We are excited to bring you the 56th Season of the Longview Symphony Orchestra! Your continued support ensures our ability to help grow the next generation of musicians and music-lovers, bring top-quality musicians to our area, and provide educational and family experiences that are sure to unite and enlighten.
We celebrate the genius of Beethoven with the Longview Symphony Orchestra on October 12, 2024! On December 6, 2024 Santa Flavious will be coming to town along with your favorite carols and carolers for the Home for the Holidays Concert. On January 11, 2025 we offer an evening surrounded by shimmering light and beautiful music with our Candlelight Chamber Concert at Longview Community Center! Join us as we blast off with LSO for the Out of this World: A Sci-Fi Spectacular on April 26th, 2025! And don’t miss the FREE Cosmic Conquest Map Challenge at the Longview Arboretum on March 29, 2025.
Please consider becoming a supporter of our 2024-2025 Concert Season. Your gift ensures another successful season for the Longview Symphony Orchestra! Wonderful benefits and privileges are extended for your sponsorship, including print and media exposure, complimentary event tickets, recognition in the concert program and more! The power of music to unite and inspire us is boundless.
With your help the Longview Symphony will continue to grow, educate, and enrich. We look forward to hearing from you soon! Thank you for your support of the Longview Symphony!
Ben Maines
air Conditioning, inc
“Serving East Texas, Since 1949”
Supporting the Longview Symphony League since 1968!
When you support the LSL, you support Fine Art and Fine Entertainment, in Longview.
From its humble beginnings, the LSO has brought the “World, to Longview, with world class musicians… performing with professional East Texas musicians. This was only possible with generous donations of our local patrons.
Please consider, making a tax-deductible gift, to the Longview Symphony League.
AND a salute, to all the past and present LSL Board members, LSO musicians, Conductors, patrons, contributors, and advertisers…. Cheers to the LSO, and the next 50 years!
TX 75693
Bach’s Lunch
These lunchtime recitals feature the music of Bach and other classical pieces while showcasing local musicians. There is no charge for these concerts.Many people bring their sack lunch to eat beforehand (a room is provided), and then attend the concert at 12:20.
Dining area opens at 11:30 AM. Concerts begin at 12:20 PM and end by 1:00 PM.
Fri DAy, OCtO ber 25, 2024
trinity episcopal Church of Longview
Fri DAy, J A nuA ry 17, 2025
First Presbyterian Church of Longview
Fri DAy, FebruA ry 7, 2025
First Lutheran Church of Longview
Fri DAy, M A rC h 14, 2025
First Presbyterian Church of Kilgore
Fri DAy, A P ri L 4, 2025
First Methodist Church of Longview
Fri DAy, M Ay 16, 2025
First baptist Church of Longview
Free Fri DAy C O n C ert Serie S
Ready for tomorrow.
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Bach’s Lunch
C O n C ert SPO n SO re D in PA rt by:
The Longview Symphony is supported in part by grants awarded through the City of Longview Cultural Activities Advisory Committee and the City Council funded by the hotel occupancy tax, and the Texas Commission on the Arts.
Chartered in 1976, the Longview Symphony Foundation is designated as a 501(c)(3) charitable trust by the Internal Revenue Service. Because of generous contributions from friends of the Longview Symphony and conservative investments of the Foundation’s assets by its Trustees, the trust has continued to grow, providing a solid underpinning for the Permanent Endowment Fund (PEF). A portion of the investment income of the trust is made available to the Longview Symphony League, Inc., in support of its ongoing music education and cultural programs.
There are many avenues to making a tax deductible transfer of assets into the PEF. Financial and legal advice is available
to assist in the consideration of the various gifting alternatives, such as cash bequests, estate planning, and bequests of appreciated assets.
The generosity of each gift is acknowledged with an individual listing in the concert program. At your request, this listing may be as an anonymous donor. Naming and recognition rights are available for gifts at various levels of participation.
