CSO - Beethoven's Eroica - program 10-06-23

Welcome to our 2O23/24 Season!

The start of a new year is a moment filled with eager anticipation and the promise of unforgettable musical experiences! It represents the culmination of many months of musical preparation and artistic planning, all with the aim of presenting to you a diverse and captivating lineup of concerts that cater to a wide range of tastes.

Exhilarating music, experienced live, can be transformative.. There’s something truly magical about being just a few feet away from extraordinary musicians and feeling the power of the performance being created, just for you. The energy and the atmosphere – that’s something that only live music can offer.

Among the many highlights of this season, we are thrilled to present Verdi’s Requiem in collaboration with the Charlotte Master Chorale, a special celebration of the 100th anniversary of Gershwin’s Rhapsody in Blue, an electrifying evening of hot jazz with The Hot Sardines, holiday favorites for the whole family, and the unforgettable experience of movies in concert featuring classics like Beauty and the Beast and Jaws.

Offstage, our commitment to nurturing young talent remains steadfast. As the school year begins, hundreds of students are coming together to join our three youth orchestras, or to be inspired to pick up an instrument for the first time through our Project Harmony after-school program, in partnership with Arts+. Behind the scenes, we have even more ambitious plans to expand our community performances, forging even deeper connections across the City and County.

I’d like to extend my heartfelt gratitude to you for your support of the Symphony, which allows us to continue to bring the gift of music to our region. This will be a season full of unforgettable performances not to be missed. I warmly welcome you to be with us throughout.

David Fisk President & CEO

Your Charlotte Symphony Experience

Whether you’re attending your first Symphony performance, or you’re a longtime subscriber, we’d like to extend to you a warm and inclusive welcome! Below is some helpful information to ensure you make the most of your Charlotte Symphony experience.

What should I wear?

The Charlotte Symphony has no specific dress code. We encourage you to be comfortable and come as yourself in a style of your choice.

When do I applaud?

Audiences applaud to welcome the concertmaster, conductor, and featured artists onstage. Some works may have several sections, or movements, separated by a brief silent pause. It is tradition to hold applause until the last movement. If you are unsure, wait for the conductor to face the audience. But if you feel truly inspired, do not be afraid to applaud!

Can I take photos?

Certainly! We welcome and encourage you to capture and share photos before and after the concert, as well as during intermission. Feel free to use your cell phone for photography without flash during the performance, but please refrain from video or audio recording.

Friday, October 6, 2023 at 7:30 pm

Saturday, October 7, 2023 at 7:30 pm

Sunday, October 8, 2023 at 3:00 pm

Knight Theater at Levine Center for the Arts

Hugh Wolff, conductor

Melissa White, violin

VALERIE COLEMAN (b. 1970)

[approx. 10 minutes]

Umoja, Anthem of Unity for Orchestra

CHEN GANG (b. 1935) / HE ZHANHAO (b. 1933)

The Butterfly Lovers Violin Concerto

I. Adagio Cantabile

II. Allegro

III. Adagio assai doloroso

[approx. 27 minutes]

IV. Pesante – Piu mosso – Duramente

V. Lagrimoso

VI. Presto resoluto

VII. Adagio cantabile

Melissa White, violin

INTERMISSION

LUDWIG VAN BEETHOVEN (1770-1827)

[approx. 47 minutes]

Symphony No. 3 in E♭ Major, Op. 55, “Eroica”

I. Allegro con brio

II. Marcia funebre: Adagio assai

III. Scherzo: Allegro vivace

IV. Finale: Allegro molto

concert duration: approximately 1 hour, 45 minutes. There will be one 20-minute intermission.

This concert is made possible in part by Douglas Young

Hugh Wolff guest conductor

Three-time Grammy-nominated conductor Hugh Wolff is known as a musical firebrand, with “an effortlessly polished sound, shaping his interpretations with impeccable taste” (The New York Times). His delivery of compelling interpretations and energetic performances has gained great critical acclaim from critics across the world, including: “Hugh Wolff stays always at the heart of the music – by the end he held the whole auditorium in suspended silence” (The Washington Post).

Wolff currently serves as Chief Conductor of the Belgian National Orchestra (2017-present). Other positions held during the course of his illustrious career have included Principal Conductor of the HR-Sinfonieorchester Frankfurt (1997-2006), Principal Conductor & Music Director of the Saint Paul Chamber Orchestra (1998-2000), Music Director of Grant Park Music Festival Chicago (1994-1997), and Music Director of the New Jersey Symphony Orchestra (1986-1993). He maintains a close working relationship with these institutions — touring Europe and the Far East, and appearing at the Salzburg Festival with HRSinfonieorchester, and recording more than 20 discs, as well as touring extensively, with the SPCO.

Born in Paris to American parents, Wolff spent his early years in London and Washington DC, studying piano with Leon Fleisher, and composition with George Crumb. After graduating from Harvard, Wolff won a fellowship to study in Paris — undertaking studies in conducting with Charles Bruck, and in composition with Olivier Messiaen. He then returned to the United States to continue piano studies with Fleisher at the Peabody Institute, before beginning his professional conducting career in 1979 — as Associate Conductor of the National Symphony Orchestra under Mstislav Rostropovich.

Since then, as a guest conductor Wolff has gone on to appear with all the major American orchestras, including the Boston Symphony, Chicago Symphony, the

Cleveland Orchestra, Los Angeles Philharmonic, New York Philharmonic, the Philadelphia Orchestra, and the San Francisco Symphony Orchestra. He is also works frequently at such summer festivals as Aspen, Ravinia, and Tanglewood. Wolff is also in high demand throughout Europe, working regularly with such leading orchestras as the Czech Philarmonic, Leipzig Gewandhaus, London Symphony, Orchestre National de France, Orchestre National de Lyon, the Philharmonia Orchestra, RundfunkSinfonieorchester Berlin, and the Symphonieorchester des Bayerischen Rundfunks.

