Saturday, May 6, 2023, at 7:30 PM
Sunday, May 7, 2023, at 2:30 PM
Chad Goodman, conductor Drew Petersen, piano
The Hemmens Cultural Center
COLERIDGE-TAYLOR Ballade in A minor, op. 33
GERSHWIN Rhapsody in Blue o orch. Grofé Drew Petersen, piano
~ Intermission ~
BEETHOVEN
Symphony No. 7 in A major, op. 92
Poco sostenuto Vivace
Allegretto
Presto
Allegro con brio
This program is supported, in part, by a grant from the Illinois Arts Council Agency
Violin I
Isabella Lippi
Concertmaster
Eleanor Bartsch
Assoc. Concertmaster
Gerald Loughney
Eric Pidluski
Joseph Malmquist
Carol Dylan
Helen Kim Lee
Wendy Evans
Jennifer Leckie
Caroline Slack
Azusa Tashiro
Pamela Lutter
Violin II
Daniela Folker Principal
Maria Arrua
Asst. Principal
Susan Thorne
Steve Winkler
Elizabeth Huffman
Kelvin Lin
Meghan Lanfear
Kathryn Siegel
Laura Burns
Katherine Hughes
Sally Stephenson
Martin Hackl
Viola
Claudia Lasareff-Mironoff
Nicholas Munagian
Susan Posner
Mark Djordjevic
Jacqueline Scavetta
Willie McLellan
Kelly Larson
Cello
Matthew Agnew
Principal
Nazar Dzhuryn
Asst. Principal
Kerena Fox
Mark Kuntz
Robert Weber
Elizabeth Start
Sara Sitzer
Double Bass
Tim Shaffer
Principal
Jason Niehoff
Susan Sullivan
Gregory Heintz
Adam Attard
Ben Foerster
Flute
Jean Bishop Principal
Eliza Bangert
Scott Metlicka
Oboe
Adèle-Marie Buis Principal
Joseph Claude
Clarinet
Gene Collerd
Principal
Trevor O’Riordan
Bassoon
Vincent Disantis Principal
Collin Anderson
French Horn
Greg Flint Principal
Steven Replogle
Mary Jo Neher
Mary BuscanicsJones
Dan O’Connell
Trumpet
Ross Beacraft Principal
Mike Brozick
Trombone
Ignacio Del Rey
Hugo Saavedra
David Becker
Tuba
Keith Polito
Timpani
Simon Gomez
Percussion
Brian Oriente Principal
Michael Folker
Jon Johnson
R. Bert Crossland Board Chair
Andre Fiebig
Immediate Past Board Chair
Robert Chiappetta Treasurer
Rev. Arlyn Tolzmann Secretary
Dr. Patricia Harkin Governance Chair
Ross Beacraft*
Carlos Chavez
Michele Clark
Dr. Gene Crume
Joyce Dlugopolski
Jennifer Fukala
Sandra Hagan
K. Eric Larson
Dr. Thomas Long
Mary Maloy
Frank Maxson
Carole Medal
Martin Nobs
Patrick Parks
Ron Rogers
Timothy Shaffer*
Dr. Savitha Susarla
James Tammi
Marc Thayer, CEO*
Herman A. Zwirn
* Ex Officio members
Harry ◊ & Phyllis Blizzard
Edward & Pearle Brody ◊
Dean & Jane Chipman ◊
Richard Collins ◊
Ed & Karen Schock Deceased ◊
Marc Thayer
Chief Executive Officer
Rebecca DeWane
Director of Finance & Administration
Eric Gaston-Falk
Vice President of Artistic Planning & Operations
Rylan Virnig
Community Partnerships & Personnel Manager
Macauley Manzano
Orchestral Librarian & Patron Services Manager
DEVELOPMENT & MARKETING
Chuck Kocal
Director of Marketing
Daphne Kawamoto
Digital Marketing Coordinator
Donna Lake Public Relations Manager
Erica Warszewik
Box Office Manager
David Goldman
Stage Manager
Eric Block Stage Manager
Ana Molina Translator
LaTrisha Williams
In Harmony Program Coordinator
With a flair for inventive programming and a bold presence on stage and in the community, Chad Goodman has been praised for "bringing innovation to classical music" (Forbes). As the Conducting Fellow of the New World Symphony, Goodman conducts on subscription, education, family and holiday programs. His program, “SPARK: How Composers Find Inspiration,” blended captivating light design and videography with engaging audience participation to explore how a composition is created and brought to life by an orchestra.
