees as a full scholarship student of Yoheved Kaplinsky. Ms. Martinez was a fellow of Carnegie Hall’s The Academy, and a member of Ensemble Connect (formerly known as Ensemble ACJW), while concurrently working on her doctoral studies with Marco Antonio de Almeida in Halle, Germany.

One of the premier music organizations in the Southeastern United States and the oldest operating symphony orchestra in the Carolinas, the Charlotte Symphony Orchestra (CSO) connects with more than 100,000 music lovers each year through its lively season of concerts, broadcasts, community events, and robust educational programs. The CSO is committed to its mission of uplifting, entertaining, and educating the diverse communities of Charlotte-Mecklenburg and beyond through exceptional music experiences.

The Charlotte Symphony upholds the highest artistic integrity and takes bold steps to engage with its community through music. Its 62 professional, full-time time musicians perform throughout the region — from community parks and breweries, to places of worship and senior care centers — and offer significant educational support, aimed at serving the underresourced areas of our community.

The Charlotte Symphony is deeply committed to the notion that music, accessible to all and experienced in its many forms, enriches and unifies our community. The CSO believes in equity and inclusion and strives to be an industry leader in imaginative, relevant programming by intentionally seeking out women conductors, underrepresented in our industry, and conductors, composers, and guest artists of color.

Founded in 1932, the Charlotte Symphony plays a leading cultural role in the Charlotte area and aims to serve the community as a civic leader, reflecting and uniting our region through the transformative power of live music.

OUR MISSION

The Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

OUR VISION

Reaching out through the transformative power of live music, the Charlotte Symphony will be a civic leader, reflecting and uniting our region.

more information, visit us online at charlottesymphony.org

LILI BOULANGER

born: August 21, 1893 in Paris, France died: March 15, 1918 in Mézy-sur-Seine, France

D’un matin de printemps (1918)

composed: 1917, revised 1918

Lili Boulanger, sister of the legendary teacher Nadia Boulanger (1887-1979), lived a tragically brief life. Plagued by chronic illness throughout her life, she died of intestinal tuberculosis at the age of 24. Nevertheless in that brief span, she accomplished a great deal. A student at the Paris Conservatoire, Lili Boulanger won the coveted Prix de Rome in 1913, at the age of 19 — the first woman composer to win this prize. Boulanger composed prolifically, right to the end of her life.

One of Lili Boulanger’s final compositions was D’un matin de printemps (On a Spring Morning). The work exists in three versions; for violin (or flute) and piano; piano trio; and orchestral tone poem. The brief piece demonstrates Boulanger’s mastery of atmosphere and instrumental colors.

by Ken Metzer

Lili Boulanger in a 1913 photograph taken by Henri Manuel

DE FALLA

born: November 23, 1876 in Cádiz, Spain died: November 14, 1946 in Alta Gracia, Argentina

Nights in the Gardens of Spain (1909-15)

premiere: April 9, 1916 in Madrid, Spain

Manuel de Falla began composition of the work that would become known as Noches en los jardines de España (Nights in the Gardens of Spain) in 1909. Falla originally conceived the music as a series of nocturnes for solo piano. Over the next several years, Falla worked on the piece, all the while considering various forms in which it might take shape. Falla shared the music with his fellow Spanish composer, Isaac Albéniz. It was Albéniz who suggested that Falla’s composition be scored solo piano and orchestra.

In 1915, Falla completed Nights in the Gardens of Spain. The work premiered at the Teatro Real in Madrid on April 9, 1916, with José Cubiles as piano soloist, and Enrique Arbós conducting the Orquestra Sinfónica de Madrid. Since that time, the work has been celebrated as one of Falla’s masterpieces, a marvelous example of his characteristic magical synthesis of classical music and Spanish folk culture. Falla wrote of his Nights in the Gardens of Spain: If these “symphonic impressions” have achieved their object, the mere enumeration of their titles should be a sufficient guide to the hearer. Although in this work—as in all which have a legitimate claim to be considered as music—the composer has followed a definite design, regarding tonal, rhythmical and thematic material…the end for which it was written is not other than to evoke places, sensations, and sentiments. The themes employed are based (as in much of the composer’s earlier works) on the rhythms, modes, cadences, and ornamental figures which distinguish the popular music of Andalucía, though they are rarely used in their original forms; and the orchestration frequently employs, and employs in a conventional manner, certain effects peculiar to the popular instruments used in those parts of Spain. The music has no pretensions to being descriptive; it is merely expressive. But something more than the sound of festivals and dances has inspired these “evocations in sound,” for melancholy and mystery have their part also.

(continued)

The work is in three movements. The first, En el Generalife (At the Generalife), was inspired by a 13th -century villa, located on the outskirts of the Alhambra—the residences of the Moorish kings in Granada. The kings used the Generalife as a leisure retreat. In the second movement, Danza lejana (Distant Dance), the piano evokes the sounds of a strumming guitar. The finale, En los jardines de la Sierra de Córdoba (In the Gardens of the Mountains of Cordoba), has an irrepressible (and sometimes violent) energy that finally resolves to a delicate, pianissimo close.