Recent and forthcoming highlights include performances with the Atlanta Symphony, Dortmund Philharmoniker, Düsseldorfer Symphoniker, the Minnesota Orchestra, Netherlands Philharmonic, New Japan Philharmonic, NSO Washington, Orchestre de Chambre de Lausanne, Seoul Philharmonic, and the Tonkünstler-Orchester.

Wolff’s discography is vast, and includes a complete set of Beethoven symphonies (with the HR-Sinfonieorchester Frankfurt), music from the Baroque to the present days (with the Saint Paul Chamber Orchestra). A champion of contemporary works, Wolff has recorded the music of such leading composers as John Corigliano, Brett Dean, John Harbison, Aaron Jay Kernis, and Mark-Anthony Turnage. Artists with whom he has recorded include such luminaries as Joshua Bell, Hilary Hahn, Jennifer Larmore, Yo-Yo Ma, Edgar Meyer, Mstislav Rostropovich, and Jean-Yves Thibaudet, as well as Jazz guitarist John Scofeld.

In addition to his performance career, Hugh Wolff is passionate about passing knowledge on to the leading lights of the next generation. As such, he holds the ‘Stanford and Norma Jean Calderwood Director of Orchestras’ Chair at the New England Conservatory, Boston, where he is in charge of the four orchestras and teaches graduate students the art of orchestral conducting.

Melissa White violin

American violinist Melissa White has enchanted audiences and critics around the world as both a soloist and a chamber musician. Her February 2020 performance with the National Philharmonic was deemed “absolutely breathtaking” by Maryland Theatre Guide critic Katie Gaab, who cited the “grace, precision, and warmth” of her playing in Florence Price’s Violin Concerto No. 1. Reviewing the same concert for The Washington Post, Matthew Guerrieri called her “an excellent advocate, prioritizing ease and fluency over intensity, suiting the music’s lyric and episodic nature.”

The 2022-2023 concert season abounded with achievement for Ms. White, whose rapid rise as a soloist captured the attention of orchestras and audiences worldwide. Recent orchestral performances include return engagements with the National Philharmonic and the Chicago Sinfonietta, a debut performance with The Philadelphia Orchestra (with Yannick Nézet-Séguin conducting), and appearances with the Richmond, Cincinnati, and Midland Symphony Orchestras, the Northwest Sinfonietta, and the Brevard Music Center and Heartland Festival Orchestras.

Ms. White made her recital debut at Carnegie Hall in June 2023, kicking off what is sure to be a milestone season of performances. Recently named 2023-2024 Joyce C. Willis Artist in Residence with the Hartford Symphony Orchestra, Ms. White will perform next season both alongside the orchestra and in solo recital, will host panel discussions on pertinent topics in the arts, and will work closely with string students from underserved communities in the region. Ms. White will debut as soloist with the Indianapolis Symphony Orchestra and Buffalo Philharmonic in the 2023-2024 season, in addition to appearances with the Charlotte Symphony, Valdosta Symphony Orchestra, and West Virginia Symphony Orchestra.

A first-prize laureate in the Sphinx Competition, she has performed with such leading U.S. ensembles as the Cleveland Orchestra, the Boston Pops, the Louisville Orchestra, and the Atlanta, Baltimore, Colorado, Detroit, and Pittsburgh

symphony orchestras. Internationally, she has appeared as soloist with Poland’s Filharmonia Dolnoslaska; with the Colombian Youth Orchestra in a tour of that country; with the Czech National Philharmonic; and as a recitalist in Baku, Azerbaijian, and Jelenia Gora, Poland. Her film credits include a violin solo in the soundtrack to Jordan Peele’s 2019 psychological thriller Us; and in addition to her numerous classical performances she has also performed alongside several pop artists including Pharrell, Bruno Mars, Alicia Keys, and Lauryn Hill.

Outside of orchestra and recital appearances, Ms. White relishes the opportunity to perform in chamber music settings alongside close friends and colleagues. She looks forward to a 2023-2024 engagement with Kaleidoscope Chamber Collective, who will appear at Wigmore Hall with star violinist Hilary Hahn, as well as upcoming collaborations with Orpheus Chamber Orchestra and the DUBHE Ensemble, with whom she will appear at the National Orchestral Institute + Festival and the Harris Theater in the 2023-24 season.

Ms. White is a founding member of New York-based Harlem Quartet, where since 2006 her passion and artistry have contributed to performances hailed for “bringing a new attitude to classical music, one that is fresh, bracing and intelligent” (Cincinnati Enquirer). Harlem Quartet has collaborated closely with leading jazz musicians including Chick Corea and Gary Burton with whom their recording “Mozart Goes Dancing” won three Grammy Awards, including the Grammy for Best Instrumental Composition in 2013.

A passionate educator, Ms. White currently serves as Music Artist Faculty at New York University’s Steinhardt School of Culture, Education, and Human Development and, as of fall of 2022, she is also Professor of Music at the University at Buffalo. She looks forward to her Sarasota Music Festival debut as a faculty member in June of 2023.

Melissa is represented worldwide by Dinin Arts Management & Consulting. She is incredibly grateful to be playing a c. 1780 Ferdinando Gagliano violin, currently on loan from Strumenti. Patron- investors can help keep this violin in Melissa’s hands by investing in it online at strumenti.com.