Since 2018, Goodman has served as an Assistant Conductor to the San Francisco Symphony, assisting Michael Tilson Thomas, Esa-Pekka Salonen, Manfred Honeck, Daniel Harding, Pablo Heras-Casado, Simone Young, and James Gaffigan among others.
Goodman’s 2022-2023 Season will include debut appearances with the Baton Rouge Symphony, Greensboro Symphony and San Francisco Chamber Orchestra.
As Founder and Artistic Director of Elevate Ensemble, Goodman’s ambitious vision for concert programming resulted in the pairing of music from Bay Area composers with underappreciated gems of the 20th and 21st centuries. Under his leadership, Elevate Ensemble established a Composer-in-Residence program and commissioned fifteen works from Bay Area composers.
Elevate collaborated with photographers, videographers, poets, and culinary artists, bringing new music and vibrant multi-genre experiences to unique venues such as yoga studios, historic Victorian homes, and art studio warehouses.
Goodman has previously served as Conducting Fellow of Festival Napa Valley, Music Director of the Contra Costa Chamber Orchestra, Conducting Fellow of the Atlantic Music Festival, and rehearsal and cover conductor for the San Francisco Ballet.
In addition to his performing career, he teaches young musicians the business and entrepreneurial skills needed to successfully navigate the world as a working musician in his workshop “You Earned a Music Degree. Now What?”
Goodman holds a Bachelor of Music degree from the Eastman School of Music and a Master of Music degree from San Francisco State University. His mentors include Michael Tilson Thomas and Alasdair Neale.
Acclaimed young American pianist Drew Petersen is a sought-after soloist, recitalist, and chamber musician. He has been praised for his commanding and poetic performances of repertoire ranging from Bach to Zaimont, and is the recipient of the 2018 Avery Fisher Career Grant, 2017 American Pianists Award, and the Christel DeHaan Fellow of the American Pianists Association.
With the resumption of live concerts his 21/22 season will include orchestras in Cincinnati, Santa Fe, Buffalo, Delaware, Columbus and Indianapolis and recitals in San Francisco, Madison and Sanibel, FL. Recent highlights have included debuts with the Sarasota, Houston, Phoenix, Pacific, Milwaukee, Fort Smith, Buffalo, Waco and Allentown symphonies as well as his recital debut at the Kennedy Center. In solo recital Petersen has appeared at the Gilmore International Keyboard Festival, University of Indianapolis, Williams College Concert Series, Dame Myra Hess Concerts in Chicago, Lincoln Center’s Mostly Mozart Festival, Brevard Music Center’s Summer Festival and Chicago’s Ravinia Festival. 2018 marked the release of his first solo recording of music by Barber, Carter, and other American composers on the Steinway & Sons label for which BBC Music Magazine acknowledged his presence as a rising star.
A frequent radio contributor, Petersen has performed on McGraw-Hill Young Artists Showcase, From the Top, and Performance Today. Profiles include The New York Times, New York Magazine, and the documentary “just normal” by award-winning director Kim A. Snyder. A champion of chamber music, Petersen has appeared on French radio’s France Musique while a member of a Verbier Festival piano trio.
Drew Petersen’s firm belief in the importance of music in contemporary society led to collaborations with Young Audiences NY that presents performances in New York City’s public schools. His appearance in Andrew Solomon’s New York Times bestselling book, Far From the Tree, sparked a nation-wide conversation on raising extraordinary and different children who test the willpower and capabilities of their families and society. Petersen continually advocates for the necessity of classical music and other arts in society, and was named a 2006 Davidson Fellow for his portfolio entitled Keeping Classical Music Alive.
