2022-23 Season Program Book

ALASTAIR WILLIS Music

YOU ROCK!

Few know that 90 years is considered the ‘granite’ anniversary, though it’s hardly surprising given the rock-like solidity it takes to reach that milestone. For a symphony, it takes a brilliant musician core, a fearless board, and a steadfast, devoted audience. Thankfully, we have all three.

Thanks to you, dear audience member, we are the longest-lived arts organization in our community. Your openness to new sounds, imaginative experiences, and to an ever-growing canon makes possible the artistry we’re able to present on stage and in other spaces throughout the region. Your hunger for excellence sustains us. Your enthusiasm for shared, live experiences pushes us forward. This is truly your orchestra. You own it. You have nurtured and grown it. You are our rock. And you rock.

JustusYours, ExecutiveZimmermanDirector

MOVINGFORWARD

By Steven Stamer, Development Associate

14 years before the inception of the South Bend Symphony Orchestra.

Frederic Ingersoll, a violinist from Cleveland, Ohio, came to South Bend in 1894, after four years of study in Berlin and Switzerland. He envisioned bringing aspects of the musical life he had experienced in Europe to American cities. Ingersoll taught violin students privately in South Bend until 1906, when Milton B. Griffith established the South Bend Conservatory and hired him as faculty. By 1918, Ingersoll had been promoted to the position of director of the conservatory and utilized his pupils, as well as local musicians, to form the first professional symphony in South Bend. This symphony provided

South Bend and gifted local musicians an opportunity to perform. Unfortunately, in 1932, the pressures of the Great Depression forced Ingersoll’s orchestra to Thatfold.same

year, Australian violinist Edwyn H. Hames formed the South Bend Symphony Orchestra as a performing ensemble of his string students assisted by professional musicians. Making do with the limitations of the Depression economy, these first musicians were all volunteers who paid dues of 25 cents per week in order to afford music rentals, and they were responsible for selling tickets to every concert. The initial group

growth was on the horizon. By 1933, the orchestra had begun establishing itself in the community, with George Mauer of the South Bend Tribune remarking that “if the quality of the performance and the size and enthusiasm of the audience are criteria then the organization will be a permanent one.”

In 1935, Ella Morris took the helm as president of the Symphony and began transforming the group from its humble volunteer roots into the fully professional organization it was to become. Ella Morris organized a Women’s Committee with hundreds of volunteers to sell tickets and host events, marking a significant transition to a self-sustaining

Edwyn H. Hames founds the South Bend OrchestraSymphony Midwest Pops

Pops series

Kenneth Kiesler music group Morris elected president of the Symphony organizes ticket the group to become a

Seymour Rubenstein named music director

The “Violin Woman” statue by Tuck Langland is displayed in front of the Morris Civic in celebration of 50 years of the South Bend Symphony Orchestra

Herbert Butler becomes the third

organization. A Men’s Committee, under the guidance of Ms. Morris, worked to bring in donations. Her leadership was essential for the growth of the organization into a fully professional Byensemble.the1940s,

the membership of the Symphony exceeded 80 musicians and world-famous guest artists began performing with the group, including Arthur Rubenstein and Percy Grainger. In its first decade, the Symphony had relied on musicians from Chicago to supplement its ranks, but as time went on efforts were made to cultivate orchestra members from the local community. By the 1950s, most of the symphony consisted of local musicians.

Only two-thirds of the members were professional musicians, with a significant number working full-time in local factories and companies, such as Studebaker. Throughout the 1950s and 60s, the Symphony grew and performed with increasingly renowned guest artists, such as Van Cliburn and Glenn Gould.

In 1972, Edwyn Hames conducted his final concert with the Symphony, completing a tenure of 40 years as music director. At the time, Hames had one of the longest tenures of any American conductor. A period of transition followed, with a series of guest conductors leading the Symphony in the early 1970s. Seymour Rubenstein conducted one complete

season, followed by Herbert Butler, who remained in the position until his untimely death in 1982. Rubenstein and Butler’s era saw immense growth in the organization. In 1980, the Midwest Pops merged with the Symphony, and Newton Wayland conducted the Pops concerts until 1991. Wayland’s Pops concerts were known for being exceptionally engaging for audiences and musicians

Kennethalike.

Kiesler became music director in 1985 and a gift from Dr. Corey B. McFarland allowed the orchestra to increase salaries and establish a core of players, raising the artistic level of the Symphony. A series of chamber orchestra concerts with these core

The first Gift of Music Gala raises $8,000 for the Symphony

SeriesMasterworksChampaignetheseasoninauguralofJackM.

Octet, an immersive audio experience, is unveiled Equity, Diversity, and CommitteeStatementInclusionandformed

The 90th Anniversary Season programmingenhancedfeaturesartisticand guest artists such as Yo-Yo Ma, Sarah Willis of the Berlin Philharmonic, and more!

Alastair Willis begins his tenure as music director

Maestro Tsung Yeh takes the podium as music director New logoThe

First subscription series concert to feature all African composersAmerican

musicians began, continuing today as the June H. Edwards Mosaic Series.

Maestro Tsung Yeh was appointed music director in 1988, beginning a 28-year tenure that would further expand and refine the reach of the Symphony. Notably, Yeh was the first conductor to ever serve as a music director to both a western symphony and a Chinese symphony simultaneously. His legacy is one of greatly expanded concert offerings and a strong endowment campaign that has ensured the continuing legacy of the Symphony.

After Yeh’s retirement in 2016, Alastair Willis was named music director and he continues to serve in this position today. His charismatic and theatrical music making leads the Symphony in exciting performances that establish the South Bend Symphony Orchestra as one of the finest orchestras in the Midwest.

The South Bend Symphony Orchestra has been host to legendary musicians such as Percy Grainger, Van Cliburn, Arthur Rubenstein, Glenn Gould, Michael Rabin, Leontyne Price, Marian Anderson, Yuja Wang, Hilary Hahn,

and Yo-Yo Ma, who will be making his return to our stage in May 2023. The Symphony today performs three separate concert series, in addition to 50 free chamber music performances in the community and brings live symphonic music to over 10,000 students annually. As we celebrate our landmark 90th Anniversary Season, we thank you for your patronage, ensuring the lasting legacy of the South Bend Symphony Orchestra.

HONORINGORCHESTRAROSEMARYSANDERS

Rosemary Sanders was born in 1921 in Chicago and at age five moved with her parents to South Bend, Indiana. Her mother, Helen, worked for Gertrude Oliver Cunningham who recognized Rosemary’s talent and bought her a Stradivarius in the 1930s. With no African American string teachers in South Bend at the time, Rosemary studied privately in Chicago at the Sherwood Music School. She was a member of the Riley High School Orchestra, serving as secretary. She auditioned and was accepted into the South Bend Symphony in 1940, where she played for 15 years, sitting in the last row of the second violin section. She performed during a time when segregation was prevalent in South Bend; the city’s cultural and social institutions, hotels, and restaurants did not admit African Americans. Rosemary’s name was never listed in any Symphony programs, and in formal photographs she was seated behind the orchestra, with only her head visible. In addition to her Symphony membership, she taught private students from Notre Dame and performed at her home church, Greater St. John’s Baptist Church. She was a composer, teacher, and lover of music. She passed in 2017 at the age of 95. We honor her contributions to the South Bend Symphony Orchestra.

THE FIRST AFRICAN AMERICAN MEMBER OF THE SOUTH BEND SYMPHONY

Rosemary Sanders, 1938. Photo provided by The History Museum.

Forlovethe of music.

Jack

PROGRAM NOTES

Pulcinella Suite STRAVINSKY

Born: June 17, 1882, Saint Petersburg

Died: April 6, 1971, New York, New York

AT A GLANCE

Composed: 1920 Duration: 22 minutes

Premiered by: Boston Symphony Orchestra conducted by Pierre Monteaux in December, 1922

THE STORY

No twentieth-century composer was more involved with dance than Stravinsky. He wrote at least 12 scores specifically for ballet production, and choreographers have used a large number of them for dances.

The original and prime mover of all this Stravinskian dance activity was Serge Diaghilev, the Russian impresario for whom the composer wrote his early (1910-13) triumphant triumvirate of ballets, The Firebird, Petrushka, and The Rite of Spring. Reassembling his company after World War I, Diaghilev searched for a project with which to lure Stravinsky back to ballet. Contemplating the success of The GoodHumored Ladies, danced to music Domenico Scarlatti arranged by Vincenzo Tommasini, he struck upon the music of Pergolesi as a likely prospect for Stravinsky's manipulation. At first unenthusiastic to the plan, the composer was won over as he read through the many scores by the eighteenth-century Italian master that Diaghilev had gathered – not knowing that most of the pieces were not authentic Pergolesi

Stravinskyarticles.

chose various pieces attributed to Pergolesi, and from an old manuscript he took a comic episode whose leading character was Pulcinella, the traditional hero of Neapolitan commedia dell'arte.

The plot is a natural for Stravinsky's sophisticated wit: Pulcinella, sought after by all the girls, is in danger of being killed by their boyfriends. Changing places with his double, who then only pretends to be slain, Pulcinella escapes harm. The would-be assassins disguise themselves as Pulcinella and go to visit their respective sweethearts. Pulcinella, as if risen from the dead, appears. Becoming a magnanimous benefactor, he arranges marriages for the couples and weds Pimpinella.

Maintaining most of the original melodies, Stravinsky “touches up” the music with added notes and ostinatos, which provide harmonic pungency and rhythmic tautness. He subtly adjusts the phrases, breaking up the formal symmetry, and adds color through orchestration exhibiting the composer’s characteristic transparency.

The ballet was introduced in Paris on May 15, 1920, with choreography by Léonide Massine – who also danced the title role – and sets

The June H. Edwards Mosaic Series is proudly sponsored by Jack M. Champaigne.

Sarah Willis French Horn

Sarah Willis was born in Maryland and holds dual British and American citizenship. Her father’s work as a foreign correspondent took her family around the world and they lived in the United States, Tokyo, and Moscow before moving to England when Sarah was 13. She began playing the horn aged 14 at school and then attended the Royal College of Music Junior Department. She went on to study full time at the Guildhall School of Music and Drama, where her teachers included Anthony Halstead and Jeff Bryant. Sarah later studied with Fergus McWilliam in Berlin, where she became second Horn in the Berlin State Opera under Daniel Barenboim in 1991. During this time, Sarah played as a guest with many top orchestras and performed worldwide as a soloist and in various chamber music ensembles.

In 2001, Willis joined the Berlin Philharmonic, becoming the first female member of the brass section. As well as her work with the orchestra and her masterclasses, which take her all over the world, she has recorded various acclaimed albums including the Brahms Horn Trio, ‘Horn Discoveries,’ the Rosetti Double Horn Concertos as well as the much celebrated CDs, Opera! and Four Corners! with the Berlin Philharmonic Horns. Her latest solo album, “Mozart y Mambo” was recorded in Havana in January 2020. It went straight to number one in the classical charts and also reached the pop and Latino charts. The accompanying video has been viewed over eight million times online.

Sarah is involved in many of the Berlin Philharmonic education projects and especially enjoys creating and

presenting their Family Concerts. She interviews conductors and soloists for the Digital Concert Hall and in 2011, she presented live to 33 million viewers during the Final Concert of the YouTube Symphony Orchestra. Sarah is passionate about music education and makes full use of digital technology and social media to reach audiences worldwide. She was chosen to be one of the first testers of Google Glass and used this experience to see how new technology could be used in classical music.

Sarah runs a popular series of online interviews known as the “Horn Hangouts,” is a regular broadcaster and interviewer on TV and online, and fronts the classical music program “Sarah’s Music” for Deutsche Welle TV. She moderates the DG International Podcast series for Deutsche Grammophon and her latest documentary films, “Mozart y Mambo” and “A World without Beethoven?” were broadcast worldwide on Deutsche Welle TV.

Sarah’s contributions to classical music were recognized at the highest level in the United Kingdom when she was made an MBE – Member of the Order of the British Empire – by her Majesty Queen Elizabeth II in the Queen’s 2021 Birthday Honours List for services to charity and the promotion of classical music.

and costumes by Pablo Picasso. The concert suite, consisting of 11 movements of the ballet's 18, was created in 1922.

quality than No. 4, K495 – perhaps the best-known of the four concertos partly because of the Flanders and Swann comic song “Ill Wind,” based on its Rondo finale – which is scored for two oboes and two orchestral horns.

AT A GLANCE

Composed: 1799

Premiered: March 8, 1790, Paris Duration: 10 minutes

THE STORY

Horn Concerto No. 3 in E Flat

WOLFGANGMajorAMADEUS MOZART

Born: January 27, 1756, Salzburg Died: December 5, 1791, Vienna

AT A GLANCE

Composed: 1787 Duration: 15 Minutes

THE STORY

Mozart’s inspiration for his horn concertos (together with the horn quintet) was Joseph Leutgeb (17321811) who worked in the Salzburg Court Orchestra during Mozart’s precocious childhood.

Despite his success, the horn player was almost constantly without money and both Mozart and his father supported him financially at various

Thetimes.horn

in the time of Mozart was much less sophisticated than the instrument we know today. Having evolved from the hunting horn – only capable of a few arpeggiated notes in the familiar hunting calls – Mozart’s horn used crooks to increase and decrease the length of piping, enabling some changes of key; the range of notes was largely produced by the player with a variety of lip vibrations through the embouchure, filled out by adjustments of a hand inside the bell of the instrument. It wasn’t until approximately 1820 that the invention of valves allowed a complete range of semitones.

K.447 is scored for two clarinets and two bassoons plus strings, giving it a slightly richer and more reflective

In terms of its location in Mozart’s catalogue of works, No. 3 was written only a matter of weeks after his great C minor Mass, K.427. As with all of Mozart’s many concertos, whether for piano, violin, oboe or clarinet, it distils the essence of the solo instrument as he knew it, here exploring the horn’s aristocratic richness and touching lyricism before capitalizing upon the hunting-horn connection in the rollicking and witty finale.

The opening orchestral tutti introduces the work with suave assurance, the two main themes arriving in quick succession, before a series of anticipatory gestures in the strings introduce the solo horn, which reintroduces and expands on the two main themes. The short development throws the key structure into the melting pot orchestrally for a short while before the recap leads to a cadenza for the soloist. The coda rounds the movement off elegantly.

The slow movement, in the key of A flat, is a Romance, a Rondo in all but name, poised and lyrical with the horn leading from the outset. The finale is first cousin to that of K.495, its genial Rondo form – including an episode which reintroduces the main theme of the Romance at double speed.

Overture to Lover,anonyme/Thel’amantAnonymous

Op. 11, No .2

JOSEPH CHEVALIERBOLOGNE,DESAINT-GEORGES

Born: ca. 1745, near Basse Terre, Died:GuadeloupeJune10, 1799, Paris

The Black Mozart. Thus was Joseph Bologne dubbed by early music historians. But that does injustice to this swashbuckling character, who was one of the most colorful and versatile figures of the high Classic era.

He was born in the Caribbean island of Guadeloupe to a white planter and his African slave Nanon. The father took Nanon and their son with him to France in 1747 for two years, to avoid false charges of murder in Guadeloupe. After the elder Saint-Georges obtained a royal pardon, the three returned to Guadeloupe for a couple of years but moved permanently to France in 1753.

The boy demonstrated unusual athletic talent. He took up fencing at age 13 and rapidly developed formidable skills that earned him a position as a member of the King’s guard in 1764, at age 19. That appointment also carried the title of Chevalier. His personality, legendary swordsmanship, and good looks made him popular with the Parisian nobility.

Little information survives about SaintGeorges’ early musical training, but some dedications to him of works by the composer François-Joseph Gossec and the Italian violinist and composer Antonio Lolli indicate he likely studied with both of them. We do know that he joined Gossec’s orchestra in 1769 and was soon promoted to be its concertmaster. He began performing as a soloist in the 1770s, including performances of his own concertos. Those works attest to his superior technique, and to the advantage he found in the newly developed Tourte bow. By the mid-1770s, he was directing the Concert des Amateurs, which was soon acknowledged to be one of Europe’s finest orchestras.

For much of the last 25 years of his life, Saint-Georges earned a living as a musician, both performing and composing. His two sets of string quartets were some of the first to be published in Paris. From 1776 on, he focused more on composing operas, enjoying the patronage of Mme. de Montesson and the Duke of Orléans. Saint-Georges was a founder of the Concert de la Loge Olympique. He was directing that orchestra when it commissioned Haydn’s “Paris”

TheSymphonies.overture

was published in 1779 as Symphony Op. 11, No. 2. SaintGeorges repurposed it the following year as an opera overture. L’amante anonyme (The Anonymous Lover) was a comédie-ballet in two acts, first performed at the Paris Opera in 1780. As the original title implies, the overture is really an opera sinfonia, an important precursor to the Classical symphony that was popular in eighteenth-century Italian opera. It comprises three discrete movements arranged fastslow-fast and played without pause; the concluding segment was usually in a dance

Saint-Georges’rhythm.

overture begins with a resolute, ceremonial movement in D major, replete with oboes and horns to reinforce its dramatic opening. SaintGeorges shows a secure command of sonata form, with delicate dialogue between violins and oboes for the contrasting second theme, and a wellthought-out development section with some surprising harmonic turns.

The Andante switches to D minor and is limited to strings. A miniature three-part form, it provides respite between the livelier outer segments. The overture concludes with a zesty Presto in tarantella style. A brief interlude in D minor relates it to the Andante, before a reprise of the Presto music. It is easy to imagine this attractive overture as a curtain-raiser for a comic opera.

Le Boeuf sur le toit (The Bull on the Roof)

DARIUS MILHAUD

BORN: September 4, 1892, Marseille, France

DIED: June 22, 1974, Geneva

AT A GLANCE

Composed: 1919-20

Premiered: February 1920 Duration: 15 minutes

THE STORY

A native of Provence in Southern France, Darius Milhaud retained throughout his life the sunny atmosphere of his native region. His parents were both musically gifted, and from age three he played piano duets with his father. At seven he started the violin and at 13 began harmony lessons and discovered composition, his true vocation. In the aftermath of World War I he joined composers Georges Auric, Louis Durey, Arthur Honegger, Francis Poulenc, and Germaine Tailleferre in what became known as Le groupe des six, disciples of composer Eric Satie and author/painter Jean Cocteau, who were preaching an anti-Romantic credo. The only thing uniting them was their insistence on the right to express themselves musically in their own personal way. They resisted what they considered the “phony sublimity” of the Impressionists and the other art movements in vogue at the time.

Milhaud became one of the most prolific composers of the twentiethcentury, composing in every genre, reaching Op. 443 in 1973. He experimented with new musical idioms and was a proponent of bitonality – the use of two keys simultaneously; he even composed two string quartets that could be played simultaneously as an octet. In 1940 he was among the few fortunate French Jews to escape the Nazi invasion of France. Settling

in the United States, he spent the rest of his life teaching at Mills College in Oakland, CA, and at the Aspen, Colorado Summer School.

During 1917-18, diplomat, poet, and dramatist Paul Claudel served as French minister to Brazil, engaging Milhaud, by then a promising composer, as his secretary. While in Brazil, Milhaud spent a good part of his time soaking up the native music, and on his return to Paris declared his intention “…to write a ballet about the carnival in Rio, which will be called Le Bœuf sur le toit, from the name of the samba that the band was playing this evening while the negro women, dressed in blue, were dancing.”

He undertook the project in 1919, amusing himself merging folk tunes, tangos, maxixes (a kind of Brazilian syncopated polka), sambas, and even Portuguese fado music (a style of popular dance music that combined Portuguese and Brazilian traditions). He transcribed them with a recurring theme between each tune.

Milhaud conceptualized the music as accompanying an imaginary Chaplin film, at first calling it cinéma fantasie, but Jean Cocteau decided to turn it into a ballet-pantomime. Since it was to open just as the 18th Amendment went into effect, Cocteau set it in a Manhattan speakeasy, with sets by Raoul Dufy. The pantomime featured three clowns – the famous Fratellini brothers – and included: crossdressing; the beheading of a policeman by a ceiling fan; and the display of his head à la Richard Strauss’s Salome It became a succès de scandale, and soon thereafter a Paris nightclub called Club Gaya changed its name to Le Bœuf sur le toit, presenting Milhaud with a lifetime membership.

Saturday, October 8 / 7:30 p.m.

Sunday, October 9 / 2:00 p.m.

Morris Performing Arts Center

Alastair Willis, Music Director

Leah Tirado, Theatre Director

Jon Martinez, Choreographer

Inspired by William Shakespeare’s play Romeo and Juliet, the story is set in the mid-1950s in the Upper West Side of Manhattan in New York City, then a multiracial, blue-collar neighborhood. The musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The members of the Sharks, from Puerto Rico, are taunted by the Jets, a white gang. The young protagonist, Tony, a former member of the Jets and best friend of the gang’s leader, Riff, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in musical theatre.

Presented by and in collaboration with the South Bend Civic Theatre

Congratulations to the South Bend Symphony Orchestra on its historic 90th Anniversary Season.

Individual

INDIANA TRUST On

When to take the

DEBUSSY'S

November 12 / 7:30 p.m. Performing Arts

PROGRAM NOTES

Overture to The Flying Dutchman

RICHARD WAGNER

Born: 1813, Leipzig

Died: 1883, Venice

AT A GLANCE

Composed: 1841

Duration: 11 minutes

THE STORY

In the concert hall, we are never far from the influence of Richard Wagner. But we are often far from his music. Wagner’s revolutionary works are his operas – indeed, with just a few exceptions, operas comprise his entire output as a composer – and they are difficult to excerpt. Though they contain gorgeous orchestral passages aplenty, the music is “durchkomponiert” (through-composed), flowing without convenient interruptions. Free-standing arias and orchestral interludes are rare. That leaves us with the Siegfried Idyll, a chamber composition not originally intended for public performance, and the magnificent overtures and preludes that precede his operas.

Wagner had not yet completed his third opera, Rienzi, when he was inspired to compose The Flying Dutchman. These are considered early works, when the aesthetic concept that underpins his operas – the Gesamtkunstwerk, or total work of art that seamlessly unifies the visual arts, poetry, drama, dance movement, and music – was still taking shape. But Wagner was already writing his own librettos. He based Rienzi on the kind of turgid, complex, Italian-based historical novel that was typical of grand-opera plots of the day. But The Flying Dutchman shows him moving toward his more mature artistic concerns, taking a traditional Germanic folk tale and raising it to a high level of artistic refinement. What was once a haunting, atmospheric yarn that might have been spun around a campfire was transmuted to a compelling, fully wrought music-drama of redemption through love.

Wagner was seeking to transform classical music generally and German opera in particular. He viewed himself – not without justification – as the genius chosen for this task. He had adopted the grandiose lifestyle he deemed appropriate for himself and his wife Minna, but the public and the artistic establishment had not yet caught up with his own view of his greatness. This left his personal affairs in turmoil while he composed Rienzi, with creditors on his heels and artistic projects in collapse. It was during this period that the idea for The Flying Dutchman came to him on a trip through the Norwegian fjords. As he described it:

“The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of The Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”

Fueled by these accounts and by a somewhat satirical version rendered

David Lockington Guest Conductor

David Lockington began his career as a cellist and was the Principal with the National Youth Orchestra of Great Britain for two years. After completing his bachelor of arts degree at the University of Cambridge where he was a choral scholar, Lockington came to the United States on a scholarship to Yale University where he received his master’s degree in cello performance and studied conducting with Otto Werner Mueller. He was a member of the New Haven Symphony Orchestra and served as assistant principal cellist with the Denver Symphony Orchestra for three years before turning to conducting. Over the past thirty years, David Lockington has developed an impressive conducting career in the United States. A native of Great Britain, he served as the Music Director of the Grand Rapids Symphony from January 1999 to May 2015, and is currently the orchestra’s Conductor Laureate. He has held the position of Music Director with the Modesto Symphony since May 2007 and in March 2013, Lockington was appointed Music Director of the Pasadena Symphony. He has a close relationship with the Orquesta Sinfonica del Principado de Asturias in Spain, where he was the orchestra’s Principal Guest Conductor from 2012 through 2016, and in the 2015-16 season was named one of three Artistic Partners with the Northwest Sinfonietta in Tacoma,

InWashington.additionto

his current posts, since his arrival to the United States in 1978, Lockington has held positions with several other American orchestras, including serving as Assistant Conductor of the Denver Symphony Orchestra and Opera

Colorado, and Assistant and Associate Conductor of the Baltimore Symphony Orchestra. In May 1993, he accepted the position of Music Director of the Ohio Chamber Orchestra, he assumed the title of Music Director of the New Mexico Symphony Orchestra in September 1995, and was Music Director of the Long Island Philharmonic for the 1996-97 through 1999-2000 seasons.

Lockington’s guest conducting engagements include appearances with the Saint Louis, Houston, Detroit, Seattle, Toronto, Vancouver, Oregon and Phoenix symphonies; the Rochester and Louisiana Philharmonics; and the Orchestra of St. Luke’s at Carnegie Hall. Internationally, he has conducted the Northern Sinfonia in Great Britain, the Israel Chamber Orchestra, the China Broadcasting Symphony Orchestra in Beijing and Taiwan,and led the English Chamber Orchestra on a tour in Asia.

Recent and upcoming guest conducting engagements include appearances with the New Jersey, Indianapolis, Utah, Pacific, Colorado, Nashville, San Diego, Santa Barbara, Stamford, Tucson and Kansas City symphonies, the Florida and Louisville Orchestras, the National Arts Centre Orchestra in Ottawa and the Buffalo, Calgary and Oklahoma Philharmonics. Lockington’s summer festival activities include appearances at the Grand Teton, Colorado Music, Interlochen, Chautauqua, and Eastern Music festivals.

by Heinrich Heine, Wagner produced a full draft of the story on in May 1840. Originally envisioned as a one-act opera, The Flying Dutchman premiered in 1843 in a form more closely resembling full-blown grand opera in three acts.

The St. Joseph River Suite

DR. MARVIN V. CURTIS & BRYAN EDINGTON

CURTIS Born: February 12,1951, Chicago, Illinois

EDINGTON Born: July 2, 1952, Kalamazoo, Michigan

AT A GLANCE

Composed: 2021

Duration: 9 minutes

THE STORY Commissioned by WNIT Public Television for Michiana, The St. Joseph River Suite is a compilation of five of the thirteen themes created by Dr. Marvin V. Curtis and Bryan Edington for the documentary, Here, Now, and Forever… The St. Joseph River Story. The suite features the various themes of the film including the main “River Theme” created by Bryan Edington. It corresponds to a nine minute silent video production from the actual hour long film.

heads as a promising pianist by the time he was six and confounding his early teachers by always seeming to be a step ahead of them. He managed to get himself transferred briefly to a high school in Prague, where he immersed himself in as much music as he could, composed a string quartet for friends to play, and marveled at a piano recital Liszt performed when passing through on an 1840 tour.

The Moldau

BEDŘICH SMETANA

Born: March 2, 1824, Litomyšl, Czechia

Died: May 12, 1884, Prague, Czechia

AT A GLANCE

Composed: 1874

Duration: 10 minutes

THE STORY

Bedřich Smetana was a prodigy, turning

By the time he graduated from the school, Smetana had achieved considerable musical prowess; but he also knew that his native musical talent left technical gaps that only rigorous training could fill. He returned to Prague, spent three years as live-in piano teacher for a wealthy family, and used his earnings to finance further study of harmony, counterpoint, and composition. By 1851, thanks to a kind word from Liszt, Smetana saw one of his compositions accepted by a publisher. Finally, he had hope of being a professional composer. But times were difficult. Civil war had broken out in many areas of the Habsburg Empire, including Bohemia, and Smetana found himself stirred to political activism. The installation of a repressive regime played a part in his decision to leave Bohemia in 1856 to seek opportunities in Sweden. He remained there five years, but success eluded him. When he returned to Prague, in 1862, he set about promoting his work in a more consistent way, and within a few years he occupied a prominent place in the Czech musical world, as a conductor, a critic, and, increasingly, a composer. In 1866, he was named principal conductor of the Provisional Theater, where he built an orchestra that included among its ranks the violist – and fledgling composer – Antonín Dvořák.

In 1874, he began losing his hearing, and within a few months he grew substantially deaf. An immediate

upshot was that he had to curtail his conducting activities, and in a letter that September he informed the Provisional Theatre’s management of what was happening: “It was in July… that I noticed that in one of my ears the notes in the higher octaves were pitched differently than in the other and that at times I had a tingling feeling in my ears and heard a noise as though I was standing by a mighty waterfall. My condition changed continuously up to the end of July when it became a permanent state of affairs and it was accompanied by spells of giddiness so that I staggered to and fro and could walk straight only with the greatest concentration.” In August, he began to experience aural hallucinations and then, he reported to his devoted friend Josef Srb-Debrnov, “on the 20th of October I lost my hearing completely.”

The composer penned brief commentaries to explain the specific content of each of the six tone poems of Má Vlast, probably in May 1879. The points of his description are reinforced by still shorter “chapter headings” in the score. He begins: “The composition depicts the course of the river, from its beginning where two brooks, one cold, the other warm, join a stream…” The two flutes introduce an ascending motif, interweaving as they bubble up, accompanied by plucked violins and harp. The clarinets add their voices, but descending, rather in mirror image to the flutes, thus expressing the opposites of the cold brook and the warm one. Finally, violins, oboes, and bassoons sing out the broad “Vltava” theme itself, surging majestically. It sounds quite like a folk tune, and indeed Czech words from another folk song were later grafted on to make it, effectively, a “new” folk song in its own right. The melody is adapted from a folk source, but not a Czech one; it appeared in a collection of Swedish folk songs assembled in the early nineteenth century. (Smetana likely

became acquainted with the song during his time living in Sweden.)

“Vltava swirls through the Saint John Rapids and flows in a broad stream toward Prague.” There, indeed, is the Moldau theme resurgent (in the violins and oboes at first and eventually the whole orchestra), spiky as it crashes through the rapids and finally achieving grand magnificence. “It passes the Vyšehrad” – the promontory castle on the city’s outskirts, a site of historical importance to the Czechs – “and disappears majestically into the distance, where it joins the Elbe.” The texture thins, eventually diminishing to just the violins, rising in an arpeggio, smorzando (“dying away”) – and, with two fortissimo (very loud) chords from the full orchestra, we have reached our terminus.

carries to its maximum the rhetoric of ‘the culminating point,’ a rhetoric practically lacking in all his other orchestral pieces.”

de Fleurville, a lady with fascinating connections (she had been a pupil of Chopin), discovered his musical gift.

La Mer

CLAUDE DEBUSSY

Born: August 22, 1862, Saint Germain-en-Laye, Départment of Seine-et-Oise, France

Died: March 25, 1918, Paris

AT A GLANCE

Composed: Begun in the summer of 1903, completed in March 1905. Debussy continued to make revisions for many years afterwards. Debussy dedicated La Mer to his publisher, Jacques Premiered:Durand.

October 15, 1905. Camille Chevillard conducted the Lamoureux Orchestra, in Paris.

Duration: 23 minutes

THE STORY

Pierre Boulez has written that, among Debussy’s symphonic works, La Mer “best fulfills the conditions of the genre in the most usual sense of the term, especially if one considers the effective coda of the last movement, which

The subtle orchestral Images and the elusive-allusive Jeux were still in the future when La Mer was introduced; even so, on the basis of the Debussy they already knew, Parisian critics in 1905 seemed to have a clear sense that this new score was somehow different. Some who had been among the composer’s most dedicated allies were now among the most disappointed of observers, specifically because La Mer moved so decisively away from the mist-washed, unmuscular delicacy that had been so valued by the Debussyists. Gaston Carraud, for example, writing in La Liberté, notes that “the rich wealth of sounds that interprets this vision [of the sea] with such accuracy and intensity, flows on without any unexpected jolts, its brilliance is less restrained, its scintillations are less mysterious. It is certainly genuine Debussy – that is to say, the most precious and the most subtle expression of our art –but it almost suggests the possibility that some day we may have an Americanized Debussy.”

Debussy all his life maintained a nearly total silence about his childhood. (At the time of the birth of Achille-Claude, Manuel-Achille Debussy and his wife ran a small ceramics store, the father soon changing to a job with the FivesLille Railway Company, which entailed moving the family to Clichy, a suburb of Paris). He did, however, make occasional and affectionate references to summer weeks spent at the beaches of Cannes. He learned then to love the sea, and no one who knows Debussy’s music need be told that what he loved particularly was its unpredictability, its ever changing nature. His parents at some point conceived the notion that he ought to be a sailor, but his vocation was determined when a Mme. Mauté

Thirty years elapsed between those inspiring lessons and the first sketches for La Mer. It is, however, always a surprise to recall that La Mer was only the composer’s seventh major orchestral score, so brilliantly assured is it, so possessive in ways that sometimes make it seem that Debussy invented the modern orchestra.

As we gradually learn to discern objects in near darkness, so we learn to hear motion in the stillness of Debussy’s dawn. Thematic fragments detach themselves from the surrounding texture until at last a clear sense of motion, of rhythmic pattern, is established. Debussy is most evocative in the wonderful theme for cellos, its pattern of swell and retreat echoed subtly in the timpani and horns. It even looks like a wave on the page – so much, in fact, like the wave in the painting by Japanese artist Katsushika Hokusai that Debussy asked his publisher to put a detail from that painting on the cover of his score.

The sketch of the “Play of the Waves” is scherzo and intermezzo in this notquite-symphony, an interlude of lighter weight and less dense musical facture between the passions and storms, the awesome concentration of the first and third movements. The dialogue in the finale is often tempestuous. Exhibiting that new preoccupation with firm and perceptible formal design, Debussy ties the triumphant peroration to the last bars of the opening movement, the journey from dawn to noon.

FAMILY CONCERT

November 27 / 2:30 p.m. DeBartolo Performing Arts Center

Alastair Willis, Music Director

Mark Doerries, Guest Conductor

Dallin Baldwin, Guest Conductor

Notre Dame Children’s Choir

Conclude the Thanksgiving weekend with the entire family at “The Snowman” by Howard Blake. Travel to the North Pole with James and his new friend made of snow as they visit Father Christmas! Along with the Notre Dame Children’s Choir led by Dr. Mark Doerries, this afternoon is a fantastic way to start your holiday season. This magical concert is designed for all ages.

To purchase tickets, scan the code or www.southbendsymphony.org/family-concertvisit

December 17 / 7:30 p.m. & December 18 / 2:30 p.m. Morris Performing Arts Center

Don’t miss one of South Bend’s favorite holiday traditions when the Symphony and special guest artists bring you “Home for the Holidays”! A spectacular program of cherished Christmas carols and memorable seasonal tunes that brings joy to all. The perfect gift for the whole family. purchase tickets, scan the code or visit the 90th Season Artists.

June H. Edwards Mosaic

TANGO

TANGO CALIENTE!

Camille Zamora, Soprano

In collaboration with artists ranging from Yo-Yo Ma to Sting, Camille has garnered acclaim for her “dramatic and nuanced” (The New York Times) interpretations of repertoire ranging from Mozart to tango.

A graduate of The Juilliard School, Camille is the CoFounder of Sing for Hope, a leading “arts peace corps” that presents initiatives, such as NYC’s Sing for Hope Pianos, that make the arts accessible to all. Camille has performed at the United State Capitol and the United Nations, been honored with a Congressional Hispanic Caucus Recognition and a Kennedy Center Citizen Artist Award, and been named one of CNN’s Most Intriguing People.

Héctor Del Curto, Bandoneón

Praised by The New York Times as a “splendid player,” Argentinean bandoneónist Héctor Del Curto’s career spans more than twenty–five years, and has encompassed the traditional Tango, New Tango, Jazz, Classical, and World music. As one of the most sought–after bandoneónists, he has performed with luminaries across many musical genres including the Tango legends Astor Piazzolla and Osvaldo Pugliese, Latin jazz giant Paquito D’Rivera, jazz violinist Regina Carter, saxophonist Joe Lovano, violinist Cho–Liang Lin. He appeared with prestigious orchestras such as Metropolitan Opera Orchestra, St. Louis Symphony Orchestra, National Symphony Orchestra, and more.

Celina Rotundo & Hugo Patyn, Dancers

Celina Rotundo and Hugo Patyn are Argentine Tango dancers, masters, and choreographers who dazzle the world, both on stage and in every class or workshop they teach. They possess an especially particular connection and style, making them first class dancers with an extensive dance background. They have danced in diverse places of the world, presenting challenging, intense, and sensual choreographies with history. As instructors, they have initiated and inspired hundreds of students around the world.

February 11 / 7:30 p.m. Morris Performing Arts Center

Alastair Willis, Music Director

Camille Zamora, Soprano

Héctor Del Curto, Bandoneón

Patricio Touceda & Eva Lucero, Argentinian dancers

PROGRAM

TangoTangueraCelosBaldosade

la menegilda Milonga Del Angel

El

March 4 / 7:30 p.m.

Morris Performing Arts Center

Alastair Willis, Music Director

PROGRAM

KALHOR Silent City

BRAHMS

Symphony No. 2, Op. 73

I. Allegro non troppo

II. Adagio non troppo

III. Allegretto grazioso (Quasi Andantino)

IV. Allegro con spirito

Kayhan Kalhor, Kamancheh supports the 90th Season Guest Artists.

PROGRAM NOTES

Silent City

KAYHAN KALHOR

Born: November 24, 1963

AT A GLANCE

Composed: 2005

Duration: 23 minutes

THE STORY

One of Kayhan Kalhor's well-received pieces, Silent City, was written in the response to Saddam Hussein’s chemical attack in 1988 on the Iraqi Kurdish city of Halabja. Silent City was composed by the prominent Iranian kamancheh virtuoso, Kayhan Kalhor for the Silkroad Ensemble in 2005. The ensemble’s musical collaboration memorializes the victims of Halabja in a performance that promotes the demand for justice through invoking the duty to remember. The Halabja genocide is often compared to the massacre of Hiroshima. This genocide, however, has been ignored by the West and used as a propaganda tool by both Iranian and Iraqi governments in the Middle East. In contrast, the Silkroad Ensemble’s performance of Silent City honors this tragedy through fostering a sense of intercultural hospitality as an exemplar of peaceful interactions.

In creating Silent City, Kalhor makes use of both improvisational and compositional styles. The improvised part forms the first and the largest part of the piece. It encompasses a group and a solo section. Kalhor describes the group-improvised movements in the Persian liner notes of Silent City:

Kayhan KamanchehKalhor

Born in Tehran, he began his musical studies at the age of seven under Master Ahmad Mohajer. A child prodigy on the kamancheh, he was invited at the age of thirteen to work in the Iranian National Radio and Television Orchestra, where he performed for five years. At seventeen, Kalhor began working with the Shayda Ensemble of the Chavosh Cultural Center, the most prestigious arts organization at the time in Iran. While performing with Shayda, he continued studying the Iranian classical repertoire (radif) with different masters. In 1978, Kalhor went to Rome to study Western classical music and continued his studies at Carleton University in Ottawa, Canada, where he received a degree in music. He has composed works for Iran’s most renowned vocalists,

including Mohammad Reza Shajarian and Shahram Nazeri and has performed and recorded with many of Iran’s greatest artists. In 1991, he co-founded Dastan, the renowned Persian classical music ensemble, and in 1997 he formed Ghazal ensemble with Shujaat Husain Khan. His commissions include works written for the Kronos Quartet and for Yo-Yo Ma’s Silk Road Project, with whom he continues to compose for as well as tour. In 2002, he was nominated for a BBC Radio 3 World Music Award; In 2005, he was awarded the Preis der deutschen Schallplattenkritik (“German Record Critics’ Award”); five of his recordings have been nominated for Grammys and in 2017 he was awarded a Grammy.

“The compositional style in the first [three] sections of the piece is unusual and based on signs. In this style, each musician performs his own interpretation of the signs. The forms and the general direction of the piece are the only elements that have been determined and explained, components such as tempo, rhythm, range and combining choices are naturally variable in each performance and depend on the Inmusician.”his2011

interview on Silent City, Kalhor emphasizes that the improvised movements are based on certain rules. These rules are, however, not explicitly determined. For him, the indeterminacy of those elements makes the piece more interesting and gives them the liberty to perform it differently each time. In Kalhor’s view, the improvised part in Silent City provides one with the opportunity to employ his tasavor (imagination). The piece would not blossom well if the musicians did not have enough courage to do improvisation. Kalhor employs an eloquent “picnic” metaphor to elaborate upon the contribution of the musicians in this

“Therepiece:are

moments that someone is playing a very high harmonic… something very unusual and he thinks he is helping in that way. It is like going to a picnic. You bring sandwiches, I bring drinks, someone else brings eggs, and someone brings bicycles or whatever… It works like that. Ultimately what we do is that we all eat together. If you do not want to take part in it or you have fears or you don’t agree with it or believe in it, naturally the result of the work won’t be

Excerptedsuccessful.”from,

Silent City: A Commemoration of Halabaja’s Tragedy

By Mehrenegar Rostami

Symphony No. 2 in D major, Op. 73

JOHANNES BRAHMS

Born: May 7, 1833, Hamburg

Died: April 3, 1897, Vienna

AT A GLANCE

Composed: Brahms began working on his first symphony in 1856 and returned to it periodically over the next 19 years. He wrote the bulk of the music between 1874 and 1876. Premiered: November 4, 1876, in Karlsruhe, Germany, with Otto Dessoff conducting Duration: 42 minutes

THE STORY

Brahms had been an early bloomer. He was barely out of his teens when Robert Schumann, unable to curb his enthusiasm, introduced him in the pages of Europe’s most influential music journal, the Neue Zeitschrift für Musik, as “the one…chosen to express the most exalted spirit of the times in an ideal manner, one who [sprang] fully armed from the head of Jove… [A] youth at whose cradle the graces and heroes of old stood guard.” Overnight, Brahms encountered the delight of fame and the dread of high expectations. The pressure all but stopped him before he could move on to larger-scale compositions than the piano works that had excited Schumann.

Part of the problem was that Brahms was such a harsh self-critic. He honed his material until he was satisfied and held himself to tough standards. Consider: He composed more than twenty – possibly as many as thirty –string quartets besides the three he published. (He burned the others.) Ultimately, through the fusion of hard work, reflection, and inspiration that

makes for genius, Brahms recovered from Schumann’s prophecy and fulfilled his promise in songs and piano music and chamber works and choruses. He approached the orchestra more deliberately, producing two serenades, a piano concerto, and his German Requiem before retreating exclusively into more intimate forms.

Meanwhile, the music world expected him to write a symphony. Come on, he said: “You have no idea what it’s like to hear the footsteps of a giant like that behind you”– the giant being Beethoven, whose echoing footsteps forced Brahms to question if he could ever do anything on a par with the author of nine symphonies that seemed to define the limits of what music could express.

But while Brahms was keeping the press at bay with his talk about the giant, he was busy trying to hear his own symphonic voice. When he was forty, he introduced the Variations on a Theme of Haydn. For all its generosity of spirit, this is an exercise in how to create and arrange sonic shapes. The Haydn Variations marked the first time in a decade Brahms had used the orchestra, and the first time in fifteen years – since his Serenade No. 1 – that he had written a purely orchestral work for a sizable ensemble. The forty-five works between the serenade and the variations had established Brahms as one of Europe’s leading composers –and the leading composer among those who embraced the traditional ideals of abstract music as opposed to music drama and tone poems. Brahms’s First Symphony, fourteen years in the writing, was instantly recognized as the greatest symphony of the past half-century, since Beethoven’s Ninth had first been heard in Brahms1824.

knew now that he could get it right. In four months, he turned out a second symphony during a pleasant

summer at the Austrian lakeside resort of Pörtschach. The First Symphony is an epic. The Second, as musicologist Reinhold Brinkman has said, is an idyll. When it was unveiled at the end of 1877, the public loved it.

EXPERIENCE MICHIANA

Jack Champaigne

PRESENTS:ALASTAIR

March 19 / 2:30 p.m. DeBartolo Performing Arts Center

Alastair Willis, Music Director Lara Turner, Cello Steve Orejudos, Trumpet

Program to include: Cello Concerto in C major Trumpet Concerto in E flat major Symphony No. 45, “Farewell”

In the spirit of “Tchaikovsky’s Circles,” “Vienna Riches,” and “Paris Impressions,” Alastair takes us to The House of Esterházy, to explore what it was like living and working at the palace as Haydn’s musical assistant.

proudly supports the 90th Season Guest Artists.

The June H. Edwards Mosaic Series is proudly sponsored by Jack M. Champaigne.

June H. Edwards Mosaic Series

ODEBEETHOVEN'STOJOY

April 1 / 7:30 p.m. Morris Performing Arts Center

Alastair Willis, Music Director

Kiera Duffy, Soprano

Emma Rose Sorenson, Alto Emanuel-Cristian Caraman, Tenor Bill McMurray, Bass

Notre Dame

AlexanderChoraleBlachly, Director

South Bend Chamber Singers, Nancy Menk, Music Director

Kiera Duffy, Soprano

As a soloist, Kiera has appeared with many of the world’s elite orchestras and opera companies, including the New York Philharmonic, Metropolitan Opera, Chicago Symphony, Lyric Opera of Chicago, and many more. Her chamber music appearances include Chamber Music Society of Lincoln Center, Aldeburgh Festival, Marlboro Music Festival, Ojai Music Festival, Bard SummerScape Festival, Tanglewood Festival, Charlottesville Chamber Music Festival, and the Collaborative Arts Institute in Chicago. Kiera Duffy has been the Head of Undergraduate Voice Studies at the University of Notre Dame since 2017.

Emma Rose Sorenson, Alto Emma Sorenson, is currently based in Chicago. Sorenson was a recent semi-finalist in the Lotte Lenya competition hosted by the Kurt Weill Institute. She also won first place in the Kansas City District Metropolitan Opera Auditions. In the 2019-20 season, Sorenson was featured in her first season as a Chorister at the Lyric Opera of Chicago, associate member of the Chicago Symphony Chorus, ensemble at Chicago Opera Theater and will be reprising her role in the ensemble quartet and understudy for Old Lady in The Knight’s Orchestra’s production of Bernstein’s Candide at the Ravinia Music Festival. Emma graduated with a master of music performance degree from The Boston Conservatory under the tutelage of Dr. Rebecca Folsom.