Please contact the Longview Symphony at 903-236-9739 to arrange a meeting with a Foundation representative to discuss your participation in the growth of the PEF.
L O ngview Sy MP h O ny Le A gue
Hall of Fame
The Longview Symphony League recognizes extraordinary patrons and volunteers who have contributed of time, talent, and resources to help make it possible for Longview families to enjoy outstanding musical performances year after year. We invite you to share with us the privilege of honoring these remarkable individuals who make up the Longview Symphony Hall of Fame.
1999- Dr. Berdine Jones, Sara Richkie Whitehurst, Daisy M. Morris
2000- Wells Burton, Charles E. Watkins, Willis H. “Throck” Throckmorton
2001- Gerald G. Mullikin, M.D., W.E. “Gene” Lynn, Hazel Hickey
2002- Alyce Monsour
2004- Dr. & Mrs. B. Reid Clanton
2005- Bob Sweat, Logan & Eleanor Damewood
2006- Franklin Martin Jr., John & Anne Dean Turk
2007- Alvin O. Austin
2009- Dr. Morgan & Alma Ruth Willeford
2010- Richard E. (Dick) Miller
2011- Evalonia Barrett-Bolton
2012- Judy Anne Owens
2013- Ann & Isidor Saslav
2014- Dr. Charles & Paula Kaplan
2019- Maggie Ferrell and Dr. James Snowden
2022- Mary Taylor
L O ngview Sy MP h O ny hO n O r rOLL
Cultural Arts Grant
The City of Longview
texas Commission on the Arts
Radio Sponsorship
Alpha Media group
Season Sponsors
ben Maines Air Conditioning
Crain Foundation
Forbes & butler
Johnson & Pace
Dan Sorey
Longview regional Medical Center
Longview Symphony Foundation
rosa May griffin Foundation
Spring hill State bank
SwePCO
texas bank & trust
verabank
westlake Chemical women’s health boutique
Guest Artist Sponsor
Jud and nancy Murray
Official Hotel Sponsor
hilton garden inn
Orchestra Rehearsal Facilities
hallsville iSD
Feature Articles
Longview news-Journal
Donation of Music Folders
tatum Music
Bach’s Lunch Hosts
trinity episcopal Church, Longview | First Presbyterian Church, Longview |
First Lutheran Church of Longview | First Presbyterian Church, Kilgore
First united Methodist Church, Longview | First baptist Church, Longview
O Pening nOte S
Dr. Weaver holds a Bachelor of Music from BYU and a Master of Music from TCU, specializing in vocal performance and pedagogy. She earned her Ph.D. in music history, with a secondary area in vocal performance from the University of Oregon in 2006. As the recipient of an International Rotary Foundation Ambassadorial Scholarship, Dr. Weaver conducted her dissertation research in Bologna Italy, exploring compositional ethics of composers in Florence and in northern Italy during the late sixteenth and early seventeenth centuries. She continues to perform actively with early music and contemporary music ensembles.
wh A t i S O P eningnotes ?
Get the most out of Longview Symphony Orchestra concerts by attending Opening Notes. Each Opening Notes is an informal and informative discussion about the program and provide a behind-the scenes look at the art of musicmaking. Your concert ticket is your admission.
6:15PM
LeTourneau University Belcher Center, Allen Lobby (enter through left side door) presented by Dr. Jamie Weaver
Official Hotel of the Longview Symphony
MA e S trO
The Longview Symphony Foundation
City of Longview Arts and Culture Commission
Crain Foundation
Texas Commission on the Arts
CLASS i CAL
Rosa May Griffin Foundation
Blair & Forrest Williams
Charlotte and John Wrather
C h AM ber
Hollandsworth Foundation Eleanor & Dr. John Kirk
Claire & Gayle English Dan Sorey
Paula & Dr. Kim Howard Vera Bank
Jim Bartlett Fine Jewelry
en CO re
Capital Wealth Group/Jon Cromer
Barbie & Jim Deborah
Forbes & Butler
Niki & Darren Groce
Pam & Dr. Pat O’Bryan
Johnson & Pace
Texas Bank and Trust
Westlake Chemical
t ribute S A n D Me MO ri ALS
Address your tax-deductible contributions to the Longview Symphony. Undesignated contributions will be placed in the Crescendo Fund. Contributions to the Crescendo Fund may be made online at www.LongviewSymphony.org or mailed to the Longview Symphony, P.O. Box 1825, Longview, TX 75606. If you wish to make a memorial or estate donation, please designate to the Legacy Endowment or the Longview Symphony Foundation. Mail contributions to Longview Symphony, P.O. Box 1825, Longview, TX 75606.