Born in Kaunas, Lithuania, her native country, Vilma J. Dydas discovered at an early age her passion and love for music and playing the piano. In 1987 she was appointed, out of 1500 students to attend the prestigious Academy of Music in Vilnius, Lithuania where she excelled. While living in Europe Vilma had the honor of performing for Francois Mitterrand, Prime Minister of France, Pope John Paul II, and numerous piano and organ concerts.
In 1995 Vilma came to the US to complete her master’s degree at St. Joseph college, Indiana. She settled in the Chicagoland area where she has excelled over the past 28 years as a musician, music teacher, music director, choir director (adult & children).
Overall, she has been a private piano/organ teacher since 1987, for students aged 4-72, and has mentored, tutored, and been an amazing influence for more than 2500 individuals.
Her credentials are truly remarkable, which include a Master’s Degree in Church Music and Liturgy, and a Bachelor of Music in Piano and Organ Performance. She is a Professional pianist, organist, and conductor, an experienced piano, organ, keyboard and voice teacher, and teaches music theory and music appreciation at all levels.
Vilma has a driving passion for teaching, performing and her love for music as an art form that she has shared throughout all the communities she is part of.
She is an outstanding and dedicated ambassador for music and art in the greater Elgin area and truly enjoys what she does.
Samuel Coleridge-Taylor was born in London to an English mother and a father from Sierra Leone. The couple was not married and when the father returned to Africa due to frustration with racial prejudice (he was not aware of the pregnancy), the child was raised by the mother and her family. She named her son after the distinguished poet Samuel Taylor Coleridge (without the hyphen, which apparently was added much later due to a printer’s error). There were musicians on the mother’s side of the family, and the boy quickly benefited from the instruction, demonstrating extraordinary ability. At the age of fifteen he entered the Royal College of Music studying with one of England’s prominent composers,
By his early twenties he was an established composer and in 1898 completed the work which would bring him international fame, a cantata entitled Hiawatha’s Wedding Feast, based on Longfellow’s poem. Deeply fascinated by the poem (he would name his own son Hiawatha), he would add two more cantatas making a trilogy under the overall title, The Song of Hiawatha. This work would become wildly popular in England, rivaling such choral classics as Handel’s Messiah and Mendelssohn’s Elijah. Largely on the basis of this work, Coleridge-Taylor made three trips to the United States in the early 1900’s where he conducted many performances. Among his honors was a visit to President Theodore Roosevelt at the White House, a rare occurrence for a person of color at the time. He was lionized especially by the American black community, with the creation of a 200-voice chorus in Washington, D.C. named the Samuel Coleridge-Taylor Society. Several public schools were named after him in Baltimore and Louisville.
As important as Hiawatha was in his career, it was far from the composer’s only triumph. Just two months before the premiere of Hiawatha, he achieved a major success at one of England’s major musical institutions, the Three Choirs Festival. Founded in 1715 and still very much a part of England’s musical life today, the festival has over the years heard the premieres of countless works from Purcell and Handel to contemporary composers. Coleridge-Taylor had caught the attention of Edward Elgar, then well on his way to becoming England’s leading composer. Elgar recommended the young man to the festival’s leaders saying that he was “far and away the cleverest fellow going amongst all the young men.”
The new work was a 13-minute orchestral piece called a ballade, one of three works which Coleridge-Taylor wrote by that title. In instrumental music, the term implies no particular form but a work with a strongly lyrical quality and a feeling of dramatic narrative. Here we are given an opening which is turbulent and strongly rhythmic, eventually giving way to a passage of soaring lyricism. The two moods alternate but the work ends with a return to the stormy opening material. Skillfully orchestrated, the Ballade reveals a strong musical personality with powerful dramatic and lyrical sense.
Rhapsody in Blue was written for a concert held in New York’s Aeolian Hall on November 12, 1924. That concert, often described in music history books, was in its own way a very American event, part blatantly commercial publicity stunt and yet also part earnest cultural experiment.
