CSO Copland Symphony No. 3 - program 01-13-23

Welcome to your CSO!

Happy New Year to one and all! I hope your 2023 is off to a wonderful start. The New Year is always a good time for reflection, and before we close the book on 2022, we all have the opportunity to look back on what we’ve accomplished this past year and envision what lies ahead.

At the CSO, we’ve had quite a year to reflect upon! We celebrated our 90th birthday and launched a digital archive to honor our history, entering our 10th decade of service to our community with fresh ideas on how best to fulfill that mission. In our 2022/23 season, we’ve already welcomed an impressive lineup of guest conductors and artists to the stage: we know you will be equally blown away by the astonishing talent still to be featured on our stages between now and May. With the worst of COVID behind us, we were delighted to see our audiences return in such large numbers, we look forward to continuing to welcome new patrons to the CSO — both Uptown and in performances throughout the region — including young families through our learning programs. Together, we have much to be proud of and, thanks to your support, so much to be thankful for.

For those of you who are regular attendees, please keep an eye out for a special offer in the mail this month, inviting you to renew your subscription for the 2023/24 season early and receive an exclusive gift. I guarantee, next season is one you won’t want to miss!

Thank you for joining us for this performance.

Wishing you and yours good health and happiness in 2023!

David Fisk President & CEO

The CSