SEPTEMBER BEETHOVEN’S BEGINNINGS 9/25 & 9/26
THE ROARING TWENTIES 10/10
FRENCH REVOLUTIONARIES 10/23 & 10/24
BEETHOVEN’S 5TH 11/20 & 11/21
HOLIDAY POPS 12/18 & 12/19
A SERIOUS COMEDY 1/8 & 1/9
MUSIC OF THE MOVIES: IN SPACE 1/23
FOOTSTEPS OF A GIANT 2/5 & 2/6
BEETHOVEN’S 7TH 3/5 & 3/6
MUSIC OF THE EARTH 3/26 & 3/27
ONCE UPON A TIME IN THE WEST 4/1
ODE TO JOY 4/16 & 4/17
APRIL
If I asked you to name Beethoven’s greatest legacy, might you respond with his Fifth Symphony? Or his Ninth? Perhaps his “Emperor” Piano Concerto, or one of his transcendent sonatas? I certainly could not fault any of these answers, although I will tell you mine: I believe Beethoven’s greatest legacy is joy. Much of Beethoven’s life was difficult. His father wanted desperately for young Ludwig to be a prodigy like Mozart, a desire that went so far as to beat him for playing a wrong note. As a result, Beethoven found success from an early age, yet at just 26 years old he began to go deaf. Due to his progressively worsening hearing, he spent the latter half of his life battling a constant state of social isolation, as well as the unrelenting fear that music would one day become inaccessible. Yet in these moments of hardship, Beethoven wrote not only some of his most beautiful music, but also some of his happiest. His Second Symphony was written in the pit of despair, and his Ninth while nearing complete deafness. It is as if Beethoven realized that the antidote to his darkness was to channel his energy into the splendor of his music. For over two centuries, audiences around the world have found joy in Beethoven’s music—joy in its innovation, joy in its genius, and joy in its unrelenting optimism. We need only hear the opening notes of his Fifth Symphony or the last movement of his Ninth to realize what Beethoven himself was fortunate to learn long ago: music is a vehicle for healing. This season, the CSO will perform many of Beethoven’s greatest works, including all nine of his symphonies (the Fourth Symphony will be performed on Kiawah Island) and his “Emperor” Piano Concerto. We will also perform favorites like Brahms’ Symphony No. 4, Pablo de Sarasate’s “Gypsy Airs,” and Stravinsky’s Petrushka. And in honor of the 100th anniversary of women’s suffrage in the United States, we will perform works by five women composers whose music has gone overlooked for far too long. We dedicate this season to Beethoven in honor of his 250th birthday, yes, but also to remind ourselves of the immense joy to be felt from listening to his music with fresh ears. On stage, the musicians and I will perform with an added mindfulness of our love for this art. We will play each piece with a new appreciation for its emotional complexity. And we will do our best, with the help of the world’s most prolific composer, to transmit these feelings to you. I hope you will join us for our upcoming season, An Ode to Joy.
Ken Lam Music Director
MASTERW
WORKS
Our season premiere is a celebration of youth in music. Beethoven’s First and Second Symphonies premiered when he was just 29 and 32 respectively, and Sarasate’s “Gypsy Airs” when he was 34. We will also welcome SooBeen Lee, violin prodigy who stunned the world with her performance of Henryk Wieniawski’s Variations on an Original Theme when she was just 12 years old. Ms. Lee will perform two vigorous works by the Spanish violin virtuoso, Pablo de Sarasate. The period between Beethoven’s First and Second Symphonies was a time of great reckoning in the composer’s early life. His First Symphony, nearly five years in the making, was largely ignored by Vienna’s top music critics. Undeterred, Beethoven went back to the drawing board to begin his Second Symphony. This time, however, he was battling a secret demon: the deterioration of his own hearing. In a last-ditch effort to reverse his worsening condition, he traded the loud streets of Vienna for the calm of the country. It was here that he completed his exuberant Second Symphony, all the while contemplating suicide. In a letter to his brothers, Ludwig wrote, “I would have ended my life. Only my art held me back. It seemed to me impossible to leave the world until I had produced all that I felt was within me.” Thankfully, Beethoven’s dedication to his music prevailed, and in his Symphony No. 2 he delivered a work so spirited that one would never guess it was composed during a time of such struggle. “This symphony is smiling throughout,” remarked fellow composer Hector Berlioz. The 1803 premiere of Symphony No. 2, performed under the baton of Beethoven himself, proved to be a box office hit, and has spread joy to audiences ever since.
SEPTEMBER 25 & 26 7:30pm THE GAILLARD CENTER SOOBEEN LEE Violin KEN LAM Conductor LUDWIG VAN BEETHOVEN Symphony No. 1
PABLO DE SARASATE
Zigeunerweisen, “Gypsy Airs”
PABLO DE SARASATE Carmen Fantasy
LUDWIG VAN BEETHOVEN Symphony No. 2
BEETHOVE BEGINNING
EN’S GS
“The symphony is smiling throughout.”
“Revolutionary in form as well as theme.”
FRENCH REVOLUTIO
OCTOBER 23 & 24 7:30pm THE GAILLARD CENTER YURIY BEKKER Violin KEN LAM Conductor CINDY MCTEE Circuits
CAMILLE SAINT-SAËNS Violin Concerto No. 3
LUDWIG VAN BEETHOVEN Symphony No. 3, “Eroica”
It is safe to say that this evening’s program will feel nothing short of heroic. Concertmaster Yuriy Bekker will perform Violin Concerto No. 3 by Camille Saint-Saëns, a 19th century French composer who made it his mission to reestablish the prominence of French art and music. One could say that Saint-Saëns succeeded through works like his Violin Concerto No. 3–now an audience favorite the world over. Beethoven was an early fan of Napoleon. Such a fan, in fact, that his Third Symphony was originally to be titled “Sinfonia Bonaparte.” That all changed, however, when Napoleon declared himself the emperor of France. Accounts say Beethoven was so enraged upon hearing this news that he “went to the table, took hold of the title page by the top, tore it in two, and threw it to the floor.” Beethoven subsequently changed the name to the “Sinfonia Eroica,” choosing to honor the symphony’s themes of idealistic heroism and freedom from oppression rather than its original namesake. Symphony No. 3 is revolutionary in form as well as theme. It is larger in scope and emotional range than anything ever written before it, and at its premiere some audience members had no idea what to think. Reportedly, one patron even shouted mid-performance that he would pay the orchestra to stop playing. Over the years minds have changed, and Beethoven’s “Eroica” Symphony is regarded as a triumph.
ONARIES
BEETHOVE NOVEMBER 20 & 21 7:30pm THE GAILLARD CENTER CSO CHORUS Dr. Robert Taylor, Director C OF C CONCERT CHOIR Dr. Robert Taylor, Director CSU CONCERT SINGERS Dr. Dustin Ousley, Director KEN LAM Conductor
FANNY MENDELSSOHN HENSEL Hiob
LUDWIG VAN BEETHOVEN Symphony No. 5
FELIX MENDELSSOHN Die erste Walpurgisnacht
We are always excited to play the music of Mendelssohn, and this time we’re not just referring to Felix. Older sister Fanny Mendelssohn was every bit Felix’s equal. She was the superior talent on the piano and a gifted composer. Unsurprisingly, her efforts to make a name for herself were met with resistance. Fanny’s father wrote in a letter to her that, “Music will perhaps become Felix’s profession, while for you it can and must be only an ornament.” Nevertheless, Fanny went on to write at least 460 pieces of music, including her powerful cantata, Hiob. Some of Fanny’s works were published under her brother’s name, although at times this stirred up trouble: Felix was once forced to admit to Queen Victoria that her favorite song was actually written by his sister. Tonight, we rightfully honor Fanny’s work alongside that of her brother. Perhaps the most recognizable piece of classical music ever written, Beethoven’s Fifth Symphony rose to a new level of prominence during World War II, when the BBC used the symphony’s famous four-note opening to preface daily radio broadcasts. Mimicking the sound of the letter “V” in Morse code (dot-dot-dot-dash), the first few notes of Beethoven’s Fifth became closely associated with the Allied Forces’ quest for victory, and ultimately gave this masterpiece its unofficial nickname, the “Victory” Symphony.
EN’S 5TH
“Her favorite song was actually written by his sister.”
A SERIOUS
“It is never to be performed in public!”
S COMEDY JANUARY 8 & 9 7:30pm THE GAILLARD CENTER KEN LAM Conductor
JEAN-PHILIPPE RAMEAU Selections from Les Indes Galantes
LUDWIG VAN BEETHOVEN (Arr. Gustav Mahler) String Quartet Op. 95, No. 11, “Serioso”
RICHARD STRAUSS Le Bourgeois Gentilhomme
Beethoven was indeed serious about his “Serioso” string quartet. “It is never to be performed in public,” he wrote about the piece. Beethoven was most likely referring to the fact that such an intimate and innovative string quartet would sound out of place when performed next to larger works such as his own symphonies or concertos. We hope Beethoven will forgive us for ignoring his wishes, since his String Quartet No. 11 is, as its name suggests, a seriously wonderful piece. Richard Strauss, born in Germany in 1864, was a young talent. He wrote his first composition at age six, and by age 18 had written over 140 works. In the early 1930s, Strauss refused to join the Nazi party, yet successfully used his influence to protect his Jewish relatives from being sent to concentration camps. Strauss wrote Le Bourgeois Gentilhomme based on Molière’s comedy of the same name. A charming orchestral suite, Le Bourgeois Gentilhomme became an instant favorite of audiences as well as its composer.
FOOTSTEP AG “I shall never write a symphony! You can’t have any idea what it’s like always to hear such a giant marching behind you!” The author of this quote was Johannes Brahms, and the “giant” he spoke of was none other than Ludwig van Beethoven. Despite Brahms’ own musical gifts, he felt almost paralyzed by his desire to escape the ever-looming shadow of his German predecessor. Contrary to his previous statement, Brahms did write a symphony—four, in fact. His Symphony No. 4 is a feat of musical intellectualism and individualism of which even Brahms himself was proud. Brahms received early feedback from his musical colleagues that they did not understand his vision for the symphony—that it was “too cerebral” and too novel, yet at its premiere the audience was so thrilled that they requested it be played again as its own encore. Brahms may have worried that he was walking in the footsteps of a giant, but as it turns out, he was indeed blazing a trail of his own.
Beethoven likely wrote his Piano Concerto No. 5 while hiding in a basement. Under attack by Napoleon, Vienna was in a state of emergency. Beethoven wrote that the siege had “affected both body and soul,” yet somehow this didn’t stop him from composing. The most famous of his piano concertos, No. 5 did not earn the nickname “Emperor” by Beethoven’s own hand. One account suggests that a French officer mistakenly believed it to be a dedication to Napoleon and exclaimed “C’est l’Empereur!” We’re guessing Beethoven wouldn’t be too happy about this. Julia Perry is much lesser-known than the evening’s other composers, yet was no less a trailblazer. As an African-American female composer in the early 20th century, Perry’s talent was frequently overlooked. Perry was a gifted musician and composer who attended Juilliard, won a Guggenheim grant, and studied with famed pedagogue Nadia Boulanger in Italy. Despite composing a body of work that includes twelve symphonies, two piano concertos, three operas, and a ballet, Perry’s music was sadly neglected during her lifetime (and even afterwards). We are happy to help change this fact with a performance of A Short Piece for Small Orchestra.
FEBRUARY 5 & 6 7:30pm THE GAILLARD CENTER SARA DAVIS BUECHNER Piano KEN LAM Conductor JULIA PERRY
A Short Piece for Small Orchestra
LUDWIG VAN BEETHOVEN Piano Concerto No. 5, “Emperor”
JOHANNES BRAHMS Symphony No. 4
PS OF GIANT
“I shall never write a symphony!”
BEETHOVE MARCH 5 & 6 7:30pm THE GAILLARD CENTER KEN LAM Conductor LUDWIG VAN BEETHOVEN Symphony No. 8
ALMA MAHLER-WERFEL Sieben Lieder
LUDWIG VAN BEETHOVEN Symphony No. 7
It is difficult to be the middle child–just ask Beethoven’s Symphony No. 8. Squeezed between the iconic Seventh and Ninth Symphonies, poor number eight often goes overlooked. We believe it deserves another listen, however. Beethoven’s Eighth is shorter than either of its neighbors, and much lighter in tone. When asked why the Eighth wasn’t received as enthusiastically as the seventh, Beethoven famously replied, “Because it is so much better!” The truth of Beethoven’s assertion is certainly subjective, though in one category the Seventh undeniably reigns supreme: its use in popular culture. The list of movies and TV shows that make use of this passionate piece is long, and includes the likes of The King’s Speech, Mr. Holland’s Opus, The Fall, Lola, X-Men: Apocalypse, Carl Sagan’s Cosmos, and even an episode of Seinfeld. Join us for Beethoven’s 7th and decide for yourself which you prefer.
EN’S 7TH
“Because it is so much better!”
MUSIC OF EARTH If, as Shakespeare once said, “The earth has music for those who listen,” then classical composers arguably pay the closest attention in the spring. The number of composers who count the season of new life amongst their muses is high: Debussy, Verdi, Schumann, Strauss, Grieg, and Vivaldi, to name a few. Let us add to that list two of the composers on this evening’s program: Lili Boulanger and Ludwig van Beethoven. Both Boulanger’s D’un matin de printemps (Of a Spring Morning) and Beethoven’s “Pastoral” Symphony are considered examples of musical impressionism, a name bestowed upon the French musical movement analogous to its painting counterpart, in which the music focuses on conveying a cohesive sense of tone color, emotion, and atmosphere. In the case of D’un matin de printemps, one may be surprised to learn that the light, airy piece was composed while the budding composer was fighting for her young, 24-year-old life. Sadly Ms. Boulanger succumbed to her illness, but not before she penned this sprightly, energetic piece. Beethoven’s “Pastoral” Symphony could hardly be more aptly named. Within the first few notes one cannot help but imagine a leisurely stroll through a flowering field. Even Beethoven didn’t mince words in his intention for the symphony, saying, “Pastoral Symphony, more an expression of feeling than painting. 1st piece: pleasant feelings which awaken in men on arriving in the countryside. 2d piece: scene by the brook. 3d piece: merry gathering of country people, interrupted by 4th piece: thunder and storm, into which breaks 5th piece: salutary feelings combined with thanks to the Deity.” Hard to put it more clearly than that.
THE “The earth has music for those who listen.”
MARCH 26 & 27 7:30pm THE GAILLARD CENTER KEN LAM Conductor
LILI BOULANGER D’un matin de printemps
LUDWIG VAN BEETHOVEN Symphony No. 6, “Pastoral”
IGOR STRAVINSKY Petrushka
OD “The infectious joy of Beethoven’s final masterwork was inevitable.”
DE TO JOY APRIL 16 & 17 7:30pm THE GAILLARD CENTER CSO CHORUS Dr. Robert Taylor, Director C OF C CONCERT CHOIR Dr. Robert Taylor, Director CSU CONCERT SINGERS Dr. Dustin Ousley, Director KEN LAM Conductor
PAUL HINDEMITH Nobilissima Visione: Suite
LUDWIG VAN BEETHOVEN Symphony No. 9, “Choral”
Possibly the only thing more astonishing than the unparalleled genius of Beethoven’s Symphony No. 9 is the fact that he was almost completely deaf when he wrote it. Despite its exuberant finale, the symphony represents nearly three decades of struggle and anguish for Beethoven, whose hearing began to fade while still in his twenties. The first ever to include a chorus, this symphony may have been Beethoven’s way of, quite literally, giving voice to his own internal battle between despair and triumph. Despite its lasting impact, the premiere of Beethoven’s final symphony was a bit rocky. The musicians reportedly weren’t up to the task—some intermittently stopped playing as they grew tired—and the singers, untrained to reach the highest notes, simply stopped singing. Even so, the audience broke out into thunderous applause, which Beethoven, his back to the crowd, could not hear. Only when a performer tapped his shoulder did he turn and experience for himself the jubilant reception of his work. It seems that the infectious joy of Beethoven’s final masterwork was inevitable right from the start. Paul Hindemith was a 19th century German composer who felt compelled to write a “dramatic and choreographic interpretation of the life of Saint Francis.” The result was Nobilissima Visione (Most Noble Vision), a ballet in three movements composed of eleven vignettes from accounts of Saint Francis’ life. Like Beethoven’s Symphony No. 9, Hindemith’s piece explores the lofty theme of finding meaning in this earthly existence.
THE T OCTOBER 10 7:30pm THE GAILLARD CENTER YURIY BEKKER Conductor Calling all guys and dolls! Grab your boas and help us welcome back the roaring twenties with a night like you wouldn’t believe. When it comes to picking the best music, Maestro Yuriy sure does know his onions. Get ready for tunes like George Gershwin’s Rhapsody in Blue, Duke Ellington’s It Don’t Mean A Thing (If It Ain’t Got That Swing), the music of Chicago, and heaps more. It’s gonna be the cat’s pajamas!
E ROARING TWENTIES
DECEMBER 18 & 19 7:30pm THE GAILLARD CENTER YURIY BEKKER Conductor Gather the family for a night of entertainment so cheerful, it could only be Holiday Pops! Yuriy Claus and the CSO elves are hard at work preparing the merriest Holiday Pops performance yet. Expect all your favorites like “Sleigh Ride” and “The Twelve Days of Christmas,” along with lots of surprise special guests. Everyone on the Nice List is invited to this joyful celebration of the season, CSO style!
HOLIDAY P
POPS
MUSIC OF MOVIES: JANUARY 23 7:30pm THE GAILLARD CENTER YURIY BEKKER Conductor Get ready for the Event Horizon of the year! Charleston Pops’ newest annual tradition, Music of the Movies, is heading to outer space. Suit up and strap in for the ride of a lifetime, featuring the music of Star Wars, E.T., Apollo 13, Star Trek, Close Encounters of the Third Kind, and more.
THE
IN SPACE
ONCE UPO IN THE WE APRIL 1 7:30pm THE GAILLARD CENTER YURIY BEKKER Conductor Yeehaw! Grab your cowboy hats and saddle up for a rootin’ tootin’ time, because Maestro Yuriy has rounded up the best music of the wild wild west. Get ready to hear iconic numbers from The Magnificent Seven, Toy Story, Billy the Kid, Copland’s Rodeo, and lots more.
ON A TIME EST
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$419 $294 $258 $184 $92 BOX LEVEL A LEVEL B LEVEL C LEVEL D N/A $518 $454 $325 $162 N/A $441 $386 $276 $138
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Construction of the Gaillard Center was made possible through the combined efforts of the City of Charleston and the Gaillard Performance Hall Foundation (GPHF). The Foundation has recognized donors with a seat-naming program. Donors who give at a level to warrant seat naming have the first right of refusal to purchase season subscriptions to the CSO, a right they will be offered for two weeks before CSO subscribers will be seated. Named-seat donors must renew their series subscriptions each year, or their seats become available for sale to others. If you would like information about becoming a named-seat donor, thus guaranteeing your seating location in perpetuity, please contact the GPHF at 843-718-1578.
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