On January 3, 1924, George Gershwin was shooting pool in a billiard parlor on 52nd and Broadway, when his brother Ira noticed a newspaper article which stated that George Gershwin was writing a “jazz concerto” that would
be performed by Paul Whiteman and his Orchestra in February. That was news to George Gershwin.
As it turned out, Whiteman, one of the most popular big-band leaders of the era, had the grand idea of a concert that would bring the new jazz style into the respectable confines of the concert hall. In addition to presenting various types of jazz, he wanted to invite several composers such as Gershwin to write concert pieces that would have a jazz flavor. Furthermore, to place the imprimatur of respectability on the whole affair as well as to drum up more business, he had the brilliant idea of inviting a panel of distinguished figures from classical music who would answer the question, “What is American music?” (The panel included such heavyweights as Rachmaninoff and Heifetz.) When Gershwin asked Whiteman why he had gone ahead with the plan without telling him, Whiteman replied that a rival bandleader had stolen his idea and he had to move quickly to beat him. Carnegie Hall, incidentally, was unavailable so Whiteman had to book the smaller Aeolian Hall.
Although he was busy with commitments on Broadway, Gershwin began the daunting task of writing a concert piece in roughly one month. (Whiteman had actually broached the subject to Gershwin some years earlier but no serious work had been done.) Somehow, in a few weeks he managed to produce a piano score which was then given to Ferde Grofé, Whiteman’s staff arranger, for orchestration. Changes were still being made in rehearsal.
Due to much advance publicity and the panel-ofexperts ploy, the concert attracted many of the country’s musical glitterati such as Igor Stravinsky, Fritz Kreisler, and John Philip Sousa. Unfortunately, Whiteman had selected a program that was repetitive and far too long and members of the audience had already begun to leave when Gershwin, next to last on the program, made his entrance as piano soloist. The mood in the hall changed quickly, as
Gershwin’s virtuosity and the freshness of his musical ideas saved the day. He was called back for five curtain calls.
Most of the press coverage of the event concerned the new Gershwin piece. Opinion was sharply divided, ranging from raves to revulsion. And the question, “What is American music?”, seemed as open as ever. The public, however, soon determined the fate of the new work. Repeat performances in New York as well as a tour and a classic 78 rpm recording (now available on CD) with Gershwin as soloist were huge commercial successes. Today, Rhapsody in Blue is an established American classic. Using the term rhapsody, a genre much employed by romantic composers implying a free form work with an improvisatory character and many sudden mood changes, Gershwin combines techniques of piano giants such as Liszt, Tchaikovsky, and Rachmaninoff with his infectious jazz rhythms and incomparable melodic inventiveness. The term “crossover” used so often these days to refer to music that appeals to listeners in more than one of the strictly segregated categories such as jazz, rock, classical, etc., can trace its meaning back to the Rhapsody. With one foot on each side of the classical/jazz divide, it is music which still today sounds spontaneous, fresh, and, yes, American.
Ludwig van Beethoven (1770-1827)
Beethoven’s Seventh Symphony received its first performance in December, 1813, in Vienna at a concert held for the benefit of Austrian and Bavarian soldiers wounded in the Napoleonic Wars. It was the sort of happening which would be a great media event today and would no doubt be covered tastefully by public television.
An all-star orchestra made up of such musical luminaries as Ludwig Spohr, Giacomo Meyerbeer, and Johann Nepomuk Hummel was conducted by Beethoven himself, even though he was by then so deaf that he couldn’t hear the soft passages and in general comported
himself on the podium in his usual wildly eccentric manner. In keeping with the festively bellicose tone of the occasion (Napoleon’s hated army was finally, after years of devastating warfare, on the verge of defeat), Beethoven also produced a battle piece called Wellington’s Victory, commemorating Napoleon’s defeat on the Iberian Peninsula the previous June. Like Tchaikovsky’s 1812 Overture, it is a piece of skilled, highly professional hackwork and made a big noise both figuratively and literally. (Like the 1812 Overture it contains enough gunfire to induce shellshock in even the most hardened concertgoer.)
