November 8 – 10 Knight Theater
Welcome Back to the Symphony!
There’s nothing quite like the experience of live music – the energy, the emotion, the connection between performers and audience. And tonight, you’re about to experience all of that and more. Whether you’re here for the legendary sounds of The Music of Queen or Shostakovich’s witty Ninth Symphony, you’ll hear music brought to life by our talented musicians. These aren’t just performers; they are your neighbors, teachers, and fellow community members, sharing their passion for music across our city.
This season is especially exciting as we welcome our new Music Director, Kwamé Ryan. While his highly anticipated debut conducting Brahms’s A German Requiem on November 22 and 23 is still to come, we’re already feeling the extraordinary energy he brings to this season, brimming with performances that are sure to inspire and captivate.
At the Charlotte Symphony, we believe that music is for everyone, and this season is a reflection of that belief. From the exhilarating fusion of Beethoven x Beyonce to our casual On Tap brewery series, and beloved holiday traditions like Handel’s Messiah and The Muppet Christmas Carol in Concert, we offer something for every music lover. Whether you join us here in the concert hall or at one of our many community events, we want you to feel like a part of the Charlotte Symphony family.
For over 90 years, the Charlotte Symphony has been woven into the cultural fabric of our city, and tonight, you’re a part of that rich legacy. Thank you for being here to experience the power of live music. We look forward to sharing this incredible season with you.
Enjoy the concert!
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.
Concert Program
THE NINETY-THIRD SEASON
Anthony Parnther, conductor
Amaryn Olmeda, violin
Friday, November 8, 2024, at 7:30 pm
Saturday, November 9, 2024, at 7:30 pm
Sunday, November 10, 2024, at 3:00 pm
Knight Theater at Levine Center for the Arts
SAMUEL COLERIDGE-TAYLOR (1875-1912)
Ballade in A Minor, Op. 33
FELIX MENDELSSOHN (1809-1847)
Violin Concerto in E minor, Op. 64
I. Allegro molto appassionato
II. Andante
III. Allegretto non troppo - Allegro molto vivace
Amaryn Olmeda, violin
- INTERMISSION -
DMITRI SHOSTAKOVICH (1906-1975)
Symphony No. 9 in E-flat Major, Op. 70
I. Allegro
II. Moderato
III. Presto
IV. Largo
V. Allegretto
CONCERT DURATION: Approximately 2 hours, with one 20-minute intermission.
Anthony Parnther guest conductor
American conductor Anthony Parnther is the Music Director and Conductor of the San Bernardino Symphony Orchestra and the Southeast Symphony & Chorus in Los Angeles.
Recent guest conducting engagements include the Los Angeles Philharmonic, Los Angeles Opera, Atlanta Symphony Orchestra, Chineke! Orquesta Sinfónica de Barcelona y de Cataluña, Jacaranda
— Music at the Edge, Hear Now Music Festival, Mann Center Festival Orchestra, Pittsburgh Microtonal Festival, Hollywood Chamber Orchestra, Brightwork NewMusic, and the World Opera Forum in Madrid, Spain.
Over the next season, Anthony will premiere Kris Bower’s Concerto for Horn with the Los Angeles Philharmonic, Tamar-kali Brown’s Oratorio “We Hold These Truths” with the Los Angeles Opera, work alongside composer Anthony Davis on his Pulitzer Prize-winning opera Central Park Five with the Long Beach Opera, and premiere a new work for narrator and orchestra by Oscar-winning, GRAMMY-nominated Jon Batiste, host of The Late Show with Stephen Colbert with the Gateways Festival Orchestra at Carnegie Hall.
Anthony has led the Hollywood Studio Symphony in recording sessions for many international feature film and television projects including Star Wars: The Mandalorian, Tenet, Star Wars: Book of Boba Fett, Little, American Dad, The Hunt, Fargo, The Way Back, The Night Of, Ghostbusters: Afterlife, Encanto, and Ice Age: Adventures of Buck Wild. His live orchestral concert appearances for e-sports titan League of Legends in Barcelona, Beijing, Seoul, and Los Angeles are among the most widely viewed symphonic concerts in the world, with live audiences of 50,000-75,000 spectators and a viewership that outpaces the World Series with approximately 100 million live streaming each League of Legends Finals Opening Ceremony concert.
Anthony has restored and performed orchestral works by Florence Price, Zenobia Powell Perry, Margaret Bonds, William Grant Still, Duke Ellington, and Samuel Coleridge Taylor. He has premiered and recorded works by Anthony Davis, George Walker, Errollyn Wallen, John Wineglass, Gary Powell Nash, Marian Harrison, Renée Baker, James Wilson, Phillip Herbert, Daniel Kidane, Chanda Dancy, and James Newton. In 2015, Anthony was profiled by Los Angeles’ KCET/TV as a “Local Hero” for his extensive community outreach and advocacy for the performance of works by Black, Latino, and Women artists.