YOUR CHARLOTTE SYMPHONY

Christopher Warren-Green, Conductor Laureate & Music Adviser

Christopher James Lees, Resident Conductor

FIRST VIOLINS

Calin Ovidiu Lupanu, Concertmaster

The Catherine & Wilton Connor Chair

Joseph Meyer, Associate Concertmaster

Kari Giles, Assistant Concertmaster

Susan Blumberg°°

Jane Hart Brendle

Cynthia Burton

Emily Chatham°°

Ayako Gamo

Lenora Leggatt

Jenny Topilow

Dustin Wilkes-Kim

Hanna Zhdan

SECOND VIOLINS

Oliver Kot, Principal

The Wolfgang Roth Chair

Kathleen Jarrell, Assistant Principal

The Pepsi-Cola Foundation of Charlotte Chair

Carlos Tarazona°

Monica Boboc

Martha Geissler

Sakira Harley

Tatiana Karpova

Ellyn Stuart

VIOLAS

Benjamin Geller, Principal

The Zoe Bunten Merrill Principal Viola Chair

Alaina Rea, Assistant Principal *

Chihiro Tanaka, Acting Asst. Principal

Ellen Ferdon

Cynthia Frank

Wenlong Huang

Viara Stefanova

Ning Zhao

CELLOS

Jonathan Lewis, Principal

The Kate Whitner McKay Principal Cello Chair

Allison Drenkow, Acting Asst. Principal

Alan Black, Principal Emeritus*

Marlene Ballena

Jeremy Lamb

Amy Sunyoung Lee

Sarah Markle

Oksana McCarthy †

DOUBLE BASSES

Kurt Riecken, Principal*

Jason McNeel, Acting Principal

Judson Baines, Assistant Principal*

Justin Cheesman, Acting Asst. Principal

Jeffrey Ferdon

Luis Primera†

FLUTES

Victor Wang, Principal

The Blumenthal Foundation Chair

Amy Orsinger Whitehead

Erinn Frechette

PICCOLO

Erinn Frechette

OBOES

Hollis Ulaky, Principal

The Leo B. Driehuys Chair‡

Erica Cice

Terry Maskin

ENGLISH HORN

Terry Maskin

CLARINETS

Taylor Marino, Principal

The Gary H. & Carolyn M. Bechtel Chair

Samuel Sparrow

Allan Rosenfeld

E♭ CLARINET

Samuel Sparrow

BASS CLARINET

Allan Rosenfeld

BASSOONS

Joseph Merchant, Principal

Joshua Hood

Nicholas Ritter

CONTRABASSOON

Nicholas Ritter

HORNS

Byron Johns, Principal

The Mr. & Mrs. William H. Van Every Chair

Andrew Fierova

Philip Brindise†

The Robert E. Rydel, Jr. Third Horn Chair

Richard Goldfaden

Andrew Merideth†

TRUMPETS

Alex Wilborn, Principal

The Betty J. Livingstone Chair

Jonathan Kaplan

Gabriel Slesinger, Associate Principal

The Marcus T. Hickman Chair

TROMBONES

John Bartlett, Principal

Thomas Burge

BASS TROMBONE

Scott Hartman, Principal

TUBA

Colin Benton, Principal

The Governor James G. Martin Chair

ARTISTIC OPERATIONS

TIMPANI

Jacob Lipham, Principal

The Robert Haywood Morrison Chair

PERCUSSION

Brice Burton, Principal

HARP

Andrea Mumm Trammell, Principal

The Dr. Billy Graham Chair

This roster lists the full-time members of the Charlotte Symphony. The number and seating of musicians onstage varies depending on the piece being performed.

° Non-revolving position

°° Alternates between first and second violins

† Acting member of the Charlotte Symphony

‡ Funded by The Symphony Guild of Charlotte, Inc.

* On leave

Michael Reichman, VP of Artistic Operations & General Manager

Carrie Graham, Director of Artistic Planning

Tim Pappas, Director of Operations

Nixon Bustos, Principal Music Librarian

Erin Eady, Personnel Manager

Bradley Geneser, Associate Principal Librarian

Claire Beiter, Operations Coordinator

John Jarrell, Stage Manager

The Charlotte Symphony is a proud member of the League of American Ochestras.

HOLLIS ULAKY Principal Oboe

Member of CSO since 1974 hometown: Pittsburgh, PA

For more information about Charlotte Symphony musicians, visit charlottesymphony.org

Honoring Hollis Ulaky on Her Retirement

This weekend we mark the retirement of longtime Charlotte Symphony musician, Hollis Ulaky, who has served in the orchestra for an incredible 50 seasons. Join us in celebrating her achievements and wishing her well.

About Hollis

Prior to joining the Charlotte Symphony, Ms. Ulaky was principal oboist in the Wheeling Symphony and Opera Festival Orchestra in San Juan, Puerto Rico. As a founding member of the chamber music group Rhodora, she continues to perform recitals throughout the southeast. Ms. Ulaky has been featured in Today’s Charlotte Woman Magazine, The Charlotte Observer, and was voted Best Female Instrumentalist in 2004 by Charlotte Magazine. An avid educator, Ms. Ulaky serves on the faculty of Winthrop University and was a member of the faculty of Cannon Music Camp at Appalachian State University and woodwind coach for the Youth Symphony of the Carolinas.

If you could meet one composer, who would it be and what would you ask him/her?

I think I would probably like to meet Brahms. He wrote such powerful music. I would ask him how he felt after finishing each composition — was he exhausted or proud of his accomplishments? He was such a perfectionist!

