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DEVELOPMENT
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Matthew Way
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Chuck Kocal
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OPERATIONS
David Goldman Stage Manager
Eric Block Stage Manager
Ana Molina Translator
LaTrisha Williams
In Harmony Program Coordinator
*Executive Committee ** Orchestra Representative
American/Canadian conductor Andrew Crust has developed a versatile international career as a conductor of orchestral, opera, ballet, film and pops programs. In his third season as Music Director of the Lima Symphony, Andrew programs and conducts the Grand Series, Pops and Educational programs and has led collaborations with soloists such as Amit Peled, Charles Yang, Awadagin Pratt, Sandeep Das and Laquita Mitchell. Under his leadership the orchestra has enjoyed its most diverse programming to date, engaged in new recording projects, commissioned new works, and during the difficult pandemic seasons, the orchestra was able to record a number of classical and educational programs broadcast online and at local drivein move theaters. In the current and upcoming seasons Andrew will debut with the Arkansas, Elgin, Rockford and Vermont Symphonies as Music Director finalist with soloists such as Tracy Silverman, Stella Chen, Shannon Lee, George Li and Wei Luo, and with the San Diego Symphony, Calgary Philharmonic, Symphony Nova Scotia, Winnipeg Symphony, Orchestra Symphonique de Laval, Billings Symphony, Vancouver Island Symphony and Sewannee Summer Music Festival as a guest conductor. Other recent engagements include performances with the Winnipeg Symphony, Memphis Symphony, Hartford Symphony, Bozeman Symphony and l’Orchestre de la Francophonie in Québec. Andrew is a 2020 winner of the Solti Foundation US Career Assistance Award. In 2021 he was awarded “Prémio a la Proyección” at the Llíria City of Music International Conducting Competition. In 2017 he was awarded first prize at the Accademia Chigiana by Daniele Gatti, receiving a scholarship and an invitation to guest conduct the
GUEST CONDUCTOR
Orchestra di Sanremo in Italy. He was a semi-finalist for the Nestlé/Salzburg Festival’s Young Conductors Award competition, and was selected by members of the Vienna Philharmonic as a winner of the Ansbacher Fellowship, with full access to all rehearsals and performances of the Salzburg Festival.
Andrew is equally at ease in the pit, having conducted ballet with Ballet Memphis and the New Ballet Ensemble, and opera with Opera McGill, College Light Opera Company, Boulder Opera Company, and others. As a Pops conductor, Andrew has collaborated with such artists as Rufus Wainwright, Steven Page, Tony DeSare, Michael Bolton, Dee Daniels, Cirque de la Symphonie, and the United States Jazz Ambassadors, and many others. Andrew has also established himself as a conductor of films with orchestra.
Andrew served as the Associate Conductor of the Vancouver Symphony in Canada from 2019-2022, where he conducted a wide variety of programs with the VSO each season, and made dozens of recordings released on theconcerthall.ca. Andrew served as Assistant Conductor of the Memphis Symphony Orchestra from 2017-2019 where he conducted around forty concerts each season. Andrew also served as Conductor of the Memphis Youth Symphony Program.
Andrew was the Assistant Conductor of the National Youth Orchestra of the USA (NYO-USA) in the summers of 2017 and 2018, assisting Michael Tilson Thomas on an Asian tour, as well as Giancarlo Guerrero, Marin Alsop and James Ross at Carnegie Hall and in a side-by-side performance with the Philadelphia Orchestra. He has also served as Cover Conductor of the Kansas City Symphony, San Diego Symphony and Nashville Symphony, Assistant/Cover Conductor of the Boulder Philharmonic and Assistant Conductor of Opera McGill.
As an arranger/orchestrator, Andrew partnered with Schirmer to make orchestrations of a set of Florence Price’s art songs, premiered in February 2022, and has orchestrated
works by Alma Mahler and Prokofiev, as well as many popular and educational selections.
Andrew is dedicated to exploring new ways of bringing the classical music experience into the 21st century through innovative programming and marketing, creating community-oriented and socially-sensitive concert experiences, and utilizing social media and unique venues. Andrew is a firm believer in meaningful music education, having produced and written a number of original educational programs with orchestras. Andrew is also committed to diversity and representation in the concert hall. In February 2022 the Lima Symphony performed a “Black History Month” program featuring three black American composers never before performed by the orchestra, including a spoken word event onstage with black poets. Under Andrew’s leadership, programming of BIPOC and female composers has increased by over 35% per season.