Anthony studied music performance at Northwestern University and continued his musical studies at Yale University where he studied orchestral conducting with Lawrence Leighton Smith and Otto Werner Mueller. He resides in Los Angeles.
Amaryn Olmeda violin
Winner of first prize and the audience choice award at the 24th Annual Sphinx Competition, violinist Amaryn Olmeda is a rising star sought after for her bold and expressive performances as a soloist and collaborator. Violinist.com says of Olmeda, “[…] her commanding stage presence, infallible technique, and interpretive ability already rival that of international concert stage veterans.”
Highlights of the 2023-2024 season included return invitations as soloist with the San Francisco Chamber Orchestra and Oakland Symphony, and debut solo appearances with the Houston Symphony, Cleveland Symphony, Chicago Sinfonietta, Des Moines Symphony, Folsom Lake Symphony, Springfield Symphony, and Grand Rapids Symphony. Olmeda will be featured in recitals at Classical KDFC SKY Concerts with pianist Lara Downes, Music at Gretna, at the Willamette University Distinguished Artist Series, and at Salon De Virtuosi in New York City.
Olmeda made her Carnegie Hall solo debut on the Sphinx Virtuosi tour at the age of 14, garnering rave reviews. At 13, Olmeda was named the initial member of the San Francisco Conservatory of Music and Opus 3 Artist’s Artist Apprentice Program.
Highlights of previous seasons include debuts as soloist with the Philadelphia Orchestra, Seattle Symphony, Buffalo Philharmonic, Richmond Symphony, Stockton Symphony, Oakland Symphony, Classical Tahoe Orchestra, and with the San Francisco Chamber Orchestra at their New Year’s Concert Series, which earned her a nomination for the San Francisco Classical Voice Audience Choice Awards. Olmeda was also a recitalist at the Bouchaine Young Artist Series at Festival Napa Valley as well as at the National Arts Club in New York City.
Other career highlights include being selected as an NPR From the Top Fellow , appearing on Show 404, and a featured solo performance
with the Sacramento Philharmonic and VITA Academy in the video production, The Extraordinary Life of Joseph Bologne, Chevalier de Saint-Georges. In 2022 Olmeda performed for the San Francisco Conservatory Gala with pianist Yuja Wang, and has participated in masterclasses with Rachel Barton Pine, Hilary Hahn, James Ehnes, and Midori. Olmeda was the recipient of the National Arts Club’s Herman and Mary Neuman Music Award and was named a Young Artist Soloist by the Seattle Symphony. She received first prize in the Auburn Symphony Young Artists and Music in the Mountains Young Musicians competitions, as well as in the Classical Music Masters Competition at the Harris Center for the Performing Arts, the Pacific Musical Society Competition in San Francisco, the Merced Symphony Young Artist, Diablo Valley and Holy Names College Competition, the Solano Symphony Young Artist Competition, and the United States International Music Competition at Stanford University, among others. In 2023, Olmeda made her recording debut as the featured soloist of Carlos Simon’s “Between Worlds” on the Sphinx Virtuosi’s inaugural recording with Deutsche Grammophon. The Strad Magazine says of Olmeda’s performance, “it receives an impressive reading here by the young musician [and] she shows why she has garnered the word ‘prodigy’.”
Olmeda enjoys performing in school and community outreach events, including with the Buffalo Philharmonic, Richmond Symphony, Auburn Symphony, Oakland Symphony, and the Sacramento Youth Symphony. She has performed for numerous charity events including for the Habitat for Humanity Gala, Keaton Raphael Child Cancer Organization, From the Top ’s Concert for Colorado Children’s Hospital through Seacrest Studios, and for the Sphinx Organization Songs for Seniors.
Born in Melbourne, Australia in 2008, Olmeda currently studies at the New England Conservatory of Music with Miriam Fried. She previously studied with Ian Swensen at the San Francisco Conservatory of Music. Amaryn Olmeda performs on a violin made by J.B. Vuillaume in 1864.
Christopher James Lees
Resident Conductor
Christopher Warren-Green Conductor Laureate
2024 · 2025 MUSICIAN ROSTER
FIRST VIOLINS
Calin Ovidiu Lupanu, Concertmaster
The Catherine & Wilton Connor Chair
Joseph Meyer,* Associate Concertmaster
Kari Giles, Acting Associate Concertmaster
Dustin Wilkes-Kim,
Acting Assistant Concertmaster
Susan Blumberg°°
Jane Hart Brendle
Cynthia Burton
Ayako Gamo
David Horak†
Lenora Leggatt
Jenny Topilow
Angela Watson†
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 Merrillt Principal Viola Chair
Kirsten Swanson†
Acting Assistant Principal
Matthew Darsey†
Ellen Ferdon
Wenlong Huang
Viara Stefanova
Ning Zhao
CELLOS
Jonathan Lewis, Principal
The Kate Whitner McKay Principal Cello Chair
Allison Drenkow, Assistant Principal
Alan Black, Principal Emeritus
Marlene Ballena
Jeremy Lamb
Amy Sunyoung Lee
Sarah Markle
DOUBLE BASSES
Jason McNeel, Acting Principal
Judson Baines, Assistant Principal
Justin Cheesman†
Jeffrey Ferdon
° 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
This roster lists the full-time members of the Charlotte Symphony. The number and seating of musicians on stage varies depending on the piece being performed.