What is your favorite memory from your time with the Charlotte Symphony?

After so many years with the CSO, it’s difficult to have a favorite memory. I think I will never forget the feeling of pride each time I accepted a solo bow from the conductor. Standing up on stage, in the middle of the orchestra is awesome!

Do you remember any funny on-stage moments?

One moment I will never forget was at the end of our last classics concert in May. The wind section was asked to take a bow. I was recovering from ankle surgery and still wearing an awkward boot, so Erica (my second oboe) had to hold me up and keep me from falling! Lots of giggling from the both of us!

A message for the audience:

I would like to thank the audience for being so supportive of the Symphony over these past years. The CSO has made great strides musically and financially. I can’t believe it’s been 50 years!

One of the premier music organizations in the Southeastern United States and the oldest operating symphony orchestra in the Carolinas, the Charlotte Symphony Orchestra (CSO) connects with more than 100,000 music lovers each year through its lively season of concerts, broadcasts, community events, and robust educational programs. The CSO is committed to its mission of uplifting, entertaining, and educating the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

The Charlotte Symphony upholds the highest artistic integrity and takes bold steps to engage with its community through music. Its 65 professional, full-time musicians perform throughout the region — from community parks and breweries, to places of worship and senior care centers — and offer significant educational support, aimed at serving the underresourced areas of our community.

The Charlotte Symphony is deeply committed to the notion that music, accessible to all and experienced in its many forms, enriches and unifies our community. The CSO believes in equity and inclusion and strives to be an industry leader in imaginative, relevant programming by intentionally seeking out women conductors, underrepresented in our industry, and conductors, composers, and guest artists of color.

Founded in 1932, the Charlotte Symphony plays a leading cultural role in the Charlotte area and serves the community as a civic leader, reflecting and uniting our region through the transformative power of live music.

OUR MISSION

The Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

OUR VISION

Reaching out through the transformative power of live music, the Charlotte Symphony will be a civic leader, reflecting and uniting our region.

For more information, visit us online at charlottesymphony.org

VALERIE COLEMAN

born: 1970 in Louisville, Kentucky

Umoja

Anthem of Unity for Orchestra (2019)

premiere: September 19, 2019 in Philadelphia

approx. duration: 10 minutes

Valerie Coleman’s Umoja: Anthem of Unity for Orchestra, was commissioned by The Philadelphia Orchestra and Music Director Yannick Nézet-Séguin. The score of Umoja contains the following commentary:

-Listen my people, Children of ALL

It’s time for Unity

Hear the Winds call.

Oh a-hum, a-hum Nkosi ah..

Oh a-hum, a-hum Nkosi ah..

In its original form, Umoja, the Swahili word for Unity and the first principle of the African Diaspora holiday Kwanzaa, was composed as a simple song for women's choir. It embodied a sense of "tribal unity," through the feel of a drum circle, the sharing of history through traditional “call and response” form and the repetition of a memorable sing-song melody. It was rearranged into woodwind quintet form during the genesis of Coleman’s chamber music ensemble, Imani Winds, with the intent of providing an anthem that celebrated the diverse heritages of the ensemble itself.

Almost two decades later from the original, the orchestral version brings an expansion and sophistication to the short and sweet melody, beginning with sustained ethereal passages that float and shift from a bowed vibraphone, supporting the introduction of the melody by solo violin. Here the melody is a sweetly singing in its simplest form with an earnestness reminiscent of Appalachian-style music. From there, the melody dances and weaves throughout the instrument families, interrupted by dissonant viewpoints led by the brass and percussion sections, which represent the clash of injustices, racism, and hate that threatens to

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gain a foothold in the world today. Spiky textures turn into an aggressive exchange between upper woodwinds and percussion, before a return to the melody as a gentle reminder of kindness and humanity. Through the brass led ensemble tutti, the journey ends with a bold call of unity that harkens back to the original anthem.

Umoja has seen the creation of many versions, that are like siblings to one another, similar in many ways, but each with a unique voice that is informed by Coleman’s ever evolving creativity and perspective.

“This version honors the simple melody that ever was, but is now a full exploration into the meaning of freedom and unity. Now more than ever, Umoja has to ring as a strong and beautiful anthem for the world we live in today.”

Valerie Coleman's website.

CHEN GANG

born: March 10, 1935 in Shanghai, China

HE ZHANHAO

born: August 29, 1933 in Hejiashan, China

The Butterfly Lovers Violin Concerto (1959)

premiere: May 27, 1959 in Shanghai approx. duration: 27 minutes

The Butterfly Lovers Violin Concerto is the creation of Chen Gang and He Zhanhao. At the time of the work’s composition, both were students at the Shanghai Conservatory. The Concerto’s premiere took place on May 27, 1959, as part of the celebration of the tenth Anniversary of the People’s Republic of China. The premiere was a triumph, with the audience demanding an encore of the entire Concerto. The composers’ fame spread throughout China. In 1960, China’s Central Philharmonic toured Russia, and included The Butterfly Lovers as part of its repertoire; again, to great success.

But in the mid-1960s, immediately prior to the Cultural Revolution, the Chinese Communist government deemed The Butterfly Lovers “bourgeois.” Chen recalls that the Communist guards told him: “Factory workers hear your themes and can no longer operate their machines. Peasants have no strength to lift their ax. Soldiers can no longer shoot.” Chen was imprisoned, and later consigned to house arrest and manual labor.