GUEST ARTIST
New Zealand-born violinist Geneva Lewis has forged a reputation as a musician of consummate artistry whose performances speak from and to the heart. Lauded for “remarkable mastery of her instrument” (CVNC) and hailed as “clearly one to watch” (Musical America), Geneva is the recipient of a 2022 Borletti-Buitoni Trust Award, 2021
Avery Fisher Career Grant and Grand Prize winner of the 2020 Concert Artists Guild Competition. Additional accolades include Kronberg Academy’s Prince of Hesse Prize, being named a Performance Today Young Artist in Residence, and Musical America’s New Artist of the Month. Most recently, Geneva was named one of BBC Radio 3's New Generation Artists.
Since her solo debut at age 11 with the Pasadena POPS, Geneva has gone on to perform with orchestras including the Orpheus Chamber Orchestra, Pasadena Symphony, Sarasota Orchestra, Pensacola Symphony and Duluth Superior Symphony Orchestra and with conductors including Nicholas McGegan, Edwin Outwater, Michael Feinstein, Sameer Patel, Peter Rubardt, and Dirk Meyer. The 2022-23 season includes performances with the Auckland Philharmonia, North Carolina Symphony, Augusta Symphony, Kansas City Symphony, Austin Symphony and Arkansas Symphony. In recital, recent and upcoming highlights include performances at Wigmore Hall, Tippet Rise, Philadelphia Chamber Music Society, Washington Performing Arts, Merkin Hall, and the Dame Myra Hess Memorial Concerts.
Deeply passionate about collaboration, Geneva has had the pleasure of performing with such prominent musicians as Jonathan Biss, Glenn Dicterow, Miriam Fried, Kim Kashkashian, Gidon Kremer, Marcy Rosen, Sir András Schiff, and Mitsuko Uchida, among others. She is also a founding member of the Callisto Trio, Artist-in-Residence at the Da Camera Society in Los Angeles. Callisto received the Bronze Medal at the Fischoff Competition as the youngest group to ever compete in the senior division finals. They were recently invited on the Masters on Tour series of the International Holland Music Sessions and performed at the celebrated Het Concertgebouw Amsterdam.
An advocate of community engagement and music education, Geneva was selected for the New England Conservatory’s Community Performances and Partnerships Program’s Ensemble Fellowship, through which her string quartet created interactive educational programs for audiences throughout Boston. Her quartet was also chosen for the Virginia Arts Festival Residency, during which they performed and presented masterclasses in elementary, middle, and high schools.
Geneva received her Artist Diploma and Bachelor of Music as the recipient of the Charlotte F. Rabb Presidential
Scholarship at the New England Conservatory, studying with Miriam Fried. Prior to that, she studied with Aimée Kreston at the Colburn School of Performing Arts. She is currently studying at Kronberg Academy with Professor Mihaela Martin. Past summers have taken her to the Marlboro Music Festival, Ravinia Steans Institute, Perlman Music Program’s Chamber Workshop, International Holland Music Sessions, Taos School of Music and the Heifetz International Music Institute.
PROGRAM NOTES
Oiseaux bleus et sauvages Jocelyn Morlock (b. 1969)
Jocelyn Morlock is a born and bred Canadian whose music has found recognition both in her own country and abroad. A native of Saint Boniface, Manitoba, she received her advanced music degrees from the University of British Columbia. She continues to be based in Vancouver, where from 2014 to 2019 she was Composer-in-Residence with the Vancouver Symphony Orchestra. Her many awards include Canada’s prestigious Juno Award, received in 2018 for her orchestral work, My Name is Amanda Todd, named Classical Composition of the Year.
Oiseaux bleus et sauvages (Blue and Wild Birds) is an early work, commissioned by the Canadian Broadcasting Corporation and premiered in 2005 by the Vancouver Symphony Orchestra. As the title suggests, the work is a tribute to our avian friends, an idea that has appealed to composers from time immemorial. To mention just one other example of musical bird-song, one of Antonio Vivaldi’s wellknown concertos is entitled Il Gardellino (The Goldfinch), written for that most bird-like of all instruments, the flute, which is called upon to try to match the virtuosic sonic feats of that beautiful bird.
