ORCHESTRA PERSONNEL/PERSONAL DE LA ORQUESTA
Violin I
Isabella Lippi
Concertmaster
Eleanor Bartsch** Associate
Concertmaster
Gerald Loughney
Kate Carter
Eric Pidluski
Joseph Malmquist
Susan Carlson
Carol Dylan
Helen Kim Lee
Wendy Evans
Carmen Abelson
Jennifer Leckie
Violin II
Daniela Folker
Principal
Robbie Herbst
Assistant Principal
Caroline Slack
Maria Arrua
Susan Thorne
Steve Winkler
Cristina Buciu
Elizabeth Huffman
Kelvin Lin
Meg Lanfear
Kathryn Siegel
Viola
Rebecca Swan
Principal
Loretta Gillespie
Assistant Principal
Josef Fischer++
Jason Butler
Erin Rafferty
Sava Velkoff
Susan Posner
Cello
Matthew Agnew
Principal
Nazar Dzhuryn
Assistant Principal
Kerena Fox
Mark Kuntz
Robert Weber
Elizabeth Start
Sara Sitzer
Double Bass
Timothy Shaffer** Principal
Jeremy Attanaseo
Assistant Principal
Susan Sullivan
Flute
Jean Bishop
Principal
Scott Metlicka
Piccolo
Scott Metlicka
Oboe
Kevin Gupana
Guest Principal
Joseph Claude
English Horn
Joseph Claude
Clarinet
Gene Collerd
Principal
Trevor O’Riordan
Bassoon
Vincent Disantis
Principal
Collin Anderson
French Horn
Greg Flint
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Ross Beacraft
Principal
Michael Brozick
David Gauger
Assistant Principal
Trombone
Reed Capshaw
Principal
Adam Moen
Bass Trombone
Mark Fry
Tuba
Charles Schuchat
Principal
Timpani
Robert Everson
Principal
Percussion
Brian Oriente
Principal
Michael Folker
ADMINISTRATION/
Chief Executive Officer, Marc Thayer
Extra Musicians
Violin I & II
Sam Battista, Laura Burns, Katherine Hughes, Kate Lano, Pamela Lutter, Joanna Nerius, Rika Seko, Paul Vanderwerf
Viola
Becky Coffman, Wilfred Farquharson, Kelly Larson, Claudia Lasareff-Mironoff, Rebecca Miller, Nick Munagian
Cello
Timothy Archbold
Bass
Wes Jones, Lauren Pierce
Flute
Eliza Bangert
Clarinet
Leslie Grimm
Bassoon
Karl Rzasa
French Horn
Vice President of Artistic Planning & Operations, Eric Gaston-Falk
Director of Marketing, Chuck Kocal
Director of Development, Leslie Antoniel
Orchestra Librarian & Digital Marketing Manager, Macauley Manzano
Community Partnerships & Orchestra Personnel Manager, Greg Heintz
Patron Services & Office Manager, Luiza Moraes
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Development Coordinator, Jonathan Horn
In Harmony Program Coordinator, LaTrisha Williams
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Translator, Elsa Jimenez
Emma Sep-
Christian Anderson, Greg
MUSIC DIRECTOR / DIRECTOR MUSICAL
Chad Goodman has received widespread praise for thrilling conducting that combines “precision, agility and fervor” (N. Stanić Kovačevic, South Florida Classical Review) and for displaying the “pitch perfect combination of abandon and subtlety” (L. Budman, South Florida Classical Review)
The 2024/25 season marks Goodman’s 2nd season as Music Director of the Elgin Symphony Orchestra only the fifth leader in the orchestra’s prestigious seven-decade history. Concerts with the ESO include Tchaikovsky’s Symphony No.6; Beethoven’s Violin Concerto with Stella Chen; Sibelius’ Symphony No. 5, coupled with Tchaikovsky's Violin Concerto, performed by Samuel Vargas; and Holst’s masterpiece, The Planets.