Emanuel-Cristian Caraman, Tenor

Throughout his career, Romanian tenor and recording artist EmanuelCristian Caraman has appeared with opera companies, symphony orchestras, and on the recital stage in Europe, South America, and North America.

As of 2016, he is the general and artistic director of South Bend Lyric Opera in South Bend, Indiana. Caraman received his doctorate in music from National Music University in Bucharest, under Professor Doctor Grigore Constantinescu, with the thesis, American Vocal Music of the twentiethcentury. Since 2018, Caraman is the Visiting Assistant Professor of Music at Indiana University at South Bend.

Notre Dame Chorale, Alexander Blachly, Director

The Chorale is the official concert choir of the University of Notre Dame. A mixed ensemble of 70 voices specializing in choral works from the Renaissance to the present, it performs a concert on campus each fall and each spring in the Leighton Concert Hall of the DeBartolo Performing Arts Center. In addition, the Chorale performs Handel's Messiah with the Festival Baroque Orchestra in the Leighton Concert Hall the first weekend of December.

South Bend Chamber Singers, Nancy Menk, Music Director

Bill McMurray, Bass

With more than forty operatic roles to his credit, baritone Bill McMurray has been described as “a baritone with warm, rich tones and superb stage presence” by the Durham Herald Sun. Such roles include “Figaro” in Il Baribiere di Sivigila, “Count Almaviva” in Le nozze di Figaro, and “Escamillo” in Carmen Walter Marini of the New Buffalo Times is quoted as saying his portrayal of “Marcello” in Puccini’s La Boheme is “a powerful actor who brings great elegance to the role. His singing is as fine as anything being heard in major opera houses today.”

The South Bend Chamber Singers, an ensemble-in-residence at Saint Mary’s College, is in its 34th season. Over the past 30-plus years, the Singers have presented major choral-orchestral works such as Handel’s Messiah, Bach’s Magnificat, Mass in B Minor, and St. John Passion; Mendelssohn’s Elijah, and more. Yet, the ensemble concentrates primarily on works by living composers and regularly commissions new works and unusual and complex arrangements.

MASON“Ode”

BATES

Born: January 23, 1977, Philadelphia, PA

AT A GLANCE

Composed: 2001

Duration: 11 minutes

THE STORY

Beethoven’s Ninth Symphony is one of the rare works of the repertoire that has attained, in addition to its vaulted musical status, a cultural and even political significance. The exalted setting of Friedrich Schiller’s “Ode to Joy” forever associated the work with a hope for peace and brotherhood, but this hope was ultimately frustrated by the events of the twentieth-century. With an eye to events past and present, whether such a hope can ever be fulfilled.

The piece begins as if in a dream, with fragments of the “Ode to Joy” floating over illusory harmonies in

the orchestra, and soon focuses on the most characteristic fragment – the Ode’s first three notes. This motif drives the transformation that follows – from a hopeful world of lyricism into a menacing, destructive fanfare of war. Along the way, we get a glimpse of the martial music of the Ninth's last movement, which begins harmlessly but soon spins out of control. In the aftermath of the ensuing explosion – which, like weapons of mass destruction, leaves very little standing – a pulsating harmonic world floats downwards. It is the harmonies of the work’s beginning, but in reverse, finally ending with the opening chord – an open fifth. Having begun with the theme that ends Beethoven’s symphony, the work ends with his beginning: an uncertain world of harmonic ambiguity, articulated by a trembling in the strings – as we wait for something to happen.

– Program Note by composer

CARTER“Slalom”PANN

Born: February 21, 1972

AT A GLANCE

Composed: 1999

Duration: 10 minutes

THE STORY

“Slalom” was originally written for orchestra in 1998-99 as a scherzo perpetuo. It was to be a chance to flex my orchestration muscle to a

degree I had not yet reached. In 2001, conductor John Lynch was seeking to commission a new work for wind symphony, and we agreed that “Slalom” could make an attractive addition to the repertoire. Arranging the piece for wind symphony has proven my most astute compositional act to date.

“Slalom” is a taste of the thrill of downhill skiing. The work is performed at a severe tempo throughout, showcasing the orchestra’s volatility and endurance. The idea for a piece like this came directly out of a wonderful discovery I made several years ago at Steamboat Springs, Colorado, when I embarked on the mountain-base gondola with a cassette player and headphones. At the time I was treating myself to large doses of Shostakovich’s Tenth Symphony and Rachmaninoff’s Symphonic Dances. The exhilaration of barreling down the Rockies with such music pumping into my ears was overwhelming. After a few years of skiing with some of the greatest repertoire, it occurred to me that I could customize the experience.

The work is presented as a collection of scenes and events one might come by on the slopes. The score is peppered with phrase-headings for the different sections such as “First Run,” “Open Meadow,” “Champagne Powder”, “Straight Down,” “TUCK,” and “On One Ski, Gyrating” among others. In this way “Slalom” shares its programmatic feature with that of Richard Strauss’ Alpine Symphony. The similarities end there, however, for “Slalom” lasts ten minutes…precisely the amount of time I need to get from Storm Peak (the peak of Mt. Werner, Steamboat Springs) to the mountain base, skiing full throttle.

– Program Note by composer

Symphony No. 9 in D minor, Opus 125

LUDWIG VAN BEETHOVEN

Born: December 17, 1770 (Baptismal record), Bonn, (now Germany)

Died: March 26, 1827, Vienna

AT A GLANCE

Composed: 1822-24

Duration: 70 minutes

Premiered: May 7, 1824 at the Theater am Kämpnertor and conducted by Beethoven himself.

THE STORY

The Ninth Symphony of Ludwig van Beethoven claims a special place in the history of the symphony and in Beethoven’s growth as artist and public figure. Its performance can never be an ordinary event.

Since 1812, Beethoven’s life had been in a continuous state of crisis and he had written little. By 1820 he began to “set about,” as Beethoven biographer Maynard Solomon puts it, “reconstructing his life and completing his life’s work.” At first the process was slow. But by 1822, he was again working in a rage of energy. As part of this regeneration, the various projects and ideas connected with the Ninth Symphony began to sort themselves out. The first movement was ready early in 1823; by February 1824, the score was finished.

The first performance was given on May 7, 1824, in Vienna. The deaf composer stood on the stage beating time and turning the leaves of his score, but the real conducting was done by Michael Umlauf. At the end, Beethoven was still hunched over the pages of music, and contralto soloist Caroline Unger gently turned his head around so that he might see the applause he could not hear.

The Ninth Symphony traces a path from darkness to light, and of this process and of the struggle for clarification, the famous opening offers a microcosmic view. This crescendo is achieved by more than an increase in volume. Rhythm and harmonic tension also play their part. We hear at first just two notes, A and E. At a certain point in the crescendo, the E’s drop away, to be instantly replaced by D’s in bassoon and horns, the new note sounding in fact strangely dissonant against the prevailing A’s. The D turns out to be the “answer” on which the whole orchestra agrees in the great fortissimo summit of that first crescendo, but the tense anticipation of that note is a personal, marvelous, and utterly characteristic

Thetouch.scherzo

is a huge structure, as obsessive in its driving and exuberant play with few ideas as the first movement was generous in its richness of material. The trio carries a certain sense of hymnal or communal music about it. It reaches forward toward the world of the Ode, “To Joy.”

Two bars of upbeat – clarinets, bassoons, middle and lower strings –ease us into the Adagio. Beethoven at first alternates two themes of contrasting gait, key, and temperature, varying each, soon dropping the second, but enveloping the first in ever more fanciful decoration. The effect is one of exaltation and, at the end, profound peace.

The most horrendous noise Beethoven could devise shatters that peace, and now an extraordinary drama is played before us. In the gestures of operatic recitative, cellos and basses protest. Quotations of music from the first, second, and third movements vividly dramatize the idea of search. When, after three tries and three rejections, the woodwinds propose something new, the cellos and basses, with

some cheering along by winds and drums, lose no time in expressing their enthusiasm. Those hectoring strings change their tone. The orchestra rounds off their recitative with a firm cadence, and without a second’s pause for breath one of the world’s great songs

Beethovenbegins.spreads before us in a series of simple and compelling variations, interrupted by a return of the horrendous fanfare that began the movement. What earlier was matter for our imaginations to work on is now made explicit. The recitative is sung now, to words that Beethoven himself invented as preface to Friedrich Schiller’s “Ode.”

Schiller had been dead eighteen years when Beethoven set “An die Freude.” Schiller did not think much of the poem, which is an enthusiastic drinking song. Perhaps Beethoven saw through it, perhaps he read into it what he needed. What is sure is that he transformed it. And once the words are there, they, and of course even more Beethoven’s transcendent responses to them, sweep us along "Happily, like His planets flying along their magnificent heavenly orbits…as a hero runs to victory.”

A NIGHT WOODSTOCKAT

proudly supports this concert.

DAVID BLAMIRES was born in Yorkshire, England but grew up in London, Ontario, Canada. He got his start in music as a very busy session vocalist in Toronto, singing on thousands of jingles, album recordings, and soundtracks. As a member of the (United States based) Pat Metheny Group from 1986-1997, he appeared on three Grammy Award-winning albums and performed for multitudes of fans all over the world. In 1997, he began working as a staff composer for a very successful music and audio production company. David writes and records music for TV and radio commercials, for clients such as American Airlines, Coors, Proctor & Gamble, McDonald’s, Kraft, and many more.

April 15 / 7:30 p.m. Morris Performing Arts Center

Shira Samuels-Shragg, Guest Conductor Jeans ’n Classics, Guest Artists

David Blamires, Vocals

Jean Meilleur, Vocals

Katalin Kiss, Vocals

JEAN MEILLEUR has been a headliner with Jeans ’n Classics for over 20 years. In that time he has performed with scores of major North American orchestras, lending his distinctive voice to some of the greatest popular music of our time. Originally from Madison, Wisconsin, Jean was born and remains a Green Bay Packer fanatic! He moved to Detroit at a young age. Living in the Motor City helped shape his penchant for the Motown, Soul and R&B sounds of the early 1970s. Jean is a prolific songwriter who has been performing professionally for over thirty years.

RIQUE FRANKS is best known for her four duets with Dan Hill (In Your Eyes, Hold Me Now, Sometimes When We Touch and Can't We Try), Rique has sung, toured, recorded and/or written with many Canadian and international recording artists. Rique’s own songs are available at iTunes, and other online music retailers.

Rique Franks, Vocals

Dave Dunlop, Featured Guitarist / Vocals

Peter Brennan, Guitars

John Regan, Keys

Mitch Tyler, Bass

Jeff Christmas, Drums

PROGRAM

Somebody To Love, Jefferson Airplane Delta Lady, Joe Cocker

You Made Me So Very Happy, Blood, Sweat & Tears Hot Fun in the Summertime, Sly & The Family Stone The Weight, The Band White Rabbit, Jefferson Airplane Samba Pa Ti, Santana All Along The Watchtower, Jimi Hendrix Intermission

KATALIN KISS is known in the Canadian music industry for her staggering, tear-the-roof-off, goosebump-inducing vocals. In her travels, she’s worked with many legends: Del Shannon, Chubby Checker, Chuck Berry, and Chaka Khan. A much-respected member of the Jeans 'n Classics family, Katalin lives in Picton, Ontario, with her bassist husband and kids.

Black Magic Woman, Santana Hey Joe, Jimi Hendrix Pinball Wizard, The Who Darling Be Home Soon, John Sebastian Piece of My Heart, Janis Joplin Summertime, Janis Joplin

Suite: Judy Blue Eyes, Crosby, Stills, Nash and Young With A Little Help From My Friends, Joe Cocker

DAVE DUNLOP has been a pro-guitarist, songwriter, singer, and educator for the past 30 years. Currently, Dave balances his studio work with his touring life as a member of the award-winning duo of Rik Emmett/Dave Dunlop, and Jeans ’n Classics. Emmett and Dunlop won Smooth Jazz Album of the Year and Duo/Group of the Year in 2007 on the strength of their debut album, Strung-Out Troubadours.