Following the Cultural Revolution, The Butterfly Lovers and its creators returned to favor. The work remains immensely popular in China. The Butterfly Lovers Concerto, often called “the Tchaikovsky Concerto of the East,” has enjoyed tremendous acclaim in the West as well.

The Butterfly Lovers Violin Concerto, based upon a wellknown ancient Chinese folk tale, features a beguiling synthesis of Eastern and Western influences. Many of the melodies are derived from the traditional Shaoxing opera. The solo violin (a personification of the heroine Zhu Yingtai) employs techniques associated with the erhu, a twostringed Chinese fiddle.

Of course, the genre of the Violin Concerto has a long and rich history in Western music. The Butterfly Lovers employs a traditional Western orchestra (with the addition of the

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Chinese percussion instrument, the gu ban). The Concerto is also couched in Western sonata form, with the introduction, development, and recapitulation of central themes, all capped by a final coda (Tchaikovsky used this same structure to relate the tale of Shakespeare’s Romeo and Juliet in the Russian composer’s Fantasy Overture). And the Concerto’s pentatonic harmonic idiom will be familiar to those who love folk music from around the world.

The Butterfly Lovers Concerto

The Butterfly Lovers features a series of episodes, all played without pause. The Concerto’s sections, and their correlation to the folk tale, are set out below.

Adagio cantabile — Zhu Ying-tai, a young girl, has disguised herself as a boy in order to study in Hangzhou. On a beautiful spring day, she meets her fellow classmate, Liang Shan-po.

Allegro — Zhu and Liang study together for three years and become dear friends. Liang is unaware of Zhu’s true identity.

Adagio assai doloroso — As their years of study draw to a close, Liang and Zhu are saddened over the prospect of being separated from each other.

Pesante — Più mosso—Duramente — When Zhu returns home, she learns that her father has promised her in marriage to the son of a wealthy family. Zhu protests, but to no avail.

Lagrimoso — Liang visits Zhu’s home. There, he learns of Zhu’s true identity, and her arranged marriage. The lovers bid farewell.

Presto resoluto — The heartbroken Liang falls ill and dies. On the day of her wedding, Zhu insists on passing by Liang’s grave. Zhu prays for Liang’s tomb to open. A bolt of lightning strikes the tomb. Zhu jumps into the grave.

Adagio cantabile — Zhu and Liang emerge from the tomb as butterflies, and fly off together.

LUDWIG VAN BEETHOVEN

born: December 17, 1770 in Bonn, Germany died: March 26, 1827 in Vienna, Austria

Symphony No. 3 in E ♭ Major, "Eroica"

Opus 55 (1803)

premiere: April 7, 1805 in Vienna approx. duration: 47 minutes

“Composed to celebrate the memory of a great man”

In the early part of the 19th century many idealists, Beethoven included, viewed Napoleon Bonaparte as a staunch defender of liberty and democratic ideals. By the spring of 1804, Beethoven had completed his Third Symphony, which he entitled “Bonaparte.” Ferdinand Ries informed the composer that Napoleon had proclaimed himself emperor. According to Ries, Beethoven:

flew into a rage and cried out: “Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only in his ambition. He will exalt himself above all others, become a tyrant!” Beethoven went to the table, took hold of its title page by the top, tore it in two, and threw it on the floor.

Some biographers suggest that Beethoven’s actions may have also been motivated by career aspirations. During the relevant time frame, Beethoven contemplated, and ultimately rejected, the notion of relocating from Vienna to Paris.

With that scenario in mind, conductor Arturo Toscanini’s remarks about the “Eroica’s” first movement offer a useful perspective: “To some it is Napoleon, to some it is Alexander, to me it is Allegro con brio (i.e., the movement’s tempo marking).” For Toscanini, the significance of Beethoven’s Third Symphony, which the composer ultimately subtitled Sinfonica Eroica, Composed to Celebrate the Memory of a Great Man, rests not with any dedicatee, but the music’s revolutionary character.

Beethoven’s

“New Road”

In 1802, Beethoven proclaimed to his friend Wenzel Krumpholz: “I am not satisfied with my works up to the present time. From today I mean to take a new road.” There

are many aspects of the “Eroica” that mark a profound departure from composer’s first two Symphonies — not to mention those of Beethoven’s great predecessors, Haydn and Mozart. The extraordinary length of the opening movement, achieved in great part by an unprecedented expansion of the development and coda sections (as well as the transitional material between themes), is perhaps the most obvious example. Likewise, the ensuing grand funeral march is a striking juxtaposition from the lyricism found in most slowtempo movements of the day. But Beethoven’s first two symphonies already offer hints of the rhythmic drive, pungent dynamic contrast, bold harmonic strokes, and ingenious thematic development that characterize the “Eroica.” It should also be mentioned that Beethoven conjures the profoundly revolutionary atmosphere of his “Eroica” with an orchestra quite similar in size and instrumentation to that of a late Haydn or Mozart symphony. Beethoven’s “Eroica” inspired a sense of awe, even confusion, on the part of the early audiences. It’s not surprising that contemporary reviews were mixed. But while many questioned the attractiveness of the Third Symphony as a form of entertainment, few denied its power and innovation. Symphonic music would never be the same after “Eroica.”