Would you like to support the Symphony?
Please see us at our table in the lobby during intermission.
Overture
Advanced Roofing
Austin Bank
Mary & Bryan Benson
Samantha & Paul Bradley
Bodacious BBQ
Mimi & Bruce Cammack
Cassity Jones Building Material
Coolidge and Company Real Estate
Gregg County Historical Museum
Jan & Sam Forester
Pat Florence
Bruce & Ruth Hathaway
Longview Eye Associates
Longview News Journal
Mary Lou Tevebaugh
Noble Electronic Security
Ginia & Gordon Northcutt
Priddy Deign Build
Sloan Law Firm
Susan Kay & Dr. Tom Smith
Spring Hill State Bank
Sugar Magnolia Properties
SWEPCO
Tomberlain Insurance
Suzanne Stadden Brown Tuma
Women’s Health Boutique
F un D
Edible Art | Elise Frigon | Lynette Goodson
Ellen & Dr. Jay Gordon | Lottie Guttry | Karen & Brent Haas
Jeannie and Dr. Craig King | Christina & Matthew Nehrling
Karen & Ron Peters | Betsy & Dr. Joseph Pistone
Nancy & Dr. James Sawyer | Phyllis Shaw | Christina Stanger
Nancy Starr | Nell & Johnny Ward
Julie & Wayne Young
COMM e MO r Ative CO ntributi O n S
In memoriam of Logan Damewood by Nan Mitchell
In memoriam of Mary Taylor by Nan Mitchell
In memoriam of Pilar McLemore by Dr. Joseph & Betsy Pistone
In memoriam of Dorothy Sayre by Bruce & Ruth Hathaway
In memoriam of Joan Rathbun by LouAnne & Steve Rainey
In memoriam of Andrew McCumber, Grandson of Nancy Starr by Claire English
In memoriam of Gail Grisham by Claire English
In memoriam of Raymond & Patricia Curry by Nan Mitchell
In memoriam of Mary Murdoch by Dr. James & Nancy Sawyer and Nan Mitchell
In memoriam of Bill Rice by Claire English
In memorium of Dr. Tom Smith by Claire English
bOA r D OF Dire C t O r S
Paul Roberts President
Dr. Kevin Richardson
Vice President of Perfornamce
Rocio Mendez
Vice President of Development
Barbie Deborah Treasurer
Samantha Bradley
Mallory Chargois
Jon Cromer
Claire English
Lynette Goodson
Rance Hawthorne
Jennifer Jackson
Jenn Eldridge
Secretary
Charlotte Wrather Director-at-Large
Shelly Butler Past President
Niki Groce Executive-Director
Dr. Greg Grabowski, Conductor
Dr. John Kirk ‘14
Kenneth Kirkland
Mileah Lorenz
Justin McFaul
Patricia Newman
Terrye Nix
Ginia Northcutt
Dr. Joseph Pistone
Mindy Shook
Jerry (Wayne) Smith
Christina Stanger
Suzanne Brown Tuma
Dr. Tiffany Turner
Wray Wade
Jennifer Ware
L O ngview Sy MP h O ny PAS t Pre S i D ent S
Dr. Landon A. Colquitt ......... 1968-1969
Herbert Boyland ................... 1969-1970
Bob Boyett ............................ 1970-1971
Ben Franklin Martin, Jr. ........ 1971-1973
Marvin R. Mikeska................ 1973-1975
Jack T. Buchanan ................... 1975-1976
Wells Burton ......................... 1976-1978
John Cary .............................. 1978-1979
Wesley Ray ............................ 1979-1980
William C. Keese .................. 1980-1982
Steve Adell............................. 1982-1983
W.E. Lynn ............................. 1983-1985
David Holland ...................... 1985-1987
Robert Sweat ......................... 1987-1989
Dr. Gerald G. Mullikin ......... 1989-1991
Throckmorton ............. 1991-1993
Gerald G. Mullikin ......... 1993-1995 Dr. Clyde N. Clubb .............. 1995-1997 Mrs. Frank (Millicent) Canter. 1997-1999 Dr. Morgan L. Willeford ....... 1999-2002 Richard E. (Dick) Miller ....... 2002-2004 Stanton Nash ........................ 2004-2005 Bryan Benson ........................ 2005-2008 Wayne Smith ......................... 2008-2010
Gregory Grabowski, acclaimed for his engaging, nuanced, and genuine performances, has served as the Director of Orchestral Activities at Stephen F. Austin State University (SFA) since 2019.