Encore: Woodstock, Crosby, Stills, Nash and Young

proudly supports the 90th Season Guest Artists.

“In

+ YO–YO MA

Yo-Yo Ma’s multi-faceted career is a testament to his enduring belief in culture’s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s role in society, or engaging in unexpected musical forms, Yo-Yo strives to foster connections that stimulate the imagination and reinforce our humanity.

In 2018, Yo-Yo set out to perform Johann Sebastian Bach’s six suites for solo cello in one sitting in 36 locations around the world that encompass our cultural heritage, our current creativity, and the challenges of peace and understanding that will shape our future. And last year, he began a new journey to explore the many ways in which culture connects us to the natural world. Over the next several years, Yo-Yo will visit places that epitomize nature’s potential to move the human soul, creating collaborative works of art and convening conversations that seek to strengthen our relationship to our planet and to each other.

Both endeavors continue Yo-Yo’s lifelong commitment to stretching the boundaries of genre and tradition to explore how music not only expresses and creates meaning, but also helps us to imagine and build a stronger society and a better future.

It was this belief that inspired Yo-Yo to establish Silkroad, a collective of artists from around the world who create music that engages their many traditions. Through his work with Silkroad, as well as throughout his career, Yo-Yo Ma has sought to expand the classical cello repertoire, premiering works by composers including Osvaldo

Golijov, Leon Kirchner, Zhao Lin, Christopher Rouse, Esa-Pekka Salonen, Giovanni Sollima, Bright Sheng, Tan Dun, and John Williams.

In addition to his work as a performing artist, Yo-Yo has partnered with communities and institutions from Chicago to Guangzhou to develop programs that advocate for a more human-centered world. Among his many roles, Yo-Yo is a UN Messenger of Peace, the first artist ever appointed to the World Economic Forum’s board of trustees, and a member of the board of Nia Tero, the US-based nonprofit working in solidarity with Indigenous peoples and movements worldwide.

Yo-Yo’s discography of more than 100 albums (including 19 Grammy Award winners) reflects his wide-ranging

Yo-Yointerests.was

born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and three years later moved with his family to New York City, where he continued his cello studies at the Juilliard School before pursuing a liberal arts education at Harvard. He has received numerous awards, including the Avery Fisher Prize (1978), the National Medal of the Arts (2001), the Presidential Medal of Freedom (2010), Kennedy Center Honors (2011), and the Polar Music Prize (2012). He has performed for nine American presidents, most recently on the occasion of President Biden’s Yo-Yoinauguration.andhis

wife have two children. He plays three instruments: a 2003 instrument made by Moes & Moes, a 1733 Montagnana cello from Venice, and the 1712 Davidoff Stradivarius.

+RACHMANINOFFTCHAIKOVSKY

Päivi Ekroth Piano

PROGRAM

Piano Concerto No. 3

I.

Symphony No.

I.

II.

III.

Päivi Ekroth is a Finnish-born classical pianist whose versatility as an artist has taken her from solo and chamber music performances to serving as a choral accompanist and a vocal coach for opera productions. Music of the Romantic era is often at the center of her solo recitals. Still, she has performed an extensive amount of solo and chamber music covering a wide variety of repertoire with strings, winds and brass, as well as choral, operatic and lied repertoire. Her recent collaborations have included performances with soprano Deborah Voigt and flutist Sir James Galway. In addition, she has worked as a Collaborative Pianist at the University of Notre Dame since 2004.

Ekroth began taking piano lessons at 11 years old and was already performing with orchestras in Finland soon after. She has performed in Finland, Estonia, Italy, Germany, China, New Zealand, and the United States, appearing at festivals such as the Ruhr Keyboard Festival, Settimane Musicali di Stresa e del Lago Maggiore, the Mikkeli Music Festival, the New Jersey Symphony’s Rachmaninoff Festival, the Music Academy of the West, the Ravinia Festival and the Irving S. Gilmore International Keyboard Festival as part of the “Rising Stars” series broadcast on National Public Radio (NPR). She performs regularly at Notre Dame’s various venues, and other local performances have included large-scale solo recitals in the DeBartolo Performing Arts Center as well as a solo engagement with the South Bend Symphony in 2014.

Since 1996, Päivi has called South Bend home when she joined the world-renowned Alexander Toradze Piano Studio at Indiana University South Bend. While studying there, she earned a master’s degree and an artist diploma in piano performance and also served on the piano faculty. She was awarded a Performer’s certificate in recognition of performance excellence in piano by the Division of the Arts at Indiana University South Bend. Ekroth also holds a master’s degree from the University of Notre Dame as well as bachelor’s and master’s degrees from the Sibelius-Academy, Finland, where she studied with Sirkka Harjunmaa and Matti Raekallio.

She has received numerous awards from organizations such as The Arts Council of Kymi, The Arts Council of Finland, The Alfred Kordelin Foundation, and The Finnish Cultural Foundation.

Alastair Willis, Music Director Päivi Ekroth, Piano

PROGRAM NOTES

Piano Concerto No. 3 in minor,

SERGEI

RACHMANINOFFVASILIEVICH

Born: April 1, 1873, Semyonovo, Russia

Died: March 28, 1943, Beverly Hills

AT A GLANCE:

Composed: 1909 for his North American tour

Premiered: November 28, 1909, conducted by Walter Damrosch with Rachmaninoff as the soloist. Duration: 45 minutes

THE STORY

In October 1906, Rachmaninoff moved with his wife and daughter from Moscow to Dresden. He was the successful composer of two piano concertos, three operas, chamber music, works for solo piano, and several dozen important songs. He was an admired conductor and recognized as one of the great pianists of his – and any – time. Like all composers who have consuming careers as performers, Rachmaninoff found himself longing for time just to compose. The move to Dresden was an attempt to take himself out of circulation, and he chose the beautiful Saxon capital because he and his wife had become fond of it on their honeymoon four years earlier. Offers to play and conduct kept coming in and were by no means all to be denied. Rachmaninoff decided to accept an invitation to visit the United States. For that tour, he wrote the present concerto. He made his American debut at a recital at Smith College, Northampton, Massachusetts, on November 4, 1909, then went to Philadelphia to conduct the first performance of the Second Symphony, and a few weeks later introduced his new concerto with Walter Damrosch and the New York Symphony. Soon after, he played it again with the New

York Philharmonic under Gustav Mahler, another conductor struggling for time to Incompose.allhisworks

for piano and orchestra, Rachmaninoff invented arresting beginnings. In the First and Fourth Concertos, he is aggressive and outright combative. The Second emerges from a famous series of groping, tolling chords. In the first measures of the Third Concerto, we find a quality we do not usually associate with Rachmaninoff –simplicity. For two measures, clarinet, bassoon, horn, timpani, and muted strings set up a pulse against which the piano sings a long and quiet melody, the two hands in unison, as in a piano duet by Schubert. It is a lovely inspiration, that melody unfolding in subtle variation, just a few notes being continuously redisposed rhythmically. Once only, to the extent of a single eighth note, the melody exceeds the range of an octave; most of it stays within a fifth, and that narrowness contributes to our sense that this is profoundly and unmistakably Russian. Rachmaninoff told the musicologist Joseph Yasser that the theme had come to him “ready made” and had in effect “written itself,” an impression and observation not at all inconsistent with Yasser’s later discovery of a close relationship to a Russian liturgical chant, Thy Tomb, O Savior, Soldiers Guarding.

The accompaniment cost Rachmaninoff considerable thought and trouble. He was thinking, he told Yasser, of the sound of piano with orchestra, of singing the melody on the piano “as a singer would sing it, and [finding] a suitable orchestral accompaniment, or rather, one that would not muffle this singing.” What he found invites, for precision and delicacy, comparison with the workmanship in Mozart’s concertos. The accompaniment does indeed not muffle the singing, but even while exquisitely

tactful, it is absolutely “specific – full of character, the fragmentary utterances of the violins now anticipating, now echoing the pianist’s song, the woodwinds sometimes and with utmost gentleness reinforcing the bass or joining the piano in a few notes of its

Suchmelody.aconjunction of integration and contrast is characteristic of this concerto. The second theme, for example, is first suggested as a kind of twitch in a few wind instruments behind delicate piano passage-work before its formal arrival is prepared by a minicadenza and an expansive preparatory gesture in the orchestra. When it does appear, Rachmaninoff presents it in two different guises – first as a dialogue of orchestra and piano, then as a lyric melody. The further progress of the movement abounds in felicities and ingenuities, sharply imagined and elegantly executed. After a thunderous climax, a touching intervention of winds, and a spacious subsidence, the opening music appears again. The leisurely singing of the melody leads with extraordinary compressions to a final page in which fragments of themes ghost by in a startling amalgam of epigram and dream.

“Intermezzo” is a curiously shy designation for a movement as expansive as this Adagio, though we shall discover that it is in fact, upbeat to a still more expansive finale. But the Intermezzo itself is all adventure and event, not least the piano’s disruptive entrance, which wrenches the music away to new and distant harmonic ground. What ensues is a series of variations, broken up by a featherlight waltz that perhaps represents Rachmaninoff’s memory of a similar interruption in the slow movement of Tchaikovsky’s Piano Concerto No 1. The clarinet and bassoon melody of the

waltz is close cousin to the concerto’s principal theme, and if one could scrutinize the piano’s dizzying figuration through a time-retarding device, one could detect that it too is made of diminutions of the same material.

When the Intermezzo gives explosive birth to the Finale, we are again in a torrent of virtuosity and invention. Here, too, the second theme gets a double presentation, first in harmonic outline, solidly packed piano chords against drumming strings, then – in a contrasting key, even – as a beautifully scored impassioned melody for the piano. After that, Rachmaninoff gives us the surprise of a series of variations on what pretends to be a new idea, but is in fact issue of a union between the first movement’s second theme and the beginning of the Finale. In the course of this episode, the concerto’s very first melody makes an unobtrusive, slightly varied reappearance in violas and cellos. That it is once again varied is characteristic, for the idea of repetition as instant variation has been implicit since the first unfolding of that opening melody. Now, this idea has become an important part of the means at Rachmaninoff’s disposal as he faces the task of integrating a work laid out on an uncommonly large scale.

The Third Concerto offers an immense challenge to stamina and endurance, the orchestral passages that frame the Intermezzo being the soloist’s only moments of respite. Few pianists would agree with Rachmaninoff’s own estimate that the Third Concerto is “more comfortable” than the Second. Moreover, to a degree truly uncommon for a concerto in the big Romantic bravura tradition, Rachmaninoff sees the soloist not merely as someone who can sing soulfully and thunder imposingly but as an alert, flexible, responsive musician who knows how to blend, accompany, and listen.

Symphony No. 4 in F minor, Op. 36

PYOTR ILYICH TCHAIKOVSKY

Born: May 7, 1840, Votkinsk, Russia

Died: November 6, 1893, Saint Petersburg

AT A GLANCE

Composed: 1877 and bears a dedication to his patron, Mme. Nadezhda von Meck

Premiered: February 10, 1878, with Nicolai Rubinstein at a concert for the Russian Musical Society in Moscow.

Duration: 45 minutes

THE STORY

By the dawn of 1877, the thirty-six-yearold Tchaikovsky already stood at the forefront of his generation of Russian composers. That year, two things occurred that had a decisive influence on the direction his path would take. Both were fraught with problems. Either could have derailed him entirely.

