October 2023

Dear Symphony Patron,

We are excited to bring you the 55th 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 will be kicking off our season with our Classical Concert featuring Tchaikovsky, Borodin and Grieg. This season features our Home for the Holidays Seasonal Event, and DC vs Marvel Concert at Belcher Center. We also have our free Downtown Bach’s Lunch Series as well as many special community outreach programs. Don’t miss our Candlelight Chamber Concert at Longview Community Center in January. A highlight of the season is our FREE Joker’s Gauntlet Maze at the Longview Arboretum on March 23, 2024.

Please consider becoming a supporter of our 2023-2024 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 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!

The Longview Symphony Presents

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, N Ove M ber 3, 2023

First Lutheran Church of Longview

Fri DAy, FebruA ry 9, 2024

First baptist Church of Longview

Jim Simmons, Classical Guitar

Fri DAy, M A rC h 8, 2024

Trinity episcopal Church of Longview

Fri DAy, A P ri L 5, 2024

First Methodist Church of Longview

David Berryhill, Piano

Fri DAy, M Ay 10, 2024

First Presbyterian Church of Kilgore

Gala Strunk, Organ

Free Fri DAy C ONC erT Serie S

your giving keeps the Music playing!

Please make your tax deductable donation to the Longview Symphony Foundation by calling 903-236-9739 or visit www.longviewsymphony.org.

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.

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.

L ON gview Sy MP h ON y 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

bOA r D OF Dire CTO r S

Shelly Butler President

Paul Roberts

Vice President of Production

Pat O'Bryan

Vice President of Development

Barbie Deborah Treasurer

Mandi Blackford

Jon Cromer

Claire English

Cierra Evans

Lynette Goodson

Ruth Hathaway

NaTusha Howard

Jenn Eldridge Secretary

Charlotte Wrather Director-at-Large

Justin McFaul

Past President

Niki Groce Executive-Director

Dr. Greg Grabowski, Conductor

Dr. John Kirk

Kenneth Kirkland

William McWhorter

Matthew Nehrling

Ginia Northcutt

Dr. Joseph Pistone

Dr. Karen Rea

Dr. Kevin Richardson

Mindy Shook

Jerry (Wayne) Smith

Christina Stanger

Suzanne Brown Tuma

Wray Wade

L ON gview Sy MP h ON y PAST Pre S i D e NTS

Dr. Landon A. Colquitt .........

Herbert Boyland ...................

Bob Boyett ............................

1968-1969

1969-1970

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

W.H. Throckmorton ............. 1991-1993

Dr. 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 ........................

Wayne Smith .........................

Randy Maines .......................

Lynette Goodson ...................

Jon Cromer ...........................

Justin McFaul ........................

Shelly Butler .................................. 2022-

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.

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AT i S O P e N i N g notes ?

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, Auditorium (enter through left side door) presented by Dr. Jamie Weaver

L ON gview Sy MP h ON y hONO 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

Cablelynx broadband

Crain Foundation

Forbes & butler

Johnson & Pace

Dan Sorey

Longview regional Medical Center

Longview Symphony Foundation

rea Dentistry

rosa May griffin Foundation

Spring hill State bank

SwePCO

Texas bank & Trust

uS Title

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

First Presbyterian Church, Longview | Trinity episcopal Church, Longview

First Presbyterian Church, Kilgore | First baptist Church, Longview

First united Methodist Church, Longview

First Lutheran Church of Longview

Th ANK y O u TO O ur Sy MP h ON y S PONSO r S

MA e ST rO ($20,000+)

The Longview Symphony Foundation

City of Longview Arts and Culture Commission

Crain Foundation

Texas Commission on the Arts

CLASS i CAL ($10,000+)

Rosa May Griffin Foundation

Charlotte and John Wrather

C h AM ber ($5,000+)

Hollandsworth Foundation

Gayle & Claire English

Dr. John and Eleanor Kirk

Sorey Law Firm

Texas Bank and Trust

Vera Bank

e NCO re ($2,500+)

Jim Bartlett Fine Jewelry

Mimi and Bruce Cammack

Capital Wealth Group/Jon Cromer

Jim & Barbie Deborah

Forbes & Butler

Darren & Niki Groce

Paula and Dr. Kim Howard

Johnson & Pace

Sandy and Dr. Jerry Keaton

Sarah and Tim Medin

Dr. Pat & Pam O’Bryan

Rea Dentistry

OverT ure ($1,500+)