Lest we underestimate the musical taste of the Viennese public, however, it should be said that the Seventh symphony generated as much enthusiasm as did Wellington’s Victory. Most telling of all is the fact that the second movement, one of Beethoven’s most poignant utterances, was encored, an unusual occurrence for any slow movement.
Despite the grumblings of some professional musicians such as the composer Carl Maria von Weber who pronounced Beethoven “ripe for the madhouse” because of an unusual passage near the end of the first movement and Friedrich Wieck, who implied that the composer had been drinking too much lager, public opinion carried the day and the Seventh Symphony helped to bring Beethoven to a new level of popularity. After his death the Seventh took its place alongside those other odd-numbered masterpieces of the heroic statement, the Symphonies 3,5, and 9, and today remains one of the most popular of all symphonies. The best-known characterization is Richard Wagner’s reference to it as the “apotheosis of the dance.” Wagner, whose prose was nothing if not purple, went on to say that the symphony would cause “tables and benches, cans and cups, the grandmother, the blind and lame, aye the children in the cradle” to dance.
The first movement begins with what was at the time the longest and most complex slow introduction in symphonic history. After a journey through several keys we
return to the principal key of A major and the flute announces a theme which, though innocent in character, bears the responsibility of being the primary theme of this impressive movement. The dance-like rhythm of this theme (known to music students as the “Amsterdam” rhythm) dominates the movement. Finally, near the end of the movement we hear the famous passage which so upset Herr von Weber. The low strings state a figure which is derived from the main theme but made to sound rather ominous in the nether regions of the orchestra. It is repeated obsessively time and time again while the top of the orchestra builds to an enormous climax.
Despite its tempo marking of allegretto (rather fast), the second movement performs the expressive function of the traditional slow movement of a symphony the movement which provides the deepest, most reflective and introspective music. Beginning with simple materials consisting of the most basic chords stated over an insistent rhythm, Beethoven constructs a rich set of variations. Set in the somber key of A minor, this movement stands as one of Beethoven’s most moving expressions and has often been used as funeral music.
Finally, after the wit and color of the delightful third movement scherzo, Beethoven releases the whirlwind force of the finale. In the words of the great English critic D.F. Tovey, this movement “remains unapproached in music as a triumph of Bacchic fury.”
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
Concert Sponsors +25,000
Illinois Arts Council Agency
Snodgrass Family Fund of DuPage Foundation
Community Partnership Sponsors +10,000
Comed, an Exelon Company
Elgin Symphony League
Florence B. Palmer & Cornelia
A. Palmer Foundation
Francis J. & Patricia A. Houlihan Foundation
National Endowment for the Arts
Wells Fargo Advisors
Guest Artist Sponsors +5,000
Barrington Area Community Foundation
Judson University, World
Leader’s Forum
Northern Trust
Fall 2022 Farny R. Wurlitzer Foundation Fund Grant
Partners +2,500
Elgin Cultural Arts Commission
Music Performance Trust Fund
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.