Beethoven introduces his musical “new road” in bracing fashion with two brusque chords (Allegro con brio), out of which emerges the cellos’ statement of the opening theme. Several themes follow, and they soon undergo a rich and varied development that becomes a fierce battleground. A recapitulation of the themes and extended coda are capped by a repeat of the opening two chords. In the second movement, Beethoven replaces the traditional lyrical interlude with a grand Funeral March (Marcia funebre. Adagio assai). The mood is transformed from despair to joy with the arrival of the ebullient third movement (Scherzo. Allegro vivace). The movement’s central Trio section prominently features the horns. The Finale (Allegro molto) is a brilliant set of variations on a theme, first introduced by hushed string pizzicatos. The third variation features the oboes playing a melody that will return in different guises throughout the finale. It is a melody that was a particular favorite of Beethoven, making appearances in other works including the ballet The Creatures of Prometheus (1801). The “Eroica” closes in thrilling fashion, with the headlong rush of the Presto coda, featuring yet another version of the “Prometheus” melody.

We gratefully acknowledge these generous donors to the Charlotte Symphony Annual Fund. This list reflects gifts received between July 1, 2023 through August 1, 2023

BENEFACTOR CIRCLE

$100,000+

Catherine & Wilton Connor * Douglas Young

$50,000 – $99,999

DG Brungard Foundation

$25,000 – $49,999

Anonymous

Joan & Mick Ankrom

Richard & Ruth Ault

Dr. Milton & Arlene Berkman Philanthropic Fund

Rosemary Blanchard†

Mark & Judith Brodsky

Ms. Judith Carpenter

Roberta H. Cochran

Jean & Dick Cornwell

J. Porter & Victoria Durham

Linda & Bill Farthing

$15,000 – $24,999

Anonymous (2)

Melissa & Daren Anderson

Emanuel Clark

Ralph S. Grier

Michael & Mary Lamach

Betty P. & Jeffrey J. Lee

$10,000 – $14,999

Anonymous (3)

Joye D. Blount & Jessie J. Knight Jr.

Katharine & Frank Bragg

Mr. & Mrs. R. Alfred Brand III

Lynne & Colby Cathey

Margarita & Nick Clements

Jeanie & Tom Cottingham

Lisa & Carlos Evans

Christoph & Robin Feddersen

Karen Fox

Charles & Caren Gale

Janet M. Haack

Leigh & Watts Humphrey

Chris & Susan Kearney

Ginger Kelly

J. Porter & Victoria Durham

John & Maria Huson

Richard Krumdieck

Jacqueline B. Mars

Jane & Hugh McColl*

Patricia & Thrus Morton

Patrick J. O'Leary

Richard J. Osborne

Paul & Kathy Reichs

Carolyn Shaw

John & Andromeda Williams

DeDe & Alex McKinnon

Alex & Ulrike Miles

Robert Norville

Debbie & Pat Phillips

Judy & Derek Raghavan

Adam & Sienne Taylor

Ms. Nina Lesavoy

Mr. & Mrs. Mark Mealy

Laura & Perry Poole

Ann & Fritz Rehkopf

Mrs. Rosalind Richardson

Nancy & Charlie Robson

Pat Rodgers

Cory & Amanda Rogers

Ms. Marjorie M. Schwab

Thomas & Sherry Skains

Melinda & David Snyder

Mary Claire & Dan Wall

Richard & Lisa Worf

* The Charlotte Symphony recognizes donors of exceptional generosity whose cumulative giving to the CSO exceeds $1 million with the designation of Music Director Society.

Jason Norvell

Torsten & Kim Pilz

Emily & Nima Pirzadeh

Sara Garcés Roselli & Dan Roselli

Bette Roth

Ylida & Bert Scott

Laura & Michael Schulte

Donald & Susan Sherrill

Glenn Sherrill, Jr In honor of Robin Branstom

Mr. & Mrs. Harley F. Shuford, Jr.

Mr. & Mrs. Pope A. Shuford

Nancy E. Simpson

Lori & Eric Sklutwiener

Drs. Jennifer Sullivan & Matthew Sullivan

Kevin Taylor

Chris & Jim Teat

Judith & Gary Toman

Mr. & Mrs. C.L. Trenkelbach

Suzie & Nick Trivisonno

In Memory of Tess Verbesey

Kevin & Jill Walker

Floyd Wisner & Glenda Colman

Sidney & Bobby Youngs

Abby & Albert Zue

$3,500 – $4,999

Anonymous

Wedge & Debbie Abels

Mr. James Biddlecome, In Loving Memory of Bernadette Zirkuli Biddlecome

Philipp J. Bischoff

Si & Michael Blake

Sally & Derick Close

H. Clay Furches

Richard I. McHenry & Cynthia L. Caldwell

Arrington & Burch Mixon

Tony & Linda Pace

Marsha & Robert L. Stickler

Daniel & Kathleen Troy

Edgar & Karen Whitener

George McLendon & Carol Quillen

$2,500 – $3,499

Anonymous

Julian Andretta

Merilyn & Craig Baldwin

Mrs. Harriet B. Barnhardt

Bill & Georgia Belk

Tiffany & Jason Bernd

Jan & Bob Busch

Cathy Bessant & John Clay

Mr. & Mrs. Alan Blumenthal

Amy & Philip Blumenthal

Dr. & Mrs. O. Robert Boehm

Ann Thomas Colley

Dorothy & Mike Connor

Deborah J. Cox & Bob Szymkiewicz

Alfred & Amy Dawson

Chris & Elizabeth Daly

In Memory of Betty Haggarty

Peter De Arcangelis

Phil & Mary Delk

Cheryl DeMaio

Peggy & Charles Dickerson

Timothy & Kara Gallagher

Harvey & Lucinda Gannt

(continued next page)

$2,500 – $3,499 (continued)