Advanced Roofing

Bryan & Mary Benson

Bodacious BBQ

Brazos Strategies

Cassity Jones Building Material

Suzanne Cook

Coolidge and Company Real Estate

Grady Crawford Construction

Pat Florence

Gregg County Historical Museum

Bruce & Ruth Hathaway

Longview News Journal

Sloan Law Firm

Spring Hill State Bank

Dr. Tom and Susan Kay Smith

Spring Hill State Bank

SWEPCO

Westlake Chemical

Women’s Health Boutique

Karen and David Wright

Edible Art | Elise Frigon | Lynette Goodson

Dr. Jay & Ellen Gorden | Brent & Karen Haas

Joy McLemore | Emily Myers | Matthew & Christina Nehrling

Karen & Ron Peters | Dr. Joseph & Betsy Pistone

Dr. James & Nancy Sawyer | Phyllis Shaw | Christina Stanger

Nancy Starr | Suzanne Stadden Brown Tuma & Bruce Tuma

John & Nell Ward | Wayne & Julie Young

COMM e MO r AT ive CONT ribu T i ONS

In memoriam of Logan Damewood by Nan Mitchell

In memoriam of Mary Taylor by Nan Mitchell

In memoriam of Pilar McLemore by: Claire English, Charlotte & John Wrather, Nancy & Jud Murray, Crain Foundation, Neina Kennedy, Toni & Blake Erskine, Cindy Graham, Gregg County Historical Foundation, Susan Mincey, Barbara Hawkins, Lucy & Guy Harrison, Gay & Kenny Kirkland, Francye & Dan Phillips, Dr. Jay & Ellen Gordon, Laura Mayne, Mary Lester, Nell & Johnny Ward, Michelle Norris, Dr. James & Nancy Sawyer, Elise Frigon, Lindsey Butler, ArtsView Children’s Theatre, Dale Lessenberry, Kasha Williams, Pat and Pam O'Bryan, Forbes & Butler, Nancy Starr, Beth Price, 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 Nan Mitchell

Would you like to support the Symphony?

Please see us at our table in the lobby during intermission.

Tribu T e S AND 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.

COND u CTO r

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

Saturday, October 7, 2023, 7:00PM

LeTourneau University Belcher Center

Polovetsian Dances Alexander Borodin, (1833-1887)

Concerto in A minor for Piano and Orchestra Edvard Grieg, (1843-1907)

I. Allegro molto moderato

II. Adagio

III. Allegro moderato molto e marcato — Quasi presto — Andante maestoso

Minhae Lee, piano

i NT er M i SS i ON

Symphony No. 4 in F Minor Pyotr Ilyich Tchaikovsky, (1840-1893)