The first was the consolidation of his relationship with Nadezhda Filaretovna von Meck. Immensely wealthy (thanks to the commercial success of her recently deceased husband, an engineer from Riga), maternally productive (with eighteen variously fathered children), and musically adept, she had positioned herself in Moscow society as a notable patron of the arts and as a collector of musicians. She was a friend of the eminent pianist and conductor Nicolai Rubinstein and had recently added to her entourage the alluring young violinist Yosif Yosifovich Kotek, a former pupil and sometime companion of Tchaikovsky’s. She adored Tchaikovsky’s music to the point of obsession, and in December 1876 she used Rubinstein and Kotek as go-betweens for her first contact with the composer, which took the form of a generous but undemanding commission

to make an arrangement of one of Kotek’s compositions.

That was what Tchaikovsky assumed. But in February of 1877, a second letter arrived from von Meck. “I should like very much to tell you at length of my fancies and thoughts about you,” she wrote, “but I fear to take up your time, of which you have so little to spare. Let me say only that my feeling for you is a thing of the spirit and very dear to me.” Tchaikovsky responded the next day: “Why do you hesitate to tell me all your thoughts?…Perhaps I know you better than you imagine.” An affair was born, but an affair with a supremely strange twist. By von Meck’s decree, they were not to meet in person. For the next thirteen years, they exchanged a flood of effusive correspondence. She deposited 500 rubles in Tchaikovsky’s bank account every month, an act of benefaction that freed him significantly to pursue his artistic goals without having to undertake “work for hire” to pay the bills. There was a price to pay for this. Von Meck was neurotic and mercurial, but Tchaikovsky handled his patron adeptly until she suddenly broke off their relationship, almost without warning, in Tchaikovsky1890.embarked on his

involvement with von Meck and the composition of his Fourth Symphony practically at the same time, and the two “projects” were greatly intermeshed in his mind. In his letters to von Meck he often referred to it as “our symphony,” sometimes even as “your symphony.” By May, he had completed the lion’s share of work on the new piece. “I should like to dedicate it to you,” he wrote on May 13, “because I believe you would find in it an echo of your most intimate thoughts and emotions.”

Then a second bizarre thing happened. He got married on the spur of the moment. The explanation for this rash act is open to a broad range

of speculation and interpretation. Perhaps it had to do with anxiety about his homosexuality. Perhaps it was an exploit of filial devotion to an eighty-one-year-old father who viewed marriage as the principal goal of a man’s life. Tchaikovsky’s brother, Modest, maintained that the bride, Antonina Ivanovna Miliukova, a former pupil of Tchaikovsky’s, flung herself on his brother and threatened to kill herself if he didn’t marry her – a tale that modern scholars have largely discounted. Whatever the reason, the hastily arranged marriage took place on July 6, 1877. Two weeks later, Tchaikovsky fled in panic and spent the summer at his sister’s estate in Ukraine, estranged from Antonina. In September, he returned to his bride in Moscow to try to make another go of it, but this time the effort lasted only eleven days. At that point, Tchaikovsky fell terribly ill, fled to Saint Petersburg, had a nervous breakdown, remained unconscious for two weeks, and woke up to a life that would not henceforth include Antonina, though they were never divorced.

During this misadventure, the Fourth Symphony had been put on hold. Only in the latter half of 1877 did Tchaikovsky return to edit and orchestrate what he had composed between February and May. “Our symphony progresses,” he wrote to von Meck on August 24. “The first movement will give me a great deal of trouble with respect to orchestration. It is very long and complicated: at the same time I consider it the best movement. The three remaining movements are very simple, and it will be easy and pleasant to orchestrate Tchaikovsky’sthem.”

comment is apt. The center of gravity is very much placed on the first movement, and the other three stand as considerably shorter and less imposing pendants. When von Meck begged him to reveal the meaning behind the music, Tchaikovsky broke his

rule of not revealing his secret programs and penned a rather detailed description of the opening movement:

The introduction is the seed of the whole symphony, undoubtedly the central theme. This is Fate, i.e., that fateful force which prevents the impulse towards happiness from entirely achieving its goal, forever on jealous guard lest peace and well-being should ever be attained in complete and unclouded form, hanging above us like the Sword of Damocles, constantly and unremittingly poisoning the soul. Its force is invisible, and can never be overcome. Our only choice is to surrender to it, and to languish

Evenfruitlessly.ifwe

recognize that Tchaikovsky penned these words after he had essentially completed the symphony, we may find something authentic and convincing in his program, given the emotional roller coaster he had ridden in the preceding months.

On the other hand, music is not prose. To his friend and fellow composer Sergei Taneyev, Tchaikovsky wrote: “Of course my symphony is program music, but it would be impossible to give the program in words…But ought this not always to be the case with a symphony, the most lyrical of musical forms? Ought it not to express all those things for which words cannot be found but which nevertheless arise in the heart and cry out for expression?” He then went on to suggest that, on a technical level, “my work is a reflection of Beethoven’s Fifth Symphony. I have not, of course, copied Beethoven’s musical content, only borrowed the central idea.” By this Tchaikovsky was surely referring to the pervasiveness of the “Fate” theme, the fanfare motif that helps bind the opening movement together and serves as a sonic landmark for listeners somewhat in the way the famous “ta-ta-ta-daaaa” of Beethoven’s Fifth does in that far

more compact piece. Tchaikovsky’s harmonic procedures, however, are far different from Beethoven’s. Tchaikovsky was natively drawn to rhapsody, Beethoven to discipline. The harmonic scheme Tchaikovsky adopts here, which involves enunciating the tonic of F minor firmly in the introduction and the turbulent waltz theme of the movement’s main section, and then all but ignoring that key until almost the end, would have struck Beethoven as unfeasible.

As we have already mentioned, the ensuing movements are less monumental in their architecture and apparently less all-embracing in their musical autobiography. A famous oboe solo opens the Andantino, a generally melancholy movement. “You feel nostalgic for the past,” Tchaikovsky wrote to von Meck of this movement, “yet no compulsion to start life over again. Life has wearied you; it is pleasant to pause and weigh things up.” Much of the movement does seem to carry a heavy weight on its shoulders, but—as in the first movement—the proceedings are leavened by glimpses of balletic arabesques.

Certainly, the Scherzo is the most balletic movement of all, from its fleet pizzicato opening to the tangy, windflavored peasant dance at its center. Although audiences had some trouble with this symphony when it was new, this Scherzo movement rarely failed to elicit compliments.

After the ethereal pianissimo conclusion of the Scherzo, the Finale erupts with a fortissimo explosion for the full orchestra, with far-from-bashful timpani, bass drum, and cymbals. A folk tune, “The Little Birch Tree,” furnishes the stuff of the movement’s main theme, and the brasses revive the “Fate” motif from the first movement as a disturbing presence in the carnival atmosphere of this otherwise buoyant Finale.

Musicians

MUSIC DIRECTOR

Alastair Willis

Ernestine M. Raclin Chair

Burkhart Advertising, Inc., Holiday Pops Conductor Chair

CONDUCTOR LAUREATE

Tsung Yeh

VIOLIN I

MarkAssociatePortoleseConcertmaster

Barbara K. Warner Chair Azusa

AnnaJanisJaeLouisaCandaceJessicaAssistantTashiroConcertmasterBennettThomasBloodSungLeeSakaiCarlson

VIOLIN II

NicolasPrincipalOrbovich

Irene M. Siberell Chair

RachelAssociateBrownPrincipal

Wells Fargo Bank Chair

Tamara Stojanovic

Chris Milliken

Clara Woolley

Barb MichelleDeborahArnoldBarkerWynton

VIOLA

MariaAssociateRitzenthalerPrincipal

Barnes and Thornburg, LLP Chair

Rachel Goff Nick MatthewMunagianBarwegen

CELLO LaraPrincipalTurner

Dorothy and Herbert A. Schiller, M.D. Chair BrookAssociateBennettPrincipal

Peg and Robert O. Laven Chair

David Machavariani

South Bend Symphony Orchestra League Chair

Allison Chambers

Denise KathleenKuehnerLong

BASS Edward W. Randles Principal Leo J. McKernan Chair

VictorAssociateDöme Principal Diana JasonWeldonFordAndersonNiehoff

FLUTE

LesliePrincipalShort Christopher H. Wilson Chair

ElizaSecondBangertFlute

Jane and E. Blair Warner Chair Scott Metlicka

PICCOLO Scott Metlicka

LLPPricewaterhousecoopers,MasterworksChair

CLARINET Trevor SergeyPrincipalO’RiordanGutorov

Dr. and Mrs. James M. Wilson Chair William Olsen

E CLARINET Sergey Gutorov

BASS CLARINET

William Olsen Sharon and Vincent Scuzzo, M.D. Chair

BASSOON Jill JasonPrincipalDispenzaE.Kramer OBOE JennetPrincipalIngle

Cushwa Family Chair Lindsay BeverlySecondWileyOboeButtsGuthrie

ENGLISH HORN

Lindsay Wiley

Stanz Foodservice, Inc. Chair HORN

Kurt JeremiahPrincipalCiviletteFrederickAssociatePrincipal

Shirley and Joseph Hennessy Chair

Anna Mayne BrianAssistantGoodwinHorn

TRUMPET

StephenPrincipalOrejudos

Linda and Bruce Bancroft Chair

James ChristianCarterAnderson TROMBONE

DavidPrincipalRoode

Masterworks – Mossberg and Company, Inc. Chair

Pops – The Martin Foundation Chair

William Clark

BASS TROMBONE

Helene Dauerty

TUBA YukitadaPrincipalOnitsuka

The Thompson Family Fund Chair

HARP ReneePrincipalWilson Barbara J. Shields Byrum Chair

PIANO

Soo Young Kim

Pops – Wanda Haines Chair

TIMPANI Simon Gomez Gallego

PERCUSSION

KentPrincipalBarnhart

Peg and Ray Larson Chair Lana AndrewWordelCierny

Alastair Willis, Music Director

Grammy nominated conductor Alastair Willis is the Music Director of the South Bend Symphony Orchestra, and Principal Conductor and Artistic Advisor of the Symphonia Boca Raton. In past seasons, Willis has guest conducted orchestras around the world including the Chicago Symphony, Philadelphia Orchestra, New York Philharmonic, San Francisco Symphony, Mexico City Philharmonic, Orquestra Sinfonica de Rio de Janeiro, Deutsches SymphonieOrchestra Berlin, Hong Kong Sinfonietta, China National Orchestra (Beijing), and Silk Road Ensemble (with Yo-Yo Ma) among others. His recording of Ravel’s “L’Enfant et les Sortileges” with Nashville Symphony and Opera for Naxos was Grammy nominated for Best Classical

Album in 2009.

In the 2021-22 season Willis was reengaged by the Chicago Symphony, Qatar Philharmonic, Pacific Northwest Ballet, La Porte County Symphony, and Salute to Vienna, and made his debut with the Rockford Symphony. This season he returns to the Chicago Symphony, Qatar Philharmonic, River Oaks Chamber Orchestra, Pacific Northwest Ballet and Salute to Vienna. Previous positions include Music Director of the Illinois Symphony, Principal Guest Conductor with the Florida Orchestra’s Coffee Concert series, Associate Conductor of the Seattle Symphony, Assistant Conductor with the Cincinnati Symphony and Pops

CincinnatiDirectorandOrchestras,MusicoftheSymphony

Youth Orchestra.

Born in Acton, Massachusetts, Willis lived with his family in Moscow for five years before settling in Surrey, England. He received his bachelor’s degree with honors from England’s Bristol University, an Education degree from Kingston University, and a Master of Music from Rice University’s Shepherd School of Music. Willis currently resides in South Bend, Indiana, with his wife and daughter.