Maestro Grabowski has led orchestras including the Bakersfield Symphony, Baltimore Chamber Orchestra, and the Fairbanks Festival Orchestra. He served as interim director of the Flower Mound Symphony Orchestra and Assistant Conductor for the Lewisville Lake Symphony, and has appeared as guest conductor with groups such as the Richardson Symphony and the Dallas Asian-American Youth Orchestra. Grabowski completed his graduate degrees at the University of North Texas and Southern Methodist University, under primary conducting teachers David Itkin and Paul Phillips. He’s been honored to also study with many other distinguished conductors, including Don Schleicher, Nicolás Pasquet, Markand Thakar, Robert Franz, Paul Vermell, Samuel Jones, Harold Farberman, and Leon Botstein.
As Director of Orchestral Activities at SFA, in addition to conducting the SFA Symphony Orchestra (SFASO), Grabowski conducts SFA Opera productions, teaches conducting and music education courses, coordinates the Orchestral Studies area, and has a studio of graduate conducting students. Prior to his return to Texas, Dr. Grabowski served as Orchestra Director at Susquehanna University (Selinsgrove, PA). Under his leadership, the Susquehanna University Orchestra increased in size and prestige and was featured in two national public television performances aired in 2017.
Dr. Grabowski has taught and advocated for music education at every level from elementary school to professional. He began his career in the public schools of Frisco, TX, where he was the Associate Director of Winds and Percussion at Roach Middle School for three years. During his time at SFA, Dr. Grabowski assisted in the creation of the String Project, a community program sanctioned by the National String Project Consortium, in which SFA string music education majors work with elementary schoolaged students throughout Nacogdoches, teaching beginner string instruments classes. He has also instituted yearly educational outreach concerts for local elementary schools, and is a sought-after clinician and guest conductor for all-region and honor orchestras.
Greg grew up in Edison, New Jersey, where he began his musical studies as a jazz saxophone player and woodwind specialist. He now lives in Nacogdoches, TX with his wife, mezzo soprano Dianna Grabowski, and two sons, Ben and Sam. Aside from music Greg enjoys spending time on his many hobbies, including woodworking, photography, home renovation, and devising fun adventures with his family.
PrO gr AM
Ssaturday, October 12, 2024, 7:00PM
LeTourneau University Belcher Center
Tonight's Music Composed By: Lu Dwig vA n b eeth Oven
Overture to The Creatures of Prometheus, Op. 43
Piano Concerto No. 5 in E-flat major, Op. 73
I. Allegro
II. Adagio un poco mosso
III. Rondo: Allegro ma non troppo
Aviram Reichert, piano
i nter M i SS i O n
Symphony No. 7 in A major, Op. 92
I. Poco sostenuto
II. Allegretto
III. Presto - Assai meno presto
IV. Allegro con brio
g ue S t Arti S t
Aviram Reichert
Acclaimed for his deeply intelligent interpretations, phenomenal technique and ravishing tone –won the Bronze Medal at the 10th Van Cliburn International Piano Competition in 1997, after having won several major competitions in the Japan, Korea, France and Germany. His accomplishments brought him numerous concert engagements in the Far East, the United States, South Africa, Europe and Israel where he has been earning immense applause for 30 years.