HARP
Andrea Mumm Trammell, Principal
The Dr. Billy Graham Chair
FLUTES
Victor Wang, Principal
The Blumenthal Foundation Chair
Amy Orsinger Whitehead
Erinn Frechette
PICCOLO
Erinn Frechette
OBOES
Timothy Swanson, Principal
The Leo B. Driehuys Chair‡
Erica Cice
Jamison Hillian†
Terry Maskin*
ENGLISH HORN
Erica Cice
CLARINETS
Taylor Marino, Principal
The Gary H. & Carolyn M. Bechtel Chair
Samuel Sparrow
Allan Rosenfeld
E ♭ CLARINET
Samuel Sparrow
BASS CLARINET
Allan Rosenfeld
BASSOONS
AJ Neubert, Principal
Joshua Hood
Nicholas Ritter
CONTRABASSOON
Nicholas Ritter
HORNS
Byron Johns, Principal
The Mr. & Mrs. William H. Van Every Chair
Andrew Fierova
Bradley Burford
The Robert E. Rydel, Jr. Third Horn Chair
Richard Goldfaden
Paige Quillen
TRUMPETS
Alex Wilborn, Principal
The Betty J. Livingstone Chair
Jonathan Kaplan*
Peter Stammer†
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
TIMPANI
Jacob Lipham, Principal
The Robert Haywood Morrison Chair
PERCUSSION
Brice Burton, Principal
The CSO is a proud member of the League of American Orchestras.
Queen Bey meets the Classical King
NOVEMBER 15 & 16
7:30 pm · Knight Theater
Experience a thrilling blend of musical royalty as Beyoncé meets Beethoven! In this innovative new musical fusion, Beyoncé’s iconic repertoire is seamlessly interwoven with Beethoven’s 7th Symphony.
The symphonic world’s most joyful celebration of dance becomes the backdrop to fifteen of Queen Bey’s chart-topping hits — including “Girls,” “Crazy in Love,” “Single Ladies,” “Texas Hold ‘Em,” and many more!
The Charlotte Symphony Orchestra (CSO) is one of the premier music organizations in the Southeastern United States and the oldest continuously operating symphony orchestra in the Carolinas. As Charlotte’s most active performing arts group, the CSO presents around 150 concerts each season, reaching more than 130,000 music lovers.
The 2024-25 season marks a transformative era under the dynamic leadership of newly appointed Music Director Kwamé Ryan. With 65 full-time musicians, the Symphony performs throughout the community in a variety of venues, from the Belk and Knight theaters to parks, breweries, community centers, schools, senior care centers, and places of worship. With its new mobile stage, CSO Roadshow, the Symphony extends its reach directly into neighborhoods, bringing live music to communities across the region.
Engaging with more than 10,000 students each year, the Charlotte Symphony nurtures the next generation of musicians and music lovers through its four diverse youth orchestras, in-school education programs, instrument coaching, and Project Harmony — which offers free after-school lessons in music and life skills to over 200 students in under-resourced areas.
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.
Founded in 1932, the Charlotte Symphony Orchestra continues to play a vital cultural role in the region and remains committed to the belief that music, accessible to all, enriches and unites our community. For more information, visit us online at charlottesymphony.org
Interview Get to Know Our New Board Chair, Richard Krumdieck
We recently caught up with Richard Krumdieck, the CSO’s new Board Chair, to discuss his passion for music, his journey with the Symphony, and his exciting vision for the future.
How did you begin your journey with music?
Music has always played a central role in my life. Both my parents were from Peru and loved classical music. My father had an extensive collection of classical albums, and my first experience with music was listening to those albums with him on his stereo. One that I especially loved was the Mozart Clarinet Concerto, performed by English clarinetist Jack Brymer. That inspired me to choose the clarinet, and I played in my community youth orchestras and continued studying music through college. For a time, I even considered a career as an orchestral clarinetist, but ultimately, I pursued medicine. However, I have always loved music and deeply admire those who choose to pursue a career in the arts. Even as a young adult, I made a commitment that I would support the arts in any way I could.
Do you still play the clarinet?
I do still play! I take private lessons from Taylor Marino, the CSO’s Principal Clarinetist, and perform with community orchestras and community bands. I also enjoy getting together with friends on occasion to play chamber music.
How did you first become aware of the Charlotte Symphony?
I was aware of the Charlotte Symphony before I even moved to the area in the late 1990s. A friend of mine sang in what was then called the Oratorio Singers — now the Charlotte Master Chorale — and invited me to a performance of Beethoven’s Ninth Symphony. I was very impressed with the level of artistry; that was my first exposure to the CSO. After moving to Charlotte, I became a regular concertgoer and began supporting the Symphony with philanthropic gifts. I was later invited to become a trustee, which deepened my connection to the organization. I became more aware not only of the high level or artistry but also of the organization’s values, which align closely with many of my own.