Glenn Mincey & Mrs. Macie Mincey

Eleanor W. Neal

Caroline Olzinski

Pamela Pearson & Charles Peach

John & Susan Rae

Jane Perry Shoemaker

Katie & Raleigh Shoemaker

Ken Spielfogel & Richard Withem

Robert & Maxine Stein

Gail & Scott Syfert

Tillie S. Tice

Jenny & Ken Tolson

James H. Trexler & Kelly Zellars

Vera Watson

Grant Webb

Linda & Craig Weisbruch

Cricket Weston & David Molinaro

Mrs. Eugenia N. White

Bryan Wilhelm

Noni Williams

Deems Wilson

Ms. Deborra Wood & Mr. Russell Propst

$1,000 – $1,499

Anonymous (5)

Ashley & Steve Allen

Kathleen & Richard Anderson

Mary Lou & Jim Babb

Mr. & Mrs. Lincoln A. Baxter

Morgan & Katie Beggs

Katherine W. Belk

John & Katherine Beltz

Shirley W. Benfield

Donald H. & Barbara K. Bernstein Family Foundation

Ms. Brett Blumenthal & Mr. David Wax

Carole Bourret

Khary Brown in Memory of Kyden Justice Brown

(continued next page)

Arvind & Helen Patil

Gwen Peterson & Tom Hodge

Catherine Philpott

Lucy Quintilliano & Leonard Fumi

Dr. & Mrs. R. Pinkney Rankin, Jr.

Morry Alter & Joan Rasmussen

Brendan Reen

Dave & Anne Regnery

Rita & Thomas Robinson

Sally & Russell Robinson

Mrs. Gail Salmon

Dr. Stephen P. Schultz & Donna Dutton

Thomas & Natasha Scrivener

Mr. & Mrs. William Seifert

Molly & Conrad Sloan

Scott Smith

Murray & Hazel Somerville

Kathryn Stewart

Al & Alice Sudduth

Ann & Wellford Tabor

Richard R. Taylor

Mr. & Mrs. Hans Teich

Catherine Thompson

B. Maureen Turner

Vint & Libby Tilson

Sarah S. Tull

Drs. Iris Cheng & Daniel Uri

Dr. & Mrs. Bill Chu & Jin Wang

Ward Wellman & Laura Meyer Wellman

Pam & Steve West

Peter White

David Wilcox

Mr. Gary Wilhite

Ms. Judith Wood

Eugene Woods

Ms. Barbara Yarbrough

$500 – $999

Anonymous (4)

Michael & Lee Abbott

Doug & Linda Abel

Mark Abrams & Iris Prandi

Mr. Lester Ackerman & Mr. Layton Campbell

Larry Anderson

Leigh & Rhonda Armistead

JWD Atchison

Bob & Cathy Becker

Emerson Bell

Ms. Melody Birmingham

James Broadstone

Aram & Scott Bryan

Greg & Mary Lou Cagle

Barbara F. Caine

Ms. Lisa Callen

Mary Case

Amanda & Kevin Chheda

Hobart B. Cheyne

(continued

Anonymous (3)

Geraldine I. Anderson†

Richard & Ruth Ault

Baldwin Family Trust

Barnhardt Thomas Trust

Larry & Joyce† Bennett

Donald H. & Barbara K. Bernstein

Mark & Louise Bernstein†

Twig & Barbara Branch

Saul Brenner

Mike & Joan Brown†

Mrs. Joan Bruns †

Jan & Bob Busch

Dr. Helen G. Cappleman, Ph.D.†

Jim Cochran†

Robin Cochran

Tom Covington

Charles & Peggy Dickerson

Mr. Martin Ericson, Jr.

David J.L. Fisk & Anne P. O’Byrne

Peter & Ann† Guild

William G. & Marguerite K. Huey Fund†

Dr. Nish Jamgotch, Jr.

Betty & Stanley Livingstone†

Lucille & Edwin Jones

† Deceased

Paul and Paula McIntosh

Nellie McCrory †

M. Marie Mitchell†

Cricket Weston & David Molinaro

Joan & Richard Morgan

Don C. Niehus

Eva Nove

Richard J. Osborne

Gwen Peterson & Tom Hodge

James Y. Preston†

Mrs. Clayton (Dusty) Pritchett

Ann & Fritz Rehkopf

Elizabeth Waring Reinhard

Nancy W. Rutledge

Mike Rutledge

Harriet Seabrook

Mr. & Mrs. William Seifert

Morris & Patricia Spearman

Bob & Maxine Stein

Dr. Ben C. Taylor III

Mr. & Mrs. Hans Teich

Cordelia G. Thompson

Tim Timson

Jenny & Ken Tolson

Ms. Debora Wood & Mr. Russell Propst

The Encore Society includes individuals who have made provisions for the CSO in their estate plans. We are honored to recognize their support: Leave a lasting legacy of great music through your planned gift. For more information, please contact Shayne Doty at 704.714.5104.

With your gift, the Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

CORPORATE PARTNERS

We are grateful for the following outstanding corporate funders:

For more information, please contact Mandy Vollrath at mvollrath@charlottesymphony.org

Troutman Pepper

GOVERNMENT & FOUNDATION SUPPORT

We are grateful for the following outstanding foundation and government funders:

The Trexler Foundation

Dowd Foundation, Inc.

DG Brungard Foundation

The Dickson Foundation, Inc.

Cole Foundation

‘The Charlotte Mecklenburg Community Foundation

The Mary Norris Preyer Fund

The George W. & Ruth R. Baxter Foundation

Barnhardt/Thomas Trust

Kathryn Stephenson Pipe Organ Endowment Foundation

Blumenthal Foundation

Minor Foundation, Inc.