Following a performance of Brahms first piano concerto and Manuel de Falla’s evocative Nights in the Gardens of Spain with the Grand Rapids Symphony under the baton of David Lockington, Reichert was described as “a big player with all the tension of a coiled spring suddenly unsprung….he has heft and he has poetry.” Having over 30 concerti in his repertoire Reichert performs frequently with leading orchestras in the USA, Israel, Japan Korea and South Africa. He is frequently visiting Durango’s Music in the Mountains festival, where he is a resident pianist for 20 years, performing concerti and chamber music annually.
Reichert can be heard on a Harmonia Mundi CD featuring highlights of his prize-winning solo performances at the Van Cliburn Competition, a Jerusalem Music Center label (JMC) featuring Schubert Sonatas, a Mozart concerti CD with the Music in the Mountains Festival Orchestra, conducted and performed from the keyboard, he has also recorded Gershwin’s Rhapsody in Blue for Piano and Brass quintet with the Spectrum Brass, Brahms Cello sonatas with Young Hoon Song and Brahms Clarinet sonatas and songs with Ron Selka.
In addition to his busy concert career, Reichert is a sought-after teacher, who is frequently invited to conduct master-classes in Japan, China, Korea, South Africa, France, Israel and the United States. He is a regular guest at the prestigious Tel Hai Masterclasses in Israel and currently a Professor of Piano (former Chair) at Seoul National University, College of Music, where his students won numerous local and international awards. A Steinway artist, he studied at the Rubin Academy of Music, Tel Aviv with Professor Arie Vardi.
Flute
Mu S i C i A n S
Jessica Ogilvie, principal
Sue Bugg
Oboe
Jenna Sehmann
Ryan Estes
Clarinet
Timothy J. Wright, principal
Vanessa Davis
bassoon
Sarah Boyd, principal
Neva Abrisz
horn
Andrea Denis, principal
Manny Jasso, asst. principal
Thomas H. Hundemer
trumpet
Jake Walburn, principal
Glenn Bessinger
timpani
Chandler Teague, principal
violin i
Dr. Jennifer Dalmas, concertmistress
Alba Madrid
Nathalie Reedstrom
Josias Ramos
Christopher Reed
Dr. Julia Hector
Meredith Corrales
James Nolet
violin ii
Anna Larson, principal
Jamie Reason
Shannon Roberts
Russell Lewis
Shelby Rotramel
Sarah Reason
Corey Bowe
Diego Pastor
viola
Shane Almendarez, principal
Ethan Cole
Sherry Paetznick Wilkins
Brianna Alvarado
Brandon Chandler
Richard Lepper
David Mills
Cello
Evgeni Raychev, principal
Caleb Moore
Chase Teague
Pam Martin
Chanhee Lee
Elijah Salinas
Double bass
Andrew Goins, principal
Deborah Scarlato
Kyp Green
John Porter
Personnel Manager
Jessica Ogilvie
Librarian
Sue Bugg
Stage Manager
Ty Hood
vice President of Production/ Longview Symphony League
Dr. Kevin Richardson
JANUARY 25
Longview Community Center 500 E. Whaley St.
Arts!Longview Honors is a one-night only Broadway-style event celebrating the Arts!Longview Cultural District, our 8 arts and culture organizations, and recognizing Lifetime Achievement honoree, Barbara McClellan. Your ticket also includes valet parking, a reception with hors d'oeuvres and drinks, live music throughout the evening, and more.
TICKETS: $100 Scan for tickets!