Is there a particular initiative or program at the CSO that resonates with you personally?
Yes, there are several! Two that are particularly important to me involve increasing access to classical music performances, such as moving concerts outside of the traditional concert hall and directly into the community using non-traditional venues like breweries or our new mobile stage, CSO Roadshow. The initiative that is most important to me, however, is providing music education for our youth. I was extraordinarily privileged to have a music education, and I believe every child should have the opportunity to learn music and play an instrument if they desire. The skills learned through music — such as practice, perseverance, listening, compromise, and collaboration — are invaluable, whether or not one pursues a career in the arts. The skills I learned from music have served me very well in my career in medicine.
How do you envision the CSO evolving over the next few years?
I believe the CSO is at a very positive inflection point. Under Christopher Warren-Green, the Orchestra achieved significant artistic growth, and I’m eager to see this continue under the direction of new Music Director Kwamé Ryan. I also envision the Charlotte Symphony becoming a more integral part of the Charlotte community and for us to communicate more effectively about the essential role we play in enriching the cultural landscape here.
What are you most looking forward to in your new role as Chair?
I am excited to foster a spirit of collaboration within the CSO and help realize our shared artistic vision. I am also eager to be a strong advocate for the Symphony in our community.
Is there a message you hope to convey to the community through your work with the CSO?
I want to emphasize the essential role that the CSO plays in Charlotte. By providing quality live classical performances, bridging communities through collaboration with other arts organizations like the Charlotte Ballet and Opera Carolina, and our commitment to music education, we’re not just an orchestra — we’re a cornerstone of the community! The CSO helps makes Charlotte a vibrant place to live and work, which attracts new businesses to the area.
Samuel Coleridge-Taylor
BORN: August 15, 1875 in London, England
DIED: September 1, 1912 in Croydon, England
Ballade in A minor Opus 33 (1898)
PREMIERE: September 12, 1898 at Shire Hall in Gloucester, England
Approximate performance time is 13 minutes.
Samuel Coleridge-Taylor was born in London on August 15, 1875, the son of a physician from Sierra Leone and mother from England. In his early years, Coleridge-Taylor studied the violin and singing. Later, he pursued studies in composition under the tutelage of British composer Charles Villiers Stanford at London’s Royal College of Music.
Shortly after graduation, Coleridge-Taylor received a commission to compose a new orchestral work for the Three Choirs Festival in Gloucester. The Festival had requested Edward Elgar to write the piece. Elgar was busy with other obligations, and suggested that Coleridge-Taylor take on the assignment. The result was ColeridgeTaylor’s orchestral composition, the Ballade in A minor.
The Ballade premiered under the composer’s direction at the Three Choirs Festival on September 12, 1898. The concert was a tremendous success, with the Ballade inspiring a standing ovation. But it was the premiere that same year of Coleridge-Taylor’s cantata, Hiawatha’s Wedding Feast (based upon poetry by Henry Wadsworth Longfellow), that catapulted the composer to national and international acclaim.
Program Notes
During his lifetime, Samuel Coleridge-Taylor was celebrated both as a conductor and a composer who succeeded in a wide variety of genres. Coleridge-Taylor made several visits to the United States and took a great interest in African American music. In many of his works, Coleridge-Taylor offered a compelling synthesis of African American folk melodies and classical elements. His tragic death from pneumonia at the age of 37 cut short a brilliant and promising career. Samuel Coleridge-Taylor’s tombstone reads:
TOO YOUNG TO DIE HIS GREAT SIMPLICITY HIS HAPPY COURAGE
IN AN ALIEN WORLD HIS GENTLENESS MADE ALL THAT KNEW HIM LOVE HIM
The Ballade opens with the first of two principal sections, a vibrant and dramatic sequence in 6/8 time (Allegro energico, ma non troppo presto). The mood calms, leading to a far more relaxed episode, introduced by muted strings (moderato, ma con passione). The two episodes alternate, with the first returning a final time to bring the Ballade to a fiery (Più Presto. Con fuoco) conclusion.
Felix Mendelssohn
BORN: February 3, 1809 in Hamburg, Germany
DIED: November 4, 1847 in Leipzig, Germany
Violin Concerto in E minor Opus 64 (1844)
PREMIERE: March 13, 1845 at the Gewandhaus in Leipzig, Germany
Approximate performance time is 27 minutes.
Felix Mendelssohn composed his Violin Concerto for his dear friend, Ferdinand David. An eminent violinist, David was concertmaster of Mendelssohn’s Gewandhaus Orchestra of Leipzig. In a letter of July 30, 1838, Mendelssohn informed David: “I would also like to write you a violin concerto for next winter as well; I have one in E minor in my head, the opening leaves me no peace...”