The best known of all bird imitators, though, was the French composer Olivier Messiaen (1908-1992), who was not
only one of the twentieth century’s major composers but a renowned ornithologist as well, who studied birds from around the world and frequently incorporated birdsong into his music. As the following program note describes, Ms. Morlock found her aviary closer to home: “Unlike Messiaen, a composer who traveled the world in search of his birds, I did not have to look far for mine; they’re in the eaves of our apartment, and may well be the loudest things which occur in nature! These vociferous creatures embody the exuberance and delight of summer, and it is that joyous energy which drives my piece, Oiseaux bleus et sauvages.”
Jocelyn Morlock shares another interest with Messiaen, Indonesian gamelan music. The gamelan orchestra is essentially a percussion orchestra, consisting of gongs and metal instruments played with mallets, augmented by drums, bamboo flutes, and strings. Messiaen often incorporated elements of gamelan music into his work as does Jocelyn Morlock here. The hypnotically repeated rhythms typical of gamelan music serve as a unifying background to the diverse birdcalls. Oiseaux bleus et sauvages is a skillfully constructed and moving hymn to nature.
Symphony No. 8 in F major, op. 93 Ludwig van Beethoven (1770-1827)
The popular view of Beethoven as a heaven-storming titan of music wrestling with his inner demons certainly has validity but too often misses the point that he also had a sense of humor. The titan is of course represented by those heroic, grandiose, odd- numbered symphonies—3, 5, 7, and 9. (No. 1 is the light-hearted exception.) It is interesting that he often worked simultaneously on two symphonies, producing works of different character. To those of us who esteem the even- numbered symphonies as much as the more serious and melodramatic odd-numbered ones, it is heartening to know that No. 8, the shortest and, by general consent, the wittiest, was a special favorite of the composer.
He was even said to have preferred it to the much longer and weightier Seventh Symphony, written at about the same time (1811-12). Incidentally, this good-humored work was written at a time of great emotional upheaval in the composer’s life, once again giving the lie to the notion that a composer simply pours the emotions of the moment into his or her work. Not only was Beethoven in the process of ending the only serious love affair of his life (with the mysterious “Immortal Beloved”), but had, in his usual hamfisted way, managed to cause a violent falling-out with his younger brother. But all this turmoil is galaxies away from the world of the Eighth Symphony.
The issue of wit in music is a fascinating one and perhaps needs some historical background. In the middle of the eighteenth century, the old baroque style, with its elaborate contrapuntal texture, was replaced by the socalled Viennese classical style, the musical language of the great triumvirate Haydn, Mozart, and Beethoven. The new style was simpler in texture and more flexible in its emotional contrasts, characteristics that were required by the new fad of comic opera that was sweeping the continent. The influence of this new comic spirit can be heard even in instrumental music of the period. Though this classical style can also express the deepest emotion, it often gives the impression of witty conversation, and many a classical period symphony can be heard as the musical equivalent of a comedy of manners.
A brilliant discussion of the issue is that by the scholarpianist Charles Rosen (1927-2012), one of the most perceptive of modern writers on music. In his book, The Classical Style, itself a musicological classic, he makes the point that the new style, with its sharply contrasting keys and themes, its rhythms taken from comic opera, and its phrasing taken from dance music, made, for the first time, genuine musical wit possible without extramusical references.
The opening movement of the Eighth Symphony abounds with witticisms and surprises, including the statement of the second theme in the “wrong” key of D
major (too high), before it appears in the expected key of C major. In the recapitulation, on the other hand, we hear this theme first in B-flat major (too low), before it appears in the expected key of F major. Adding to the fun is the frequent contradiction of the prevailing triple meter (OOM-pah-pah) by unexpected accents on the second beat (oom-PAHpah). The movement ends with a comically truncated version of the opening theme.
The second movement is not the expected soulful slow movement from one of the greatest masters of the genre, but rather a comic allegretto. The famous ticktocking rhythm is presumably a reference to Beethoven’s friend Johann Mälzel, the man credited with the invention of the metronome. (The metronome is that unforgiving gadget found in every music student’s practice room to keep him on the path of temporal rectitude.) It was long assumed that this movement was based on an actual canon written by Beethoven which referred to Mälzel, but it is now known that that work was a fraud perpetrated by Anton Schindler, a close friend of Beethoven. In any case, Charles Rosen has written of this movement that it is one of the last examples of the “civilized gaiety of the classical period” that would soon give way to the romantic style whose more complex harmonies would make quick witticisms more difficult. In Rosen’s phrase, after Beethoven, “wit was swamped by sentiment.”