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.
GUEST ARTIST/ARTISTA INVITADO
Violinist Samuel Vargas Teixeira has received wide recognition for his powerful artistry and awards including First Prize of the Sphinx Competition (2021), Yamaha Young Performing Artist (2019), Grand Prize of the Jefferson Symphony Orchestra Concerto Competition (2019), First Prize in Atlanta’s GA Philharmonic Competition (2017), and Concertmaster Ambassador of the United Nations (2014).
Vargas holds the Pin Artistic Merits from “City Key of Prince George” and “Central Bank in Canada,” and has performed on tours in 40 countries, collaborating with acclaimed artists like Gustavo Dudamel, Simon Rattle, Daniel Barenboim, Claudio Abbado, and Christian Vasquez.
Vargas began his violinistic journey through Venezuela’s El Sistema Program. In 2017 Samuel won the prestigious Woodruff Award enabling him to study with his current mentor and professor Sergiu Schwartz at the Schwob School of Music at CSU.
He is the founder and president of the Samuel Vargas International Music Foundation, an organization which is enriching communities and society through the power of classical music, emphasizing a holistic approach to music education supporting students in all areas of studies and well-being. Through his passionate work and entrepreneurship, he has founded 8 active Venezuelan chamber orchestras and currently mentors young musicians in the US and South America.
Written by - Daniel Maki
Fiesta!
Jimmy López (b. 1978)
Jimmy López is a native of Lima, Peru, and received his early musical education there. In 2000, he moved to Helsinki, Finland, to study at the Sibelius Academy, one of Europe’s finest music schools. He would eventually come to the United States, receiving a doctorate in music from the University of California-Berkeley.
López found his own musical voice early, absorbing influences from various sources but combining them into his own distinctive musical personality. His influences have included everything from the high modernism of the Darmstadt School of composers, to the traditional tonal music of composers such as Sibelius, not to mention folk and popular music. Today his music is performed by major musical organizations throughout the world. From 2017 to 2020 he was Composer-in-Residence of the Houston Symphony Orchestra and is now serving as the Mead ComposerCurator of the Chicago Symphony Orchestra for the 2024-2025 season. A major milestone was the performance in 2015 at Lyric Opera of Chicago of his opera Bel Canto, based on the novel of the same name by Ann Patchett. The premiere was recorded and shown in 2017 as part of the PBS series, Great Performances.
López’ best known work is Fiesta!, which marked a turning point in his career and since then has received more than a hundred performances. The work was commissioned by Peruvian conductor and long- time friend of the composer, Miguel Harth-Bedoya, to commemorate the 100th anniversary of the Lima Philharmonic Society in 2007. Originally scored for a small group of 14 performers forming an electro-pop ensemble, it was so successful that the composer was asked to rescore it for full orchestra.
Fiesta! contains four pop dances entitled respectively: Trance 1, Countertime, Trance 2, and Techno. Trance 1 and Trance 2 are related, both beginning with fast and energetic music but ending more quietly. As the composer has explained, the word “trance” comes from so-called techno music, which is a form of electronic dance music that makes use of hypnotically repetitive rhythms. As movements 1 and 3 are related, so too are movements 2 and 4, both of which maintain a high level of energy throughout and are filled
with strong syncopated and irregular rhythms. The percussion section, which includes bongo and conga drums, is prominent in these movements.
The concluding Techno movement is based on LatinAmerican rhythms. In the composer’s own program notes he explains that this movement contains “the most direct allusion to the techno genre.”
Fiesta! is a skillfully orchestrated and fascinating study in rhythmic variety, creating the festive atmosphere that its title implies.