David was, of course, thrilled by Mendelssohn’s news. However, progress on the Concerto was slow, as Mendelssohn tended to other obligations. But David continued to encourage Mendelssohn. The composition of the Violin Concerto proved to be a truly collaborative effort. David repeatedly offered constructive suggestions for modifications to the score-in-progress. In fact, it is generally believed that David was essentially responsible for the beautiful firstmovement cadenza.
Mendelssohn dedicated the Concerto to David, who appeared at the March 13, 1845 Gewandhaus premiere. As Mendelssohn was recuperating from an illness at the time, Niels W. Gade served as the conductor for that highly successful first performance. The Concerto was repeated during the subsequent Gewandhaus season. David was again the soloist at the October 20, 1845 concert, this time with Mendelssohn on the podium.
The Mendelssohn E-minor is one of the most beloved of violin concertos. The Concerto’s seamless, inevitable flow belies the years of struggle invested by Mendelssohn and his worthy collaborator, Ferdinand David. The genial lyricism also tends to obscure the several innovative, even revolutionary, touches in the magnificent score. The
E-minor Concerto, along with such works as the Octet for Strings (1825), and the Overture to the Incidental Music for A Midsummer Night’s Dream (1826), represent Mendelssohn at his zenith, a composer demonstrating the capacity to approach, and perhaps even achieve, perfection.
The Violin Concerto is in three movements. The first (Allegro molto appassionato) dispenses with the traditional orchestral introduction of the principal themes. Instead, the soloist plays the haunting melody that Mendelssohn confessed left him “no peace.” Another departure from the conventions of the time is the placement of the solo cadenza immediately before the recapitulation of the principal themes, rather than toward the close of the entire movement. The tempestuous closing measures lead without pause to the slow-tempo second movement (Andante), fashioned along the lines of an opera aria without words, with the presentation and ultimate reprise of the principal melody separated by a contrasting, dramatic interlude. Once again, the final movement (Allegretto non troppo; Allegro molto vivace) follows without pause. The mood of the finale is joyous throughout, concluding in triumphant fashion, with brilliant solo writing.
German violinist and composer Ferdinand David (1810-1873), for whom Mendelssohn wrote the Violin Concerto in E minor
Dmitri Shostakovich
BORN: September 25, 1906 in St. Petersburg, Russia
DIED: August 9, 1975 in Moscow, USSR
Symphony No. 9 in E-flat Major Opus 70 (1945)
PREMIERE: November 3, 1945 in Leningrad (St. Petersburg)
Approximate performance time is 27 minutes.
In November of 1944, as Russia’s wartime fortunes improved, Dmitri Shostakovich wrote: “I have a dream — common, I should think to every Soviet artist — of creating a large-scale work which will express the powerful feelings we have today. I think that the epigraph to all our work in the next few years will be the simple but glorious word, ‘Victory.’”
Many anticipated that Shostakovich’s “dream” would manifest itself in his next symphony, the Ninth. As he confided to a friend: “I would like to write it for chorus and solo singers as well as an orchestra if I could find suitable material for the book and if I were not afraid that I might be suspected of wanting to draw immodest analogies.” Here, Shostakovich was referring to another Ninth, Beethoven’s magnificent “Choral” Symphony (1824).
In January of 1945, Shostakovich began composing his Ninth Symphony. The composer shared some of the score with his associates. They described it as “powerful, victorious major music in a vigorous tempo,” and “majestic in scale, in pathos, in its breathtaking motion.” But by the early spring of 1945, Shostakovich put the work aside. Abandoning the music he had written up to that point, he recommenced the Ninth in July of that year. He completed the Symphony on August 30, for premiere in Leningrad that November.
Those who had expected a work modeled upon Beethoven’s “Choral” Symphony were stunned. Instead of an epic score with chorus and vocal soloists, the Shostakovich Ninth features conventional orchestral forces, and lasts about 25 minutes. Rather than displaying a grand, heroic form of expression, much of the music of this “Victory” Symphony is lighthearted, sometimes evoking silent film comedies or the circus.
Mravinsky, who led the Ninth’s world premiere, defended the Symphony as “a work directed against philistinism…an original ‘symphonic broadside’ which ridicules complacency and bombast, the desire to ‘rest on one’s laurels’ — attributes and a state of mind which were particularly dangerous at a time when the war had just ended and the task of healing its wounds lay ahead.”
Another explanation for Shostakovich’s about-face surfaced four years after the composer’s death with the book, Testimony: the Memoirs of Dmitri Shostakovich. The book, compiled by Shostakovich’s friend and student, Solomon Volkov, purports to offer the composer’s views on a number of subjects. According to Volkov, Shostakovich said:
(T)hey wanted a fanfare from me, an ode, they wanted me to write a majestic Ninth Symphony. It was very unfortunate, the business with the Ninth… Everyone praised Stalin, and now I was supposed to join in this unholy affair…
I confess that I gave hope to the leader and the teacher’s dreams. I announced that I was writing an apotheosis. I was trying to get them off my back but it turned against me. When my Ninth was performed, Stalin was incensed. He was deeply offended, because there was no chorus, no soloists. And no apotheosis. There wasn’t even a paltry dedication. It was just music, which Stalin didn’t understand very well and which was of dubious content…
I couldn’t write an apotheosis to Stalin, I simply couldn’t. I knew what I was in for when I wrote the Ninth.