S P e C i AL t h A n KS
Annamarie Cowart
ArtsLongview
City of Longview
City of Longview Cultural Activities & Advisory Committee
Dale Lessenberry
Forbes & Butler
Hallsville ISD
Jo Popma & James Smith
Lads & Ladies of the Symphony
LeTourneau University
Belcher Center Staff
Longview Symphony Foundation
Michael Cavazos Photography
Mundt Music
Patrick Hill
Paul Roberts
Shawn Hara
Ty Hood
Visit Longview
Musicians and listeners alike revere Ludwig van Beethoven (1770-1827) as the ideal artist hero of a new age of enlightenment during which individual rights, beliefs, and talents gained respect as the absolutist monarchies of the eighteenth century gave way to populist demands. We admire him for his ability to triumph in the face of adversity. In his youth in Bonn, Beethoven struggled to support his mother and younger brothers by working as a church organist while his father, who undertook the boy’s first musical training, squandered his court musician’s salary on drink. During his mature years, Beethoven battled the physical challenges and the depression caused by his increasing deafness, a condition that had become acute by 1816. Most listeners associate Beethoven with the symphony and with the memorable themes and expansive ideas that he contributed to that genre. His third symphony, the Eroica, is hailed as a monument to the composer’s triumph over trial. His ninth symphony is accepted as the composer’s statement of his ideals of liberty and social equality. It can be intimidating to attend a concert dedicated to the music of Beethoven because his name has been so associated with greatness that we feel unsure about our ability as mere mortals to understand his music. Although Beethoven certainly deserves his place of honor among our greatest composers, he is, in many ways, a composer to whom we can easily relate. Here are some things you may not know about the great Beethoven. He was a “gadget guy,” always fascinated with new technology, and was one of the first composers to adopt the new metronome as a way of marking tempo in his works. He also insisted on new innovations in the making of pianos to increase their volume and durability. He was coffee-addicted, demanding that a precise number of beans be ground by hand for his morning cup, and becoming angry if he was given fewer. He was an entrepreneur, thinking outside the box in order to market his works, writing pieces that would appeal to amateur musicians as well as professionals. He was extremely creative, innovating strategies to continue his compositional activities despite increasing hearing loss after 1802. As he searched for ways to get his ears closer to the sound board of the piano in order to hear the sounds he was composing, for example, he began cutting the
Pr O gr AM n O te S i i
legs off his pianos so that they would rest on the floor while he lay down next to them. Needless to say, this unusual choice caused consternation and horror among the composer’s sensitive, Viennese friends.
Beethoven was, by nature, a “people person,” moving in all sectors of society, befriending dukes, counts, and princes as easily as he socialized with servants and innkeepers. He was political, championing the populist ideals of the French revolution and denouncing Napoleon when he declared himself emperor, removing the ruler’s name from the dedication of his third symphony. Yet, in many respects, Beethoven remains an enigma, as he lived in ways that are difficult for us to comprehend. The squalor of his living conditions is legendary, and the slovenliness of his personal appearance was often alarming. He was once arrested and held overnight in jail for vagrancy. As his hearing declined, he became increasingly rude, irritable, and reclusive, shutting out the people in his life as communication became more difficult. Yet, through it all, he chose to live for his art, writing hours of music that still enthralls listeners.
b eeth Oven, Overture tO t he Cre Ature S OF PrOM etheu S
While Ludwig van Beethoven is most famous for his monumental symphonies, he also wrote a number of smaller works that are worthy of appreciation. These include incidental music for theatrical productions and, as we will hear this evening, a ballet staged in Vienna. Many such works open with delightful overtures such as the familiar Egmont Overture. Tonight, we begin our performance with Beethoven’s overture to His only published ballet, The Creatures of Prometheus. Beethoven’s friend, Italian ballet artist and empresario Salvatore Viganò was commissioned by the empress of Austria, Maria Theresa to create a unique production for the Viennese court. Concerned that his musical talents might not do justice to the chosen subject, he requested that the empress commission Beethoven to compose the score.