I. Andante sostenuto

II. Andantino in modo di canzona

III. Scherzo – Pizzicato ostinato

IV. Finale – Allegro con fuoco

Flute

Jessica Ogilvie, principal

Sue Bugg

Holly Rosenberg Piccolo

Holly Rosenberg Oboe

Jenna Sehmann

Joseph Ryan Estes

english horn

Kristin K. Perry

Clarinet

Timothy J. Wright, principal

Aaron Linde

bassoon

Sarah Boyd, principal

Neva Abrisz horn

Andrea Denis, principal

Raymond Garcia, asst. principal

Thomas Hundemer

Tammy Moorhead

Charles Gavin

Trumpet

Jake Walburn, principal

Glenn Bessinger

Trombone

Tom Mensch, principal

Danny Vinson

bass Trombone

Heather Mensch

Tuba

J.D. Salas

Timpani

Chandler Teague, principal

Percussion

Anthony Armistead-Robinson, principal

Kevin Ogilvie

Mike Britt

Tyree Hastings

Doug Parmelee

harp

Dr. Janel S.R. Hector

Piano/Keyboard

David Berryhill

M u S i C i ANS

violin i

Dr. Jennifer Dalmas, concertmistress

Renee Ward

Anna Larson

Chaerin Seo

Christopher Reed

Dr. Julia Hector

Nathan Reedstrom

Olivia Grohn

Josias Ramos

Shelby Rotramel

violin ii

Tami Peterson, principal

Jamie Reason

Russell Lewis

Shannon Roberts

Michelle Frederick

Corey Bowe

Chance Watley

Chayton Gilmore

Ruth Salazar

Meredith Corrales viola

Shane Almendarez, principal

Melissa Nabb

Sherry Paetznick Wilkins

Ethan Cole

Brigette Kelling

Richard Leppert

Brandon Chandler

David Mills

Cello

Evgeni Raychev, principal

Ozge Serceler

Caleb Moore

Pam Martin

Cristian De la Torre

John Valez

Double bass

Ben Carter, principal

Andrew Goins

Jose D Saavedra Diaz

John Porter

Jordan Tillerson

Personnel Manager

Jessica Ogilvie

Librarian

Sue Bugg

Stage Manager

Ty Hood

vice President of Production/ Longview Symphony League

Paul Roberts

S P e C i AL Th ANKS

S Pe C i AL Th ANKS T hi S eve N i N g TO:

City of Longview

Texas Commission on the Arts

Longview Symphony Foundation

Forbes & Butler

Jo Popma & James Smith

Annamarie Cowart

Patrick Hill

Shawn Hara

Lads & Ladies of the Symphony

Matthew Nehrling

LeTourneau University Belcher Center Staff

Longview Public Library

Paul Roberts

Ty Hood

Special thanks to our New Personnel Manager, Jessica Ogilvie and New Librarian, Sue Bugg!

SP e C i AL gue ST

Minhae Lee

Dr. Minhae Lee joined the faculty of the School of Music at Stephen F. Austin State University as Assistant Professor of Piano in 2021. Equally at home as both a solo pianist and collaborative pianist, she has held a staff position as a collaborative pianist at the Jeju International Brass Competition, the Manhattan School of Music, the Manhattan in the Mountains Summer Festival, Michigan State University, Central Michigan State University, and the Aspen Music Festival and School as a full scholarship fellow and now she is an instrumental performance coach at AMFS. Before joining SFA, Dr. Lee was named as the only Collaborative Piano Fellow at the Yale School of Music in 2020 where she played for numerous master classes and recitals and worked closely with renowned musicians and pedagogues such as Ani Kavafian, Shoko Aki, Ettore Causa, Paul Watkins, Ransom Wilson, Stephen Taylor, and David Shifrin. She was a winner of the North Shore Musicians Club Competition in Chicago, the Honors Concerto Competition at Michigan State University, the NTD International Piano Competition, and many others.

Dr. Lee completed her Bachelor’s and Master’s degrees from Yonsei University in Seoul. She also attended the Chicago College of Performing Arts at Roosevelt University and the Manhattan School of Music, where she was awarded a full scholarship to study with Dr. Solomon Mikowsky. She holds a Doctoral degree in piano performance, a second master's degree in piano pedagogy, and her second Doctoral degree in collaborative piano from Michigan State University. While completing her degrees, Dr. Lee worked as an adjunct faculty member of piano at Alma College, Michigan State University and its Community Music School in East Lansing and Detroit.

As an active chamber musician and strong supporter of new music, Dr. Lee has premiered numerous works for piano and varied chamber music ensembles. Recently, she was a prize winner in the Barbara Wagner Chamber Music Competition as a member of the Lumi Trio (clarinet, violin, and piano).

This evening’s concert features masterworks that unite ideals, stories, and musical traditions from Eastern Europe with orchestral techniques, forms, and harmonies from Western Europe, where conservatory training was the norm. As new opportunities for travel and communication opened during the latter half of the nineteenth century, composers from Eastern-European countries travelled to study at conservatories and major cities in the west, and new conservatories opened both in Moscow and St. Petersburg. These connections yielded fruitful results, producing some of our favorite symphonic works. Tonight, we will hear pieces by Russian composers Borodin and Tchaikovsky and Norwegian composer Edward Grieg. All incorporate traditional elements of their native countries while demonstrating skillful handling of Western harmony and orchestration.

P OLOve T zi AN D ANC e S - A L ex AND er bO rOD i N

We often think of composition as a full-time job, assuming that those who write brilliant music would have time for little else. Yet, most composers pursue multiple careers, serving as music teachers, performers, or conductors. The opening work on tonight’s concert was written by a composer who chose to make his living in a field other than music, composing during his leisure time. Russian chemist and physician Alexander Borodin (1833-1887) made several important discoveries in the field of organic chemistry and founded and taught at a school of medicine for women in St. Petersburg. Yet, he was also a member of the famous “Mighty Five”, an elite group of like-minded composers who hoped to change the face of Russian music during the latter half of the nineteenth century.