The authenticity of Volkov’s Testimony continues to be the subject of heated debate. Nevertheless, it is telling that Shostakovich’s next Symphony, the Tenth, did not appear until 1953 — after Stalin’s death.
The Ninth Symphony is in five movements. The first (Allegro) is in sonata form, a structure favored by such 18th-century composers as Mozart and Haydn. The spirit of “Papa” Haydn is also present in the Allegro’s pervasive wit and humor. A solo clarinet sings the second movement’s (Moderato) flowing, central melody. The final three movements are played without pause. The third (Presto) serves as the Symphony’s lighthearted scherzo. The brief fourth movement (Largo) begins in dramatic fashion, with powerful exclamations by the trombones and tuba, capped by a cymbal crash. The finale (Allegretto) opens in a far more playful fashion. The whirlwind of activity culminates in a helter-skelter dash to the finish.
BENEFACTOR CIRCLE
$100,000+
Jacqueline B. Mars
$50,000 – $99,999
Jane & Hugh McColl* Douglas Young
$25,000 – $49,999
Anonymous
Joan & Mick Ankrom
Ruth & Richard Ault
Dr. Milton & Arlene Berkman
Philanthropic Fund
Judith & Mark Brodsky
Roberta H. Cochran
Catherine & Wilton Connor*
Jean & Dick Cornwell
Susan Cybulski
J. Porter & Victoria Durham Linda & Bill Farthing
Karen Fox
Maria & John Huson
Richard Krumdieck & Sally Gregory
Patricia & Thrus Morton
Patrick J. O’Leary
Richard J. Osborne
Debbie & Pat Phillips
Kathy & Paul Reichs
Pat Rodgers
Carolyn Shaw
Andrea & Sean Smith
Melinda & David Snyder
$15,000 – $24,999
Anonymous (2)
Nicola & Emanuel Clark
Denise & Peter DeMaio
Ralph S. Grier
Betty P. & Jeffrey J. Lee Sandra Levine
Tanya & Steve Makris
We gratefully acknowledge these generous donors to the Charlotte Symphony Annual Fund. This list reflects gifts received between July 1, 2023 through October 1, 2024. * The CSO recognizes donors of exceptional generosity whose cumulative giving exceeds $1 million with the designation of Music Director Society.
DeDe & Alex McKinnon Ulrike & Alex Miles
Keith Oberkfell & Mica Post Oberkfell
Judy & Derek Raghavan
Sienne & Adam Taylor
Ken & Tara Walker
$10,000 – $14,999
Anonymous (3)
Jeannette & Francisco Alvarado
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
Donna & Alvaro de Molina
Lisa & Carlos Evans
Robin & Christoph Feddersen
Eileen Friars & Scott Pyle
Janet M. Haack
Ginger Kelly
Elizabeth & Jay Monge
Robert Norville
Kelli & Michael Richardson
Rosalind S. Richardson
Sherry & Thomas Skains
Drs. Jennifer Sullivan & Matthew Sullivan
Ann & Michael Tarwater
Jill & Kevin Walker
Andromeda & John Williams
Lisa & Richard Worf
VIRTUOSO CIRCLE
$5,000 – $9,999
Wedge & Debbie Abels
Howard P. Adams & Carol B. McPhee
Paul & Kristen Anderson
Tiffany & Jason Bernd
Mr. James Biddlecome
In Loving Memory of Bernadette Zirkuli Biddlecome
Mary & Charles Bowman
Barbara & Twig Branch
Robin & William Branstrom
Shirley & Michael Butterworth
The Jack H. & Ruth C. Campbell Foundation
Glenda Colman & Floyd Wisner
Morgan & Brian Cromwell
Mary Anne Dickson
Peggy & Richard Dreher
David J.L. Fisk & Anne O’Byrne
William & Patricia Gorelick Family Foundation
Sidney & Amy Fletcher
Joan & Parker Foley
Carol & Ron Follmer
Patty & Alex Funderburg
Dr. Robert A. Gaines & Toni Burke
Caren & Charles Gale
Sarah & Frank Gentry
Laura & Marshall Gilchrist
Laurie & Barry Guy
Leigh & Watts Humphrey
Page & Ed Kizer
The Jenny Lillian Semans Koortbojian Trust in honor of Sally Trent Harris
Vivian & Robert Lamb
Anna & Lazlo Littmann
Leslie & Michael Marsicano
Susanne & Bill McGuire
Paula & Paul McIntosh
Susan & Loy McKeithen
Carolyn & Sam McMahon
Chuck Miller & Marcy Thailer
Vincent Phillips & Paul Pope
Kim & Torsten Pilz
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Ann & Fritz Rehkopf
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In Memory of Tess Verbesey
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$3,500 – $4,999
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$2,500 – $3,499
Anonymous
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Brent Clevenger
Ann Thomas Colley
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Elizabeth Betty Eaton
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Billy L. Gerhart in memory of Judith Gerhart
Heather & Kevin Gottehrer
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Meghan & Luis Lluberas
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Rob Roy McGregor
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$2,500 – $3,499 (continued)
Dee Dee McKay
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In Honor of Robin Branstrom
Nancy E. Simpson
Hazel & Murray Somerville
Patricia & Morris Spearman
Aleca & Joseph Stamey
Dottie Stowe in
Loving Memory of Dickson Stowe
Dr. Mark R. Swanson
Dr. John A. Thompson, Jr. & Dr. Lee Rocamora
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Mary Claire & Dan Wall
PATRON CIRCLE
$1,500 – $2,499
Anonymous
Marcia Adams
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Drs. Iris Cheng & Daniel Uri
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Martha D. Jones
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$1,000 – $1,499
Anonymous(5)
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Family Foundation
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In Memory of Kyden Justice Brown
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Annual Fund Supporters (continued)
Carol
Mariam
Joyce
Johanne
Anne
Jennifer
Juliet
Barbara
Nydia
Susan
Sally
Janet
Mr.