The mythical subject of Prometheus is complex. Ancient Greek myth explains that the titan Prometheus created the first humans from water and clay. He then defied the gods by stealing fire from them and giving it to humankind.
Pr O gr AM n O te S i ii
Fire, of course, symbolizes the ideas of knowledge, arts and sciences that allowed the first humans to develop a civilization. While Prometheus’ gift was indispensable to humanity, his eternal punishment was cruel, and Beethoven’s aristocratic audience would have been familiar with it. Ancient Greeks believed the liver to be the source of all emotions that govern human existence. Zeus ordered the titan chained to a rock where an Eagle, Zeus’ symbol, would eat Prometheus’ liver each day, only to have it grow back each night, causing him to experience renewed sensations of pain every evening. Beethoven, as a champion of enlightenment ideas and human creativity, relished the opportunity to compose the story of a rebellious symbol of progress and ingenuity in which the action and music focused on the gifts of the arts rather than on the titan’s punishment.
The ballet was premiered at the Vienna court theater in 1801, and gained extraordinary popularity, running for twenty-eight performances. In the early nineteenth century, it was among Beethoven’s best-known works. Today, however, most of the music is unheard and much of the choreography has been lost. Only the overture is performed in concert regularly.
The overture begins with one of Beethoven’s most recognizable gestures, a sequence of repeated, pounding chords heralding the solemnity of the story to come. A slow introduction helps listeners to picture the titan Prometheus high atop Mount Olympus gazing down upon the humans he created. We then hear a lively energetic theme in the strings representing the kindling of the human spirit as it is fired by knowledge and particularly by the performing arts. This is followed by a lyrical theme featuring the flutes, representing the joy experienced by newly enlightened human beings. This brief overture is a testament to the young Beethoven’s commitment to the arts and to his enlightenment principles.
b eeth Oven Sy MPh O ny nO. 7
Beethoven’s Symphony No. 7 was written between 1812 and 1813 and premiered in December of 1813 at a concert held to raise funds for soldiers
wounded in Austria’s recent battles against Napoleon. The Viennese public was exhausted from their war with France, and by December, they were eager to begin their recovery and celebrate their victory. The symphony was paired with the composer’s “Wellington’s Victory” to form an inspiring and festive program. The Seventh symphony was an immediate audience favorite, and the second movement was played again, in its entirety, as an encore.
Although the Seventh symphony is cast in four movements, as were most symphonies of Beethoven’s day, it has some unique features. The most interesting of these is that it does not technically contain a slow movement. There is one movement that is slower than the others, but even it is marked “Allegro,” which means fast. This unusual intensity is underscored by pianist Oscar Levant as he attempted to talk a police officer out of a speeding ticket by protesting that “you can’t listen to Beethoven’s Seventh and go slow.”
The first movement begins with an elaborate, extended introduction that is marked “Poco sostenuto,” or somewhat sustained. This means that the primary thematic material of the movement does not begin for quite some time and, when it does, the tempo speeds up to a lively “Vivace.” In addition to a long introduction, this movement also features an element quite typical of Beethoven, an extended coda. Coda is the Italian word for tail, and in music, it implies the addition of a long extension with an elaborate cadence at the end of a movement.
The second movement, marked “Allegro” or fast, is the best-known movement of the work and is often excerpted and performed separately, so it may sound familiar to you. It is also the slowest movement of the four. It has a more somber character, as you will hear from its minor key.