Ironically, Borodin’s most important work, the opera Prince Igor was left unfinished at the time of his death and was completed by his friends RimskyKorsakov and Glasunov. The opera recounts the heroic exploits of a twelfthcentury prince and his son as they attempt to conquer the nomadic Polovetzian tribe, a warrior group who consistently attacked the southern regions of Russia. At the conclusion of the opera’s second act, Prince Igor and his son have been captured by the Polovetzians, whose leader is called Kahn Konchak. Kahn

Pr O gr AM NOT e S i i

provides lavish entertainment for his captive guests, demanding that his slaves perform the dances that conclude the act. Today, these dances are most often performed as a suite, as we will hear them this evening. They endure as part of the symphonic repertoire because they showcase the talent and skill of the orchestra in a variety of moods and energy levels.

The first dance, performed by the maidens of Kahn’s tribe, is lyrical and wistful, speaking of the sweetness of freedom in a warm, foreign land. The melody of this dance is familiar to many of us through its appearance in the musical Kismet. The men respond with a fast, celebratory dance featuring a virtuosic clarinet solo. The third and fourth dances are both athletic and describe the strength, glory, and military power of the Kahn’s empire. The final dance is a rousing call for everyone to sing and dance for the pleasure of the Kahn and his noble visitors.

Pi ANO CONC erTO i N A M i NO r – eDvA r D g rieg

Piano concertos are among our best-loved performance pieces. They dazzle us with virtuosity, fascinate us with demonstrations of skill, and enchant us with lush, sweeping, poignant melodies. Edvard Grieg’s monumental concerto of 1868 never fails to disappoint.

Edvard Hagerup Grieg (1843-1907) first studied piano with his mother, as did his colleague Tchaikovsky. At age fifteen he entered the conservatory in Leipzig Germany to study piano, composition, and organ. While he did gain knowledge at the conservatory, he became frustrated with the many rules and restrictions.After completing his conservatory education in 1862, Grieg established his professional careers as composer, pianist, and conductor. Ever an admirer of the folk music and traditions of his native Norway, Grieg incorporated Norwegian themes, modes, and dance rhythms into his compositions. One of his most familiar compositions, the Peer Gynt Suite is comprised of pieces written for Gibson’s play of the same title. The most famous of these pieces is “The Hall of the Mountain King,” which we know from its use in films and television shows. In 1868, his piano concerto earned high praise from Franz Liszt as well

as the admiration of Tchaikovsky, both of whom supported Grieg throughout his career.

While the concerto is cast in the traditional three-movement structure, there are many aspects of the work that defy tradition. The first movement is the longest of the three. Its dramatic introduction is iconic, finding its way into films and television programming. A timpani roll is followed by a grand, virtuosic passage that foreshadows the first theme in A minor. This theme is presented by the orchestra before it is taken up by the piano. A second important theme, introduced in the lower strings, with a response from the woodwinds, appears in C major, giving the movement a more sentimental mood. Its broad melody is sweet but tinged with melancholy. The movement concludes with a virtuosic cadenza that bears striking similarities to the introduction.

The second movement is a song with an opening section that repeats to complete it. Simply presented in the strings, the straightforward melody sounds like a hymn tune we might hear in church. It is lyrical and sweet, allowing the strings to soar. As the piano joins the orchestra for the second theme, the music increases in complexity and energy. The repeat of the opening theme features both the piano and the orchestra but returns to its song-like presentation. This movement proceeds into the third and final movement without pause. The finale returns us to the key of A minor and begins in a thrilling, festive mood with an athletic theme based on the Norwegian “hallingdansen,” an agile folk dance performed by young men at weddings and parties. In the dance, a woman holds a hat on a stick high above her head. The object of the dance is for one of the men to kick the hat to the ground, thus winning the competitive dance. Soon, however, the riveting dance gives way to a lyrical theme in a contrasting, major key. This theme is quiet, with a pastoral feel enhanced by the serene flute solo that introduces it. The calm melody reaches a conclusion of its own before the energetic “hallingdansen” returns. Both themes are repeated, but with the second theme taking on a more vibrant, dazzling character as the concerto blazes towards its dramatic conclusion.