Debbie
Gwen
Wilma
Elizabeth
Lucy
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Sally
Betty
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Cindy
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Alice
Ann
Libby
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Linda
A. Bechtler
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Bell Dr. John L. Bennett & Mr. Eric T. Johnson
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Valerie
The Encore Society
The Encore Society includes individuals who have made provisions for the CSO in their estate plans. We are honored to recognize their support:
Anonymous (3)
Geraldine I. Anderson†
Richard & Ruth Ault
Baldwin Family Trust
Barnhardt Thomas Trust
Lincoln A. Baxter & Helen M. Fowler
Larry & Joyce† Bennett
Dr. Milton & Arlene Berkman
Donald H. & Barbara K. Bernstein
Mark & Louise Bernstein†
Rosemary Blanchard†
Twig & Barbara Branch
Saul Brenner
Mike & Joan Brown†
Mrs. Joan Bruns†
Jan & Bob Busch
Dr. Helen G. Cappleman, Ph.D.†
Jim Cochran† Robin Cochran
Catherine & Wilton Connor
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
Paula & Paul 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. Deborra Wood & Mr. Russell Propst
† Deceased
We
Government & Foundations
We are grateful for the following outstanding foundation and government funders:
The Trexler Foundation
Dowd Foundation, Inc.
The Dickson Foundation Cole Foundation
The Jack H. and Ruth C. Campbell Foundation
The Mary Norris Preyer Fund
The George W. & Ruth R. Baxter Foundation
Barnhardt/Thomas Trust
Blumenthal Foundation
Subscribe today for the best seats, the best prices, and great benefits!
Brahms' A German Requiem
November 22 & 23, 2024 Belk Theater
Rachmaninoff’s Piano Concerto No. 2
March 7 & 8, 2025 Belk Theater
Debussy’s La Mer
April 25 & 26, 2025 Belk Theater ...AND MORE!
Cody Fry Christmas
December 5-7, 2024 Knight Theater
Disco Fever
January 17 & 18, 2025 Knight Theater
Havana Nights
February 21 & 22, 2025 Knight Theater ...AND MORE!
LEMONY SNICKET’S The Composer is Dead
November 16, 2024 Knight Theater
Holiday Pops! FAMILY MATINEE
December 7, 2024 Knight Theater
CLASSICAL KIDS LIVE: Gershwin's Magic Key
January 18, 2025 Knight Theater ...AND MORE!
The Muppet Christmas Carol IN CONCERT
November 29 & 30, 2024 Ovens Auditorium
How to Train Your Dragon IN CONCERT
March 14 & 15, 2025 Belk Theater
Pirates of the Caribbean IN CONCERT
June 6 & 7, 2025 Belk Theater ...AND MORE!
Comprehensive Campaign
We gratefully acknowledge these generous donors to the Charlotte Symphony Comprehensive Campaign. This list reflects gifts received through August 20, 2024.