Many composers of Beethoven’s era chose to write movements in a stately “minuet” tempo for their symphonic third movements. But Beethoven preferred to use the more animated Scherzo, and the third movement of this symphony is just such a scherzo, which means joke. The movement features one of Beethoven’s most prominent characteristics, the rhythmic motive. Beethoven often helps his listeners to follow the progress of a movement by
Pr O gr AM n O te S v
giving us a short rhythmic pattern to memorize and to track as we listen. The best example of this is the famous four-note motive from the opening movement of his fifth symphony. This motive acts as our guide to that entire symphony so that, even when the actual pitches change, we can still follow it as a familiar point of reference. The third movement of the seventh symphony also features a rhythmic motive, but it is even simpler. It is a dotted eighth note followed by a sixteenth note, creating a “long short” pattern. The first theme in this movement is based entirely on that motive. The second theme in the movement is built on an Austrian hymn used by pilgrims as they travelled in very difficult circumstances to visit holy shrines. It is an optimist song of hope. The fourth movement needs little explanation. It is marked “Presto” and is the fastest of the four. It is a fantastic, frenzied and fun celebration of victory, hope and life, and it will stay with you long after this concert is over.
b eeth Oven, Pi A n O CO n C ertO nO. 5
By 1809, Austria’s battle with Napoleon had reached Vienna, and Beethoven became overwhelmed. He was so disoriented by the noises of the war and saddened by the suffering of the soldiers that he fled to his brother’s country house and covered his head with pillows. It is no surprise, then, that themes of military might and heroism were on his mind as he composed his fifth piano concerto. He had hoped to perform the piano solo himself, but by the time it premiered in 1811, his hearing loss prevented him from playing in public. He dedicated the work to his long-time patron, friend, and student, the Archduke Rudolf, who arranged for enough funding to persuade the composer to remain in Vienna despite a tempting job offer elsewhere.
In the English-speaking world, this concerto is known as The Emperor despite the fact that the composer was not an admirer of Napoleon or of his political philosophy. The origin of the adopted title remains a mystery. Yet, there is no mystery about the fact that this is Beethoven’s most famous concerto.
Since the mid-eighteenth century, it was traditional for the first movement of a concerto to begin with an extended orchestral introduction, after
Pr O gr AM n O te S vi
which the soloist would present a more virtuosic performance of the important melodic material. But Beethoven believed that rules were made to be broken, particularly when it came to innovation in his piano concertos. Introduced by only a single chord in the orchestra, the soloist presents an extended, virtuosic cadenza of the type we would normally hear at the conclusion of the first movement, as a final display. But Beethoven uses the cadenza to introduce listeners to the important motives in the first movement in ways that we hardly notice. The rest of the movement features stirring, marching themes that sound militaristic and heroic, reminding listeners of ideas in his third symphony, Eroica. The second movement offers a welcome, peaceful respite from the blaze of cannon fire and shouts of soldiers. It is nostalgic and lyrical, as if the composer is remembering the peace of happier times. The opening theme is reminiscent of folk song or congregational hymn. The finale begins without pause, and bursts with ideas of victory, joy, and Beethoven’s biting sense of humor. The piano plays an energetic dance, with a melody that will keep us humming for days. The movement is called a rondo, which means that after each new section, we hear the return of the familiar, opening dance. The finale reminded the Viennese audience, and perhaps reminds us that joy and human resilience will always triumph over acts of war.
L O ngview Sy MP h O ny
Legacy Endowment
would you like to provide a lasting remembrance for a loved one who shared or continues to share your love of beautiful music?
The Longview Symphony Legacy Endowment was created to improve the quality of the performances and to support the growth and development of the orchestra. The interest earned supplements the current operating budget.
If you are interested in creating an enduring legacy for your beloved friend or family member, contact the Longview Symphony office, 903-236-9739.
Get Involved with the Longview Symphony Guild!
The mission of our Lads & Ladies g ui L d is to support the Longview Symphony Orchestra (LSO) by promoting its organization and events while fostering the art of music through community projects. We invite anyone who is interested to join us – no auditions or musical talent required! We share an enthusiasm and appreciation of the LSO’s contributions to our cultural and educational landscape.
He R e’s w H at we d o: s ocial e vents | a ssist with Fundraising e fforts | Community o utreach | volunteer s upport for Concerts | e ducational o utreach | Post-concert Receptions
Please contact Niki Groce at 903-736-9531 or email ngroce@longviewsymphony.org for more information.
Fast care on theLoop
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