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Sy MPh ON y N O. 4 – PyOT r iLyi C h TC h A i KOv SK y

Pyotr Ilyich Tchaikovsky (1840-1893) composed his best works when he became inspired by his surroundings or by the stories of his native Russia. In 1877, however, he drew upon inspirations from his own life and relationships as he composed his epic fourth symphony. Two women entered the composer’s life, changing it forever. In 1876 he began receiving letters from wealthy widow, Nadezhda von Meck, who admired Tchaikovsky’s works and hoped to commission a work from him privately. The professional correspondence gradually blossomed into a friendship conducted via letters, but without an inperson meeting. Von Meck began acting as the composer’s patron, even granting him the use of a house so that he would have more time to compose. It is in von Meck’s home that he began sketches for Symphony No. 4. He also dedicated the completed symphony to her, signaling her close involvement in its creation.

Tchaikovsky taught classes at the Moscow Conservatory in the late 1870s, and one of his female students, Antonia Miliukov began pursuing the composer in a way that we would probably describe as stalking in today’s world. Miliukov sent him a flood of letters in which she expressed a deep passion for him, even resorting to threats of injuring herself if Tchaikovsky failed to return her feelings. The unusual circumstances surrounding Miliukov’s letters, in fact, served as an inspiration for the composer’s opera Eugene Onegin, composed in 1878. In his eagerness to be loved so completely and in the hope of dispelling the rumors regarding his homosexuality, Tchaikovsky agreed to marry Antonia Miliukov only two weeks after their first meeting. But the marriage failed spectacularly within a matter of days. Miliukov proved to be emotionally unstable, and Tchaikovsky was not attracted to her, describing her attention as suffocating. Tchaikovsky was also emotionally unfit and requested that Miliukov agree to a “non-romantic marriage.” Their brief union left Tchaikovsky exhausted, demoralized, and bitter.

His fourth symphony, completed shortly after the end of his marriage tells the story of a protagonist who strives for happiness, but struggles to achieve it due to the constant intervention of fate. Tchaikovsky presents the “fate motive”

early in the first movement as a boisterous fanfare in the horns and bassoons. This motive represents the idea of fate throughout all movements of the symphony. We hear the protagonist’s confusion and despair in the waltz theme introduced in the strings. Strong beats are obscured in both the accompaniment and melody to demonstrate uncertainty. Later, descending motives in the woodwinds represent our protagonist sinking into depression. Finally, a glimmer of hope appears in the triumphant flourishes of brass instruments. But just as our protagonist begins to hope, fate steps in again with a somber version of its initial fanfare theme.

Tchaikovsky labels the second movement as a “canzona” (song.) It begins with a plaintive, aching melody in the oboe, reminding us that our protagonist is still deep in sorrow.

Once more, the solo clarinet, accompanied by the strings suggests hope and a rising of spirits. But the familiar falling figures in the woodwinds return along with the anguished opening theme, and the sighing of the “fate” motive played by a solo bassoon announces that fate has deprived our protagonist of happiness yet again. In Tchaikovsky’s original program for the symphony, he writes that there is no specific emotional significance attached to the third movement, a lively scherzo. It is as though the composer has provided us with a kind of commercial break as a lighthearted interlude between emotionally weighty movements. It features pizzicato strings throughout. Tchaikovsky is a master of creating orchestral color, and he presents us with a glittering pallet of sounds to distract us from our protagonist’s cares. In the finale movement, however, we return to our story, but it seems that our protagonist has overcome his despair and sadness.

The movement is marked “allegro con fuoco,” literally, (cheerfully and with fire.) It seems that our struggling protagonist may be a hero. To represent that our struggling hero is still standing, Tchaikovsky quotes the tune of a simple, cheerful Russian folk song called “A birch tree stood in a meadow.” The exuberant, whirling accompaniment dances with the happy folk tune until, suddenly, we hear it … the intrusion of the fate motive played on bright trumpets. Yet it fails to overwhelm the hero’s jaunty tune. The folk song and the fate motive continue

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their dialogue as the finale achieves a jubilant conclusion. In this exciting finale, the composer teaches us that, even though fate may intervene, happiness is always possible for those who seek it. His words to von Meck explain his thoughts well. “There still is happiness, simple, naïve happiness. Rejoice in the happiness of others – and you can still live.”