$10,000,000+
$5,000,000
$2,000,000 - $4,999,999
$1,000,000 - $1,999,999
$500,000
Jeannette
$250,000 - $499,999
$100,000 - $249,000
Sally Gregory · Elizabeth & Jay Monge Steelfab, Inc. Andromeda & John Williams
$50,000 - $99,999
Cresce nt Communities Karen Fox Ulrike & Alex Miles Chris & Jim Teat · Lisa & Richard Worf
$10,000 - $49,999
Anonym ous · Wedge & Debbie Abels · Mary Lou & Jim Babb · Tiffany & Jason Bernd Frank Bragg Shirley & Mike Butterworth Joye Blount & Jesse Knight, Jr. The Cato Corporation Margarita & Nick Clements Mary Delk
Caroline & Ben Dellinger III · David Fisk & Anne O’Byrne · Michael Marsicano Dede & Alex McKinnon Posey & Mark Mealy Larry & Dale Polsky
Steve & Wanda Phifer Judy & Derek Raghavan Eric & Shannon Reichard
Sara & Daniel Roselli · Melinda & David Snyder
Dr. John A. Thompson, Jr. & Dr. Lee Rocamora Jill & Kevin Walker
$5,000 - $9,999
Brian S. Cromwell Toni Burke & Bob Gaines Sarah & Frank Gentry
Carol & Joseph Gigler · Lucinda Nisbet Lucas · Melissa & Dennis McCrory
Cyndee Patterson William & Betty Seifert Peggy & Pope Shuford
Nancy E. Simpson Drs. Jennifer & Matthew Sullivan
2024-2025 OFFICERS
Richard Krumdieck, Chair
Ulrike Miles, Vice Chair
Melinda Snyder, Vice Chair
Linda McFarland Farthing, Immediate Past Chair
Kevin Walker, Treasurer
David Fisk, President & CEO
Kwamé Ryan, Music Director
2024-2025 DIRECTORS
Mick Ankrom
Joye D. Blount
Mike Butterworth
Nick Clements
Mary Delk*
Denise DeMaio
Sidney Fletcher
Kevin Gottehrer
Lucia Zapata Griffith
Byron Johns*
Valerie Kinloch
Stephen Makris
Alex McKinnon
Sara Garces Roselli
Ylida Scott
Jennifer Sullivan
Brienne Tinder*
Jenny Topilow*
Ken Walker
*ex-officio
2024-2025 TRUSTEES
Richard Osborne, Chair
Paul Anderson
Ruth & Richard Ault
Arlene & Milton Berkman
Jason & Tiffany Bernd
Andrea & Alexander Bierce
Mary & Charles Bowman
Frank Bragg
Robin & Bill Branstrom
Dr. William Charles & Dr. Cynthia Nortey
Derick & Sallie Close
Robin Cochran
Wilton Connor
Jeanie & T. Thomas Cottingham III
Brian Cromwell
Susan Cybulski
Alessandra & Pasquale De Martino
Alvaro & Donna de Molina
Peggy & Richard Dreher
Lisa Hudson Evans
Karen Fox
Eileen Friars & Scott Pyle
Todd Gorelick
Ralph S. Grier
Laurie Guy
Janet Haack
Reginald B. Henderson, Esq.
Mark & Whitney Jerrell
Jeff Lee
Gov. James G. Martin
Jane & Hugh McColl
Susan & Loy McKeithen
George McLendon
Elizabeth & Jay Monge
Mica Oberkfell
Patrick J. O’Leary
Debbie & G. Patrick Phillips
Paul Reichs
Nancy & Charles Robson
Patricia A. Rodgers
M.A. Rogers
Lindsay & Frank Schall
Laura & Mike Schulte
Carolyn Shaw
Emily & Zach Smith
Bob & Marsha Stickler
Kelly & Neal Taub
Adam Taylor Braxton Winston
Richard Worf
Joan Zimmerman
Albert Zue
EXECUTIVE
David J. L. Fisk, President & CEO
Samantha Hackett, Executive Administrator
ARTISTIC OPERATIONS
Scott Freck, Vice President for Artistic Operations & General Manager
Carrie Graham, Senior Director of Artistic Planning
Tim Pappas, Director of Operations
Bart Dunn, Principal Music Librarian
Nixon Bustos, Senior Music Librarian
Emily Schaub, Assistant Music Librarian
Erin Eady, Senior Manager of Orchestra Personnel
Claire Beiter, Artistic Operations Manager
John Jarrell, Stage Manager
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
Megan Woolbright, Annual Fund Manager
Noel Kiss, Advancement Associate
Josh Bottoms, Institutional Giving Coordinator
FINANCE & ADMINISTRATION
Christian Drake, Vice President of Finance & Administration
Chazin & Company, Financial Services
Amy Hine, HR Coordinator & Office Administrator
Channing Williams, Accounting Associate
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
Mark Rockwood, Education & Community Programs Manager
Michaela Sciacca, Project Harmony Manager
Gavin Fulker, Education & Community Programs Assistant
Lily Moore, Youth Orchestras Assistant
Bria Alexander, Learning & Community Engagement Assistant
MARKETING & AUDIENCE DEVELOPMENT
Frank Impelluso, Vice President of Marketing & Audience Development
Deirdre Roddin, Director of Institutional Marketing & Communications
Nicole Glaza, Senior Manager of Digital Marketing
Laura Thomas, Senior Manager of Marketing & Audience Development
Chad Calvert, Visual Communications Manager
Meghan Starr, Patron Experience Manager
Garrett Whiffen, Ticketing Manager
November 22 & 23 7:30 pm · Belk Theater
Pēteris VASKS Musica Dolorosa
BRAHMS Ein deutsches Requiem
Kwamé Ryan, conductor
Janai Brugger, soprano
Alexander Birch Elliott, baritone
Charlotte Master Chorale