Violin Concerto in D major, op. 35 Piotr Ilyich Tchaikovsky (1840-93)
It is well known that not all artistic masterpieces are greeted with immediate approval, a fact which is illustrated with particular clarity by Tchaikovsky’s Violin Concerto. Premiered in 1881 in Vienna, the work produced in its early performances such masterpieces of musical invective as the remark by one critic that “it was an accumulation of discords, confused climaxes, and dressed-up trivialities.” Even more memorable was the famous diatribe by Eduard Hanslick, that demigod of Viennese music critics, who said that the concerto was music that “stinks in the ear.”
Exactly what it was that caused his nibs, Herr Hanslick, olfactory as well as auditory distress is not now easy to discern, but the concerto had already had its troubles before the critics got to it. Madame von Meck, Tchaikovsky’s fanatically devoted patron, had criticized it earlier, and Tchaikovsky was bitterly disappointed when Leopold Auer, the great violinist and pedagogue to whom the first performance was offered, expressed reservations about the work and refused to play it.
Today, of course, the concerto is heard in the practice rooms of all conservatories and its beautiful melodies and brilliant virtuoso writing maintain it as one of the two or three most popular concertos in the violin repertoire.
The first movement begins with a brief orchestral introduction that will never reappear. This sets the stage for a quiet, somewhat improvisatory, entrance by the soloist which then leads to a statement of the melodious main theme which will dominate the movement. After some dazzling virtuoso passage work a new theme appears, marked con molto espressione, and which does indeed
send the violin soaring above the orchestra in the most expressive possible way. The development section includes a set of variations on the principal theme and then leads to a virtuosic cadenza which fully tests the technical prowess of the soloist while serving as a kind of meditation on themes already heard. As the cadenza ends, the recapitulation begins with the principal theme heard in a solo flute. A whirlwind coda ends the movement.
The slow movement is a Canzonetta (little song) which demonstrates Tchaikovsky’s superlative gift for melody. A beautifully melancholy theme in minor key is followed by a brighter section in major key. The movement connects to the finale without pause.
The finale introduces a different aspect of the violin: its tradition as a folk instrument. The main theme is reminiscent of the trepak, a Russian folk dance, and there are references to Russian folk tunes and Gypsy-style fiddling. Perhaps it was this Russian ethnic flavor that so disturbed Eduard Hanslick that he had to hold his nose. From his viewpoint in Vienna, the epicenter of the great Germanic musical tradition, such music probably seemed uncouth and foreign. Nevertheless, this movement, with its spectacular virtuosic writing and driving rhythms, brings the work to an excitingly furious conclusion.
Finally, it should be said that Leopold Auer finally saw the error of his ways and, as he put it, “received absolution” from the composer. Not only did he play the concerto himself with great success, but he made it virtually the theme song of the great Russian school of violin playing by teaching it to many of his students including such fabled fiddlers as Heifetz, Milstein, and Elman.
Symphony No. 5 in E-flat major, op. 82
Jean Sibelius (1865-1957)
Jean Sibelius enjoyed a degree of worldwide celebrity achieved by few composers during their lifetime. He was particularly esteemed in the Anglo-Saxon countries, where he was viewed by many as the saviour of the great European symphonic tradition at a time when the avant-garde had virtually abandoned traditional symphonic writing. Cecil Gray, the prominent English critic, called him “the greatest symphonist since Beethoven.” Yale University offered him an honorary doctorate, and the Eastman School of Music, one of this country’s leading music schools, offered him its
directorship which he politely declined. Winston Churchill sent him his favorite cigars which were gratefully accepted.
In his own country, he had already as a young man become a symbol of Finnish culture and gradually assumed the status of a national monument. Thus it was that his fiftieth birthday on 8 December 1915 was celebrated virtually as a national holiday, with, naturally enough, a performance of his latest symphony serving as the focal point of the festivities. Sibelius himself conducted the Helsinki Municipal Orchestra on the momentous day in an all-Sibelius program which featured the new Fifth Symphony.