The third movement presents another surprise. Instead of the new, fast scherzo which Beethoven used in all his other symphonies, he gives us here a genuine, old-fashioned minuet, à la Haydn and Mozart, as a deliberately archaic tip-of the-hat to the by-gone eighteenth century. Hot on the heels of the minuet comes the mercurial finale, filled with whirlwind energy and many surprising twists and turns leading to a mocking, overly grandiose ending. Of all these witticisms, the most discussed is the famous C sharp, heard as a startlingly loud “wrong note” in the key of F major. The meaning of this note does not become clear until the coda, or closing section, which is nearly as long as the
rest of the movement. (Because the word “coda” is literally the Italian for “tail”, the reader will perhaps forgive me for saying that Beethoven’s famously long codas are tails that virtually wag the dog.) In the coda Beethoven takes us to the key of F-sharp minor, where the famous C sharp makes perfect sense, as does the note E sharp, which is loudly proclaimed by trumpets and timpani. Because E sharp can be rewritten as F, however, we finally realize that Beethoven has brought us back home to our original key through a brilliant musical pun.
The verbal pun, it is said, is the lowest form of humor, but the musical pun is surely one of the highest.
Violin Concerto in D major, op. 77 Johannes Brahms (1833-97)
The nineteenth century produced many great violinists, including such legendary figures as Paganini, Vieuxtemps, Wieniawski, and Sarasate. A special place in this pantheon of fiddlers, however, is reserved for the Hungarian-born Joseph Joachim. Unlike many performers of the time, who pursued virtuosity for its own sake, Joachim disdained the circus element of performance and brought the highest musical ideals to his music making. At the age of 12 he performed the Beethoven Violin Concerto under no less a conductor than Felix Mendelssohn. It would, incidentally, be largely through Joachim’s advocacy that the Beethoven concerto would assume its position as the cornerstone of the violin concerto repertoire, and he also did much to make the unaccompanied sonatas and partitas of Bach well known. At the age of 17 Joachim was appointed professor of violin at the Leipzig Conservatory and then a few years later became concertmaster of Franz Liszt’s orchestra in Weimar.
Joachim’s classical bent and his lofty view of the function of music made him a natural soul mate of Johannes Brahms. When the two musicians met, each in his
early twenties, they immediately developed a friendship which would last a lifetime. Joachim, already famous, was dazzled by the as yet unknown Brahms. Joachim had already grown disenchanted with the so-called Zukunftsmusik (“Music of the future”) which was associated with the Liszt-Wagner camp. The young Brahms showed him another alternative and Joachim placed his loyalties with the relatively conservative style of “classical romanticism” which his new-found friend represented. Joachim would serve as a lifelong advocate for Brahms, performing his chamber music with the Joachim Quartet, the leading string quartet of the time, as well as conducting his symphonic works. The two friends often performed together, sometimes as violin-piano duo and sometimes with Joachim as soloist and Brahms as conductor.
Given their relationship it was inevitable that the idea of a violin concerto for Joachim would eventually come up. That moment came in 1878 when Brahms was spending his summer at Pörtschach on the shores of Lake Wörth in southern Austria. Brahms loved to compose in the country and, as he put it, melodies in that region were so plentiful that one had to be careful not to step on them. When he had finished some preliminary sketches, Brahms did what he had often done before he sent them to Joachim for advice. In the case of a violin concerto, such advice was of particular importance, for Brahms was a pianist and not a violinist, and there would inevitably be many technical details which only a master violinist could solve. As work proceeded through late summer and into fall and winter, many exchanges took place, Joachim making suggestions, some of which Brahms heeded and some not. Incidentally, Brahms’ original idea was to write a four-movement concerto, unusual at the time, but changed his mind and recycled one of the movements for use in his B-flat major Piano Concerto.