For more information, please contact Mandy Vollrath at mvollrath@charlottesymphony.org

The Truist Charitable Fund is a donor-advised fund created by Truist and administered by The Winston-Salem Foundation

"Simply phenomenal..." - The London Times

November 1O & 11 7:30 pm | Knight Theater

This edgy and endlessly entertaining ensemble offers a singular mix of standards and modern-day hits, all brought to life with brassy horn arrangements, rollicking piano, and incredible vocals.

Ian Passmore, conductor The Hot Sardines, special guests

Multimillion Dollar Commitment City of Charlotte

$1.5 million and above Bank of America

C.D. Spangler Foundation / National Gypsum Company

John S. and James L. Knight Foundation

Trane Technologies

$600,000 - $1 million

Albemarle Foundation

Atrium Health

Barings

Duke Energy

Honeywell

JELD-WEN, Inc.

LendingTree Foundation

Lowe’s Companies, Inc.

Novant Health

Red Ventures

Truist

$300,000-$600,000

Ally Financial

The Centene Charitable Foundation

Childress Klein Properties

Coca-Cola Consolidated

Deloitte

EY

The Gambrell Foundation

Moore & Van Allen

PwC

Robinson, Bradshaw & Hinson, P.A.

Rodgers Builders

Wells Fargo

Up to $300,000

Fifth Third Bank

Foundation For The Carolinas

Deidre and Clay Grubb

Leslie and Michael Marsicano

Jane and Hugh McColl

Nucor Corporation

PNC Bank

Premier, Inc.

Jane and Nelson Schwab

The Charlotte Symphony is supported, in part, by the Infusion Fund and its generous donors.

BOARD OF DIRECTORS

Linda McFarland Farthing

Chair

Richard Krumdieck

Vice Chair

John Williams

Vice Chair

Mick Ankrom

Treasurer

Manny Clark

Secretary

David Fisk

President & CEO

Joye D. Blount

Mike Butterworth

Nick Clements

BOARD OF TRUSTEES

Richard Osborne, Chair

Ruth & Richard Ault

Kat Belk

Arlene & Milton Berkman

Jason & Tiffany Bernd

Mary & Charles Bowman

Frank Bragg

Robin & Bill Branstrom

Derick & Sallie Close

Robin Cochran

Wilton Connor

Jeanie & T. Thomas Cottingham III

Brian Cromwell

Alessandra & Pasquale De Martino

Alvaro & Donna de Molina

Peggy & Richard Dreher

Lisa Hudson Evans

Eileen Friars & Scott Pyle

Todd Gorelick

Ralph S. Grier

Laurie Guy

Janet Haack

Reginald B. Henderson, Esq.

Mark & Whitney Jerrell

Catherine Connor

Mary Delk*

Denise DeMaio

Sidney Fletcher

Kevin Gottehrer

Stephen Makris

Alex McKinnon

Ulrike W. Miles

Ylida Scott

Melinda Snyder

Jennifer Sullivan

Jenny Tolson*

Jenny Topilow*

Kevin Walker

*ex officio

Jeff Lee

Gov. James G. Martin

Jane & Hugh McColl

Susan & Loy McKeithen

Elizabeth J. McLaughlin

George McLendon

Mica Oberkfell

Patrick J. O’Leary

Debbie & G. Patrick Phillips

Paul Reichs

Nancy & Charles Robson

Patricia A. Rodgers

M.A. Rogers

Dan & Sara Garces Roselli

Laura & Mike Schulte

Carolyn Shaw

Emily & Zach Smith

Bob & Marsha Stickler

Adam Taylor

Cynthia Tyson

Braxton Winston

Richard Worf

Joan Zimmerman

Albert Zue

EXECUTIVE

David J. L. Fisk, President & CEO

Samantha Hackett, Executive Administrator

ARTISTIC OPERATIONS (see p. 11)

DEVELOPMENT

Shayne Doty, Vice President of Development

Mandy Vollrath, Director of Corporate & Institutional Relations

Libby Currier, Director of Individual Giving

Tammy Matula, Senior Manager of Development Operations

Jennifer Gherardi, Development Manager - Campaign & Special Events

FINANCE & ADMINISTRATION

Angel Adams, Vice President of Finance & Administration

Corey Williams, Accounting Associate

Chazin & Company, Financial Services

Amy Hine, HR Coordinator & Office Administrator

HUMAN RESOURCES

Maribeth Baker, Human Resources Counselor

LEARNING & COMMUNITY ENGAGEMENT

Aram Kim Bryan, Vice President of Learning & Community Engagement

Dylan Lloyd, Senior Manager of Youth Orchestras

Michaela Sciacca, Project Harmony Manager

Gavin Fulker, Education & Community Programs Assistant

Elysia Duckett, Youth Orchestras Program Assistant

Jirah Montgomery, Youth Orchestras Program Assistant

Lily Moore, Youth Orchestras Program Assistant

MARKETING

Mical Hutson, Vice President of Marketing & Audience Development

Deirdre Roddin, Director of Institutional Marketing & Communications

Nicole Glaza, Senior Manager of Digital Marketing

Chad Calvert, Visual Communications Manager

Laura Thomas, Marketing Manager

Meghan Starr, Patron Experience Manager

Garrett Whiffen, Ticketing Manager

128 S. Tryon Street, Suite 350 Charlotte, NC 28202

tickets: 704.972.2000 office: 704.972.2003

charlottesymphony.org

November 17 & 18 7:30 pm | Belk Theater

Melinda Whittington soprano

Leann Sandel-Pantaleo mezzo-soprano

Cooper Nolan tenor

TBA bass

Kwamé Ryan, conductor

Charlotte Master Chorale