The new work was in sharp contrast to his previous symphony, completed in 1911. Written at a time when Sibelius feared for his life because of throat cancer, the Fourth Symphony was an austere, intellectually demanding work, and in some ways as close to “modernism” as he would ever get. The Fifth Symphony, on the other hand, was a joyously triumphant work, a fact that no doubt has had much to do with its continued popularity.
The premiere pleased the public but not the composer himself. Always extremely self-critical, Sibelius would continue to labor long and hard over the new work, producing another version in 1916, and then, in 1919, the final version in which the symphony is usually now heard. The most important change in the final version was the telescoping of the first two movements of the original into a single movement, thus reducing the traditional four movement symphony to a three-movement work. Incidentally, such experiments with symphonic form would eventually lead to the most radical solution of all in Sibelius’ final symphony. The Seventh Symphony is written in one continuous movement.
Some commentators have called the Fifth Symphony Sibelius’ “Eroica,” a reference to Beethoven’s Third Symphony, subtitled the “Eroica” and also in the key of E-flat which was often Beethoven’s “heroic” key. There is evidence, however, if we are to continue the analogy with Beethoven, that in some ways the Fifth Symphony is also a “Pastoral” Symphony. In his detailed study of the symphony, musicologist James Hepokoski has carefully examined Sibelius’ sketchbooks and diaries of the period. They indicate that the composer was very much in his “mystical nature” frame of mind at the time. From earliest childhood Sibelius had been particularly sensitive to nature (in Finland nature is always close at hand, even in the largest cities), and he seems to have identified his music almost pantheistically with the nature around him. At his country estate at Ainola, Sibelius had every opportunity to experience nature in its
purest form as the following diary entry shows: “Today at ten to eleven I saw 16 swans. One of my greatest experiences! Lord God, the beauty! They circled over me for a long time. Disappeared into the solar haze like a gleaming silver ribbon.”
One of the most striking aspects of the Fifth Symphony is the theme which dominates the last movement a majestic theme with a kind of swinging motion produced by a series of large skips in the melody. Over the years commentators have identified it in various ways, some calling it a ‘bell” theme. The most picturesque description was certainly that of the great English scholar D.F. Tovey, who likened it to “Thor swinging his hammer.” Correspondence between Sibelius and his closest confidant of the time, Axel Carpelan, make it clear that this melody was a “swan hymn” in the composer’s mind, an ecstatic evocation of the mysteries of nature. More of the swan hymn in a moment.
The opening movement of the Fifth Symphony has often been called one of the most strikingly original symphonic movements that Sibelius ever wrote. As mentioned above, it combines an opening movement with a scherzo second movement, which is faster and lighter in character. The beginning presents us, in typical Sibelian fashion, a number of fragments which, with his own sense of musical logic, gradually metamorphose and combine with each other to build a symphonic structure. After an impressive climax the meter changes to 3/4, and we discover that we have moved seamlessly to the scherzo. From this point on the feeling is of a gradual accelerando which drives the movement to a breathtaking finish.
The slow movement offers contrast with simple, bucolic music in the key of G major. It is a set of variations, not on a melody but really on a distinctive rhythm which repeats obsessively throughout the movement. At one point the bass line moves in wide skips, a foretaste of the swan hymn to come.
If the first movement was a gradual movement from slow to fast, the finale reverses the process. The movement begins with mysterious tremolo figures in the strings and the nervous motion soon involves the winds as well. Before too long, however, the majestic hymn to the swans breaks forth, evoking what the composer in his own words called “nature mysticism and life’s Angst.” Accompanying the hymn is a new theme in the woodwinds, strikingly poignant perhaps because of its simplicity it consists of just a few diatonic scale steps in a slightly syncopated rhythm. The quiet nervous motion returns, with the strings eventually taking the woodwind theme and expanding it into a full-blown romantic
melody. Finally, the swan hymn returns in all its glory and the motion slows down, preparing one of the most strikingly original endings in all of symphonic music. Six short chords, separated by silence which dares the audience to cough or applaud, have the force of thunder claps and bring this remarkable work to a close.
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