THE SOCIETYMORRISELLA

Named for the founder and first president of the South Bend Symphony Orchestra Association, Mrs. Ella M. Morris, the Society recognizes donors who contribute $1,000 or more each year to the Symphony’s Annual Fund. Members embrace the idea that live symphonic music presented by a professional orchestra is important to our community. Through their leadership support and commitment, Ella Morris Society donors ensure that audiences continue to enjoy world-class orchestral music here in Michiana. Please consider joining the Ella Morris Society. Your gift comes with the satisfaction of knowing that you have an immediate and direct impact on the sustainability and vitality of our Orchestra. Members have access to exclusive gatherings, events, presentations, ticketing services and more. For more information about membership in the Ella Morris Society, please contact Halle McGuire at 574-232-6343 or hmcguire@southbendsymphony.org.

ELLA MORRIS SOCIETY MEMBERSHIP BENEFITS

• Season-long access to the Ella Morris Society Lounge on the Mezzanine level of the Morris Performing Arts Center. The Ella Morris Society Lounge features a private bar with complimentary cocktails. The Lounge is open 45-minutes before each Jack M. Champaigne Masterworks and Indiana Trust Pops Series concert, and again during intermission.

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Dr. & Mrs. Frank Deogracias

Ms. Mary Dominick

Mr. Donald Dumich

Ms. Eileen Dvorak

Mr. Bernard Edwards

Mr. & Mrs. Todd Elliott

Dr. & Mrs. Howard Engel

Mr. Richard Fair

Mr. & Mrs. Donald Fischesser

Mr. Robert Ford

Ms. Madeline Gaughan

Ms. Patricia Geoffroy

Ms. Shirley Gidley

Mr. & Mrs. Ray Girres

Mr. & Mrs. Steven Goldberg

Ms. Sarah Gotsch

Mr. & Mrs. Frank Gray

Mr. & Mrs. Bradley Green

Ms. Joan M. Gruner

Dr. & Mrs. Paul Guentert

Mr. & Mrs. Thomas Guinan

Mr. & Mrs. John Hagen

Mrs. Joyce Harrington

Ms. Marcia Haslett

Ms. Kelly Havens

Mrs. Carolyn Higgins

Ms. Alice Hiniker

Mrs. Donna Hoefle

Dr. Barbara Hughey

Mr. & Mrs. Richard J. Hupp

Mr. & Mrs. Jerome Kearns

Mrs. Hayley Klauer

Mr. Levi Klopfenstein

Ms. Christine Kralovansky

Mr. Michael Lang

Mr. & Mrs. Gregory Lawson

Ms. Susanne Lehner

Mr. Timothy Liddell

Ms. Rebecca Link

Ms. Sally Liska

Mrs. Dolores Liwosz

Mr. & Mrs. Bryan Lochmondy

Mr. & Mrs. William Lopatin

Mrs. Pheobe Lykowski

Mr. Leland MacMillan

Mr. Kevin Maggert

Mr. & Mrs. Ken Mangelsdorf

Mr. Wayne Mark

Mr. Cordell Martin

Mrs. Mary Matthews

Ms. Doris McDonald

Mr. John McKenna

Ms. Deborah Marr & Mr. Jim McLister

Mr. Donald Mekkelson

Mrs. Montel Menting

Mr. & Mrs. Miller

Dr. & Mrs. Miro

Mr. & Mrs. Frank Moriconi

Ms. Karen Mullin

Drs. Jennifer & Jorge Muniz

Mr. Todd Neuenschwander

Mr. Kevin Noland

Dr. Christopher Norberg

Mr. & Mrs. Ned North

Ms. Marlene Nowak

Mr. & Mrs. Tim O’Connor

Ms. Mary Olson-Kromolowski

Ms. Elizabeth A. Overmyer

Panoramic Global Impact Fund

Mr. Luiz Pantalena

Ms. Carol Pauluhn

Ms. Jacqui Pederson

Mrs. Mary Peters

Reverend David Peters

Mr. & Mrs. Kenneth Peterson

Mr. Timothy Peters

Mr. & Mrs. John T. Phair

Ms. Jane Pitz

Ms. Marcia Gail Potter

Mrs. Steven Prince

Mr. Richard Ryan & Ms. Jannet Ralph

Mr. & Mrs. David Ready

Mr. Leroy Reeve

Ms. Jeanette Rettinger

Mr. & Mrs. Patrick Reynolds

Mr. Thomas Rightley

Judge & Mrs. Kenneth Ripple Mr. Kyle Rodman

Mr. Steven Rody

Dr. & Mrs. Charles Rosenberg

Ms. Carol Rupert

Ms. Heidi Saxton

Ms. Darlene Scherer

Dr. & Mrs. Alfred Schlorke

Mr. & Mrs. Schroeder

Mr. & Mrs. Phil Seng

Mrs. Nancy Shephard

Mr. Benjamin Silver

Mr. Tom Sisk

Ms. Linda Sue Phillips Smith

Mr. Kenneth Smith

Ms. Rachel Snyder

Mr. Derrick Sousley

Mr. & Mrs. Gerald Stanley

Mr. & Mrs. Stephen Stegmaier

Mr. Andrew Jennings & Dr. Benjamin Stone

Mr. & Mrs. John Switzer

Ms. Margaret Auth & Mr. Gerald Thoma

Ms. Deborah Longworth & Dr. Nicholas Timm

Mr. & Mrs. Thomas Umbaugh

Mr. & Mrs. Richard Urda Mrs. Jane Utterback

Ms. Margaret Vandergracht

Mr. & Mrs. Allen Waitkins Mrs. Carole Walton

Mr. & Mrs. Stephon Wasio Ms. Marie Weiss

Mr. Paul J. White

Chris Wild

Mr. William T. Wilson

Mrs. Stephen Winet

Ms. Anne Riordan & Mr. Donald Wisniewski

Ms. Mary Wisniewski

Mr. & Mrs. Ron Witchie

Ms. Sherrie Wolf

Mr. Edward Wood

Ms. Debra Wordinger

Mr. & Mrs. Noel Yarger Ms. Keya Young

2022-23 SEASON

Board Directorsof

BOARD OFFICERS

Donna P. Lamberti, President Marvin V. Curtis, EdD Vice-President

John Seidl, CFA

Treasurer Breighan Boeskool, PhD Secretary

BOARD MEMBERS

John T. Axelberg*

Bruce R. Bancroft*+ Bruce BonDurant

Jack M. Champaigne

Robert Coleman, PhD

Marvin V. Curtis, EdD

Linda Doshi

Kyle P. Everett*

John JamesRachelFinlayGoffHarris III, MD

Joan Joshi

Tim SusanCordellMaher*MartinOhmer, PhD

Nicolas LarryCariJamesMarkCristyneOrbovichPorileRoss,PhDSawdonShein*+Thompson, MD*

* Past President + Director Emeritus

GIFT OF MUSIC GALA

LEGACY PARTNER

Leighton-Oare Foundation Inc.

PRESENTING

1st Source Foundation Jack and Yuko Champaigne

DIAMOND

Pat and Bob Kill Oliver and Cunningham Family Memorial Trust Foundation Shein Trust

PLATINUM

Linda and Bipin Doshi The Doshi Family Fund at the Community Foundation General Stamping & Metalworks

Drs. Holly and Jim Harris Indiana Trust Wealth Management Carmi and Chris Murphy University of Notre Dame Anonymous

GOLD

Barnes & Thornburg LLP Electronics Inc.

Dr. Elle Schultz, D.O. and Kyle Everett Kitty Rose and Ed Everett Laura and Pat Flynn Maura and Walter Halloran, M.D. Drs. Harriet Hamer and Abram Bergen Ellen and John Jessen

Kruggel Lawton CPAs Jordan Lexus of Mishawaka Ron Montandon and Dennis Slade /The Beiger Mansion

Cristyne and James Porile, M.D. Sue & Pat Ruszkowski/Carleton Inc. Kathleen D. Sparks & David A. Sparks Janet and Larry Thompson

SILVER

Crowe LLP Anita and Tom Veldman

PATRONS

Louise & Steve Anella

Drs. Jessica and Christopher Baron Robin and Scott Brennan Ann and Paul Divine

DWC CPAs, LLC J. Elise BernardEdwardsE.Edwards, Jr. Jill and James Hillman

Jane E. Hunter

Donna Lamberti

Janice and Tuck Langland Drs. Gail English and Nels Leininger Barbara Osthimer Barb and John Phair Teresa Roberts Mitzi B. Sabato and David M. Sabato, M.D. Kathy and John Seidl

THE YEH FUND

John T. KatharineAxelbergandEdward Barron Erika

LoriPattyTammieSarahKathyBreighanBensonBoeskoolandTomBrickleyBrownandAlanBrownandJeffBuhrDesJardinsandTerry

Callahan and Jason Carr

Victoria Garrett

Jim Greenwell

Anne and John Griffith

Mary Anne Gross

Drs. Holly and James Harris

Jeni and Greg Heselbarth Jill and James Hillman

Halle McGuire and Daniel Hobbins Berthold Hoeckner

Robert Hostetler

Maria Kaczmarek

Kara BridgetJenniferKaneKaryandDavid Kibbe

Dana and Aaron Knepper

Donna Lamberti

Janice and Tuck Langland

Jill and David Love

Sally DavidCordellMagerMartinMatthews and Velvet Canada

Cheron MargaretMertenMeserve and

Robert Goulding

Carmi and Christopher J. Murphy, III Sheila and David Niezgodski

Beth and Ned North

Susan Ohmer and Donald Crafton

Bush

Yuko and Jack M. Champaigne

Robert Coleman

Donald Cressy Robin Oare Butler Curtis

Abby Emmons

Julia Everett

Joseph KittyCatherineParentPoundsRoseandEd Everett James Schwartz Chris DebbieAndreaSenior1CareSeanorShortandDan

Smogor

Holly KevinTroegerVaughn and Stephen Lancaster

Pam Wycliff

CHECK

Please make payable to South Bend Symphony Orchestra.

CREDIT CARD

Use our secure website, www. southbendsymphony.org and click “donate” button or call 574-232-6343.

MONTHLY

The Metronome Club Electronic Funds Transfer (EFT) makes giving easy and convenient. Your gift is deducted monthly. Enroll online, by phone, or mail!

GIVING THROUGH YOUR IRA

The IRA charitable rollover allows donors 70½ years of age or older to use all or part of their required minimum distribution (up to $100,000 per person per year) as a gift to the South Bend Symphony Orchestra.

STOCK GIFTS

Gifts of appreciated stock may offer significant tax advantages, even if you don’t itemize.

MATCHING GIFTS

Double your gift and impact! Consult with your company’s Human Resources department to learn if your employer offers a matching gift program.

MEMORIAL & TRIBUTE GIFTS

Consider a gift to the South Bend Symphony Orchestra to memorialize or honor an individual, creating a legacy through the gift of music.

PLANNED GIVING

The Edwyn H. Hames Society recognizes and honors individuals who have made a bequest to the South Bend Symphony Orchestra. Thoughtfully structured planned gifts have the unparalleled potential to sustain the Symphony and ensure its artistic vitality for future generations.

FOR MORE INFORMATION PLEASE CONTACT

Halle McGuire Director of Development 574-232-6343hmcguire@southbendsymphony.org

amazing benefits and savings!

South Bend Symphony Orchestra’s 90th Season features three dynamic series filled with classical favorites, popular hits, and renowned soloists, along with several special performances. The Jack M. Champaigne Masterworks Series presents five performances of beloved classics and rising composers. The Indiana Trust Pops Series unites symphonic music with the popular favorites you know and love. Enjoy a collage of works for orchestra in the intimate DeBartolo Performing Arts Center with a subscription to the June H. Edwards Mosaic Series. Don’t miss seasonal favorites including Home for the Holidays, the annual Family Concert, and