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nov 11, 12

Inside the Classics: Shostakovich: Symphony No. 5

Minnesota Orchestra Sarah Hicks, conductor • Sam Bergman, host

Inside the Classics Friday, November 11, 2011, 8 pm Saturday, November 12, 2011, 8 pm

Orchestra Hall Orchestra Hall

Tonight’s program offers an in-depth look at Dmitri Shostakovich, focusing on his Fifth Symphony, a work aimed at restoring the composer’s reputation after his music was denounced by Stalin’s regime. In the concert’s first half, you’ll learn about Shostakovich’s unique approach to orchestration, his struggles with the brutal Soviet government, and his efforts to maintain his artistic integrity without losing his freedom—or his life. You’ll hear excerpts from his Fifth Symphony and from his Eighth String Quartet, Tenth Symphony, Chamber Symphony and Viola Sonata, as well as his opera, Lady Macbeth of the Mtsensk District. The Orchestra will also play excerpts from works by Sergei Prokofiev, Georges Bizet and Giya Kancheli. After intermission, the Orchestra will give a complete performance of Shostakovich’s Symphony No. 5. Dmitri Shostakovich

Dmitri Shostakovich

Symphony No. 5 in D minor, Opus 47

ca. 48’

Moderato Allegretto Largo Allegro non troppo

The audience is invited to remain in the auditorium after the concert for a performance of Judd Greenstein’s Four on the Floor for String Quartet. Visit or for our Inside the Classics blog, videos of concerts and interviews, details about the Musical MicroCommission project and more.

thank you 38

Supported by the The Wallace Foundation.



All materials copyright © 2011 by the Minnesota Orchestra.

Minnesota Orchestra


nov 11, 12

Post-concert performance Greenstein: Four on the Floor, for String Quartet Gina DiBello, violin Jonathan Magness, violin Sam Bergman, viola Katja Linfield, cello 11/11, post-concert 11/12, post-concert Orchestra Hall Auditorium

Sarah Hicks, conductor

Sam Bergman, host

Sarah Hicks, the Minnesota Orchestra’s principal conductor of pops and presentations, has led a broad range of programs since joining the Orchestra as assistant conductor in 2006. She takes the Orchestra Hall podium later this season to lead pops concerts with Jim Brickman, Celtic Woman and Brian Stokes Mitchell, among other artists, as well as Scandinavian Christmas concerts. Recent, upcoming: Her 2011-12 schedule includes appearances with the Indianapolis Symphony Orchestra and return engagements with the Florida Symphony Orchestra. This past summer she acted as conductor for Sting’s Symphonicities Tour, leading 31 concerts over two months in venues throughout Europe. Other posts: In 2009 Hicks was appointed associate conductor of the North Carolina Symphony. She was earlier affiliated with the Richmond Symphony, Philadelphia Singers, Reading Symphony Orchestra and Florida Philharmonic. More:

Violist Sam Bergman, who joined the Minnesota Orchestra in 2000, has hosted many Orchestra programs in recent seasons, including Young People’s and Close to Home concerts. Chamber: Bergman has been part of small ensembles at ten Sommerfests, most recently in 2011, when he played Judd Greenstein’s string quartet Four on the Floor. He will reprise that work following these Inside the Classics concerts. Educator: He serves each year on the faculty of Greenwood Music Camp, which he began attending at age ten. He also teaches at the Apple Hill Center for Chamber Music in New Hampshire. Writer: With Sarah Hicks, Bergman is co-author of an Inside the Classics blog on the Orchestra’s website. From 2001 to 2008 he served as news editor for the online arts new digest ArtsJournal. Of interest: Bergman plays a Canadian viola crafted by John Newton from the salvaged timbers of an Ontario barn. More:

In 1936,

the Communist Party newspaper Pravda published an editorial condemning Shostakovich’s opera Lady Macbeth of the Mtsensk District:

Shostakovich on the cover of Time magazine, July 1942—depicted wearing a firefighter’s helmet, a reference to his wartime role on a firefighting brigade in Leningrad.

From the first minute, the listener is shocked by deliberate dissonance, by a confused stream of sound. Snatches of melody, the beginnings of a musical phrase, are drowned, emerge again, and disappear in a grinding and squealing roar. To follow this ‘music’ is most difficult; to remember it, impossible.

Shostakovich’s response: the Fifth Symphony. NOVEMBER 2011

All materials copyright © 2011 by the Minnesota Orchestra.



Minnesota Orchestra