Season Sponsors $25,000+
Anonymous (2)
R. Bert Crossland
Evelyn W. Hunt Trust
Nancy V. Rascher
Concert Sponsors $10,000+
Anonymous (2)
Patricia Harkin & Jim Sosnoski
Mrs. James L. Ziegler
Herman & Mary Zwirn
Guest Artist Sponsors $5,000+
Anonymous (2)
Mrs. Phyllis Blizzard
Harry Eng & Frances Zollers
Andre Fiebig & Tricia Van Eck
Dr. Gwendolyn Rowe Gage
Sandra Horvath Hagan
Thomas & Linda Long
Frank & Patricia Maxson
Monica & Sanford
Morganstein
Martin & Brigitte Nobs
Ron & Kris Rogers
Karen & Ed Schock
Dr. Emanuel & Mrs. Janice
Semerad
Jeanne C. Sigman
John & Maribeth Totten
Musician Sponsors $2,500+
Anonymous
Diane Campbell
Ray & Julie Daly
John & Sharyon DaSilva
Walter & Andrea Gumm
Elizabeth Hoeft
David & Suzanne Johnson
Loretta Kandl
Mike & Marilyn McCarthy
Mrs. Ruth-Ann McKellin
Ralph V. Miner
Dolores D. Nelson
Rob & Jodie Stackowiak
James & Judith Tammi
Rev. Arlyn & Jeanne
Tolzmann
Musical Score Sponsors
$1,000+
Dr. Walter & Alexis Alm
Anonymous
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Mr. David Bosely
David L. Brown
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Chiappetta
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David & Suzanne Johnson
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Charitable Fund
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K. Eric Larson & Margaret Williams
Carolyn & Robert Malm
Barbara G. Maring
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Carole A. Medal
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John & Carole Ruby
Patricia Sekowski
Rachel Shannon
Drs. April & Frank Smith
Glenn & Susan Spachman
Cherry Stoddard
Sunburst Corvette Club
Carol & Mark Taylor
Marc Thayer ¶
Donna F. Templeton
Celine Voris
Mr. David Waring
Philip Zack
Charles & Nancy Zimmerman
Friends of the ESO $250+
Robert Acker & Alison Bleick
Mark S. Albert
Ms. Sharon Aleckson
Douglas Anderson
Helen Anderson
Michael & Cecilia Anderson
Ms. Sara Ellen Anderson
Judith & Norm Andrews
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Anonymous
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Realty
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Kies
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Terry Gabel & Sue Brigham
Forrelyn Gamer
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Bonnie Kalaway
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Kellenberger
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Keupfer
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Maihack
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Owens
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Paul Schaefer
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Drs. April & Frank Smith
Jane Sorensen
Anna M. Speicher
Family of Frederick J. Steffen, Sr.
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Laura M. Sterba
Linda Stolt
Dr. Savitha Susarla
Elmer & Mary Sweet
Mr. Michael Tellin
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Amy K. Tull
Ms. Joyce Wagner
Matthew Way ¶ & Ana
Molina ¶
George & Anita Werderich
Hon. Bonnie M. Wheaton
Larry & Debbie Wild
Leslie Wolko
Tom & Linda Youngren
¶ Denotes ESO Musician and Staff
Tribute Gifts honor accomplishments, celebrate occasions, and pay respect in memory of reflection.
In honor of Suzanne & David
Johnson
Christopher Johnson
In honor of Carole A. Medal
Miriam Lytle
In memory of Jeanne Hebeisen
Ruth & John Bradburn
Betty Brown
Laurel Beth Burgess
Ann Chipman & Greg Kuepfer
Kevin P. Durkin
Patricia Harkin & Jim Sosnoski
Rick & Nancy Hiton
Adrienne & Ira Holtzman
David & Suzanne Johnson
K. Eric Larson & Margaret Williams
Jerry Latherow
Karen & Dan Maki
Antonio Romanucci
Karen & Ed Schock
Jodie & Robert Stackowiak
Celine Voris
The Encore Society is a meaningful and generous way to ensure the longevity of your Elgin Symphony. It is more than a donation – it is a statement of devotion and trust in our community impact for generations to come. It is with great admiration that we thank the following individuals for their selfless commitments.
Anonymous
S.E. “Stu” Ainsworth ◊
Harry ◊ & Phyllis Blizzard
R. Bert Crossland
David & Arlene Donovan
Cyril Friend ◊
Dr. Gwendolyn Rowe Gage
Wally & Andrea Gumm
Jeanne Hebeisen ◊
Evelyn W. Hunt ◊
Sally Lee ◊
Marcene Linstrom ◊
Thomas & Linda Long
Michael & Kelly McKay
Betty Moorehead
Leo & Marilyn Nelson
Dr. Eleanor Pick ◊
Tom & Sue Rakow
Ed & Karen Schock
Jeanne Sigman
David Waring
Herman & Mary Zwirn
◊ denotes deceased members