The Generalife Gardens, Granada by Spanish painter Santiago Rusiñol (1861 - 1931) a depiction of how the gardens may have appeared when Falla composed the piece.

LUDWIG VAN BEETHOVEN

born: December 17, 1770 in Bonn, Germany died: March 26, 1827 in Vienna, Austria

Symphony No. 6 in F Major Opus 68, “Pastorale” (1808)

premiere: December 22, 1808 in Vienna, Austria

Beethoven in the Country

How lucky you are, to be able to go soon to the country; I cannot enjoy that happiness until the 8th. I am happy as a child at the thought of wandering among the clusters of bushes, in the woods, among trees, herbs, rocks. No man loves the country more than I; for do not forests, trees, rocks re-echo that for which mankind longs.

Ludwig van Beethoven wrote these words to his friend, Therese von Malfatti, in May of 1810. Beethoven, who maintained a lifelong reverence for the beauties and mysteries of nature, extolled: “the ecstasy of the woods...every tree said to me, ‘Holy! Holy!’”

Englishman Charles Neate, a founder of London’s Philharmonic Society, spent considerable time with Beethoven in Vienna in 1815. Neate remarked that he had “never met anyone who so delighted in Nature, or so thoroughly enjoyed flowers or clouds or other natural objects. Nature was almost meat and drink to him; he seemed positively to exist upon it.” One of Beethoven’s favorite sayings was: “The morning air has gold to spare.” And the composer often received musical inspiration during long walks in the countryside. Regardless of the weather, Beethoven rose early each morning and, with music sketchbook in hand, spent several hours outdoors.

“A recollection of country life” The work Beethoven subtitled “Pastorale Symphony, or a recollection of country life,” is a symphonic ode to the wonders of the outdoors. By this stage of his life, Beethoven was increasingly unable to enjoy the sounds of nature he so touchingly and vividly portrays in the “Pastorale.” The continued decline of his hearing prompted this revelation in the October 1802 letter to his brothers, known as the Heiligenstadt Testament:

But how humiliated I have felt if somebody standing beside me heard the sound of a flute in the distance and I heard nothing, or if somebody heard a shepherd sing and again I heard nothing — Such experiences almost made me despair, and I was on the point of putting an end to my life — The only thing that held me back was my art. For indeed it seemed to me impossible to leave this world before I had produced all the works I felt the urge to compose; and thus I have dragged on this miserable existence — a truly miserable existence... However, there is no sense of despair in Beethoven’s “Pastorale,” undoubtedly the most lyrical of his Nine Symphonies.

There are several other factors that set the “Pastorale” Symphony apart from the other eight. It is the only Beethoven symphony in five movements, as opposed to the traditional four. And while several of Beethoven’s symphonies (notably the Third, Fifth, and Ninth) have extra-musical associations, the “Pastorale” is by far the most overtly programmatic, with each movement containing a descriptive title. Beethoven cautioned that the “Pastorale” Symphony was “More an expression of feeling than a painting.” In his sketchbooks, Beethoven observed: “All painting in instrumental music, if pushed too far, is a failure.” And in truth, the vivid depictions of a murmuring brook, birdcalls, peasant dances, a violent thunderstorm, and a shepherd’s piping are but a part of the compelling symphonic experience.

Beethoven’s Walk in Nature, by Austrian painter Julius Schmid (1854-1935).

The “Pastorale” Symphony is in five movements, each with a descriptive title. The first, Awakening of cheerful feelings upon arriving in the country (Allegro ma non troppo), opens with the first violins’ presentation of a sprightly melody that forms the basis for virtually the entire movement. Beethoven’s genius in thematic manipulation is perhaps never more apparent than in the development section, based in great part only upon a descending phrase derived from the second measure of the opening theme. The slow-tempo second movement, Scene by the brook (Andante molto moto) is Beethoven’s magical evocation of peacefully flowing waters, as well as the songs of the birds nearby. The final three movements are played without pause. The Merry gathering of country folk (Allegro) yields to a fierce Thunderstorm and Tempest (Allegro). The storm abates, and the finale opens with a brief passage for the clarinet and horn suggesting a ranz des vaches, the traditional herdsman’s call. Out of this passage emerges the principal melody, initially played by the first violins (Shepherd’s song. Happy, thankful feelings after the storm. Allegretto). The final measures feature a brief, muted horn reprise of the ranz des vaches, capped by two fortissimo orchestral chords.

Beethoven and Nature, 1917 painting by NC Wyeth (1882 - 1945).

Ivan

Mary

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The Charlotte Symphony is supported, in part, by the Infusion Fund and its generous donors.

Multimillion Dollar Commitment City of Charlotte

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