The results of all this give-and-take were first made public on New Year’s Day 1879, at a concert by the Leipzig Gewandhaus Orchestra with Brahms conducting. Despite
Joachim’s brilliant playing the reception was somewhat cool. Except for Viennese audiences, which seem to have taken to it immediately, such tepid response seems to have been the norm for some years. The most famous comment about the work was from a critic who complained that it was a concerto not for the violin but against it. For all its technical difficulty, which is indeed substantial, the concerto had more of the effect of a symphony with a prominent violin part rather than the kind of virtuoso concerto that many soloists of the time demanded. Typical was the view of the Spanish virtuoso Pablo Sarasate who admitted that the concerto was “fairly good music” but resolutely refused to play it. (We will hear more from Sarasate in a moment.)
During the twentieth century the concerto would assume its rightful place beside the concertos of Beethoven, Mendelssohn, and Tchaikovsky as one of the monuments of the violin literature. Indeed, in its richness of ideas and its enormous expressive range, it’s hard to disagree with the view heard often these days among violinists, that it is the greatest of all violin concertos. It might also be said that the concerto remains one of the supreme challenges for the concert violinist, not merely because of its technical obstacles, but because of its tests of musical maturity and wisdom. Many a flashy virtuoso has come to grief trying to deal with its interpretative difficulties. Good classicist that he was, Brahms begins with a lengthy orchestral introduction as Beethoven did in his concerto. The opening theme is deceptively simple, outlining a D major triad which effortlessly evolves and develops. Near the end of the introduction we hear a new dashingly colorful theme which prepares the way for the spectacularly fiery, first entry of the solo violin. This Gypsy music is a reference to Joachim’s Hungarian heritage and, as commentator Michael Steinberg puts it, has “the aroma of paprika.” With the soloist now involved, the movement unfolds majestically with some striking similarities to the first movement of Beethoven’s Violin Concerto. Near the end of the movement Brahms once again follows tradition and
allows the soloist the opportunity to compose his own cadenza. (This is certainly one of the last concertos to do so.) Joachim’s cadenza is masterly and is still the one most often used.
The slow movement begins with a beautiful melody in the oboe, accompanied by winds alone. It is this movement that the aforementioned Pablo Sarasate cited as his reason for avoiding the concerto. “Does anyone imagine”, he said, “that I’m going to stand with violin in hand while the oboe plays the only decent tune (!) in the piece?”
Alas, Sarasate lost the opportunity to play some of the most rapturously beautiful melodic writing ever conceived for the violin, because after the oboe has finished, the violin takes the melody and expands on it, soaring above the orchestra. In the final portion of the movement, roles are reversed, and the violin becomes the accompanist to the orchestra.
The finale is a fiery rondo which again evokes the Zigeuner (Gypsy) style. As ethno-musicologists from Bela Bartok on have taken pains to explain, Gypsy music is not the same thing as pure Hungarian folk music but an amalgam of Gypsy playing traditions and various kinds of Hungarian popular music. In any case, just as jazz provided earthy inspiration for composers of the twentieth century, so did the Gypsy style capture the imagination of some of the loftiest musical intellects of the nineteenth century. Brahms loved the style and absorbed it frequently into his music as did Joachim, whose own Hungarian Concerto was a staple of his performing repertoire.
Particularly striking is the very end of the movement, where Brahms, with his usual rhythmic inventiveness, converts the main theme from 2/4 time into a rollicking 6/8 meter which brings the work to a galloping conclusion.
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CORPORATE & FOUNDATION SPONSORS
Foundations and Corporations make it possible for the Elgin Symphony to offer access and equitable programming throughout the Fox River Valley. We value these strategic partners and celebrate their collaboration and generosity with the following honor roll.
Lead Season Sponsors +100,000
Evelyn W. Hunt Trust Willow Springs Charitable Fund
Season Sponsors +50,000
S.E. (Stu) Ainsworth Family The Pepper Family Foundation
OTTO Engineering, Inc John B. Sanfilippo & Son, Inc. Seigle Foundation
ANNUAL GIVING SUPPORTERS
Concert Sponsors +25,000 Illinois Arts Council Agency
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Elgin Cultural Arts Commission Quarles & Brady Wickstrom Auto Group
The following honor roll celebrates the generosity of those who have supported this musical community since July 1, 2021, with a gift of $250 or more. If you have any questions about this roster or wish to make a gift, please contact Director of Development Matthew Way at 847.888.4028 or visit elginsymphony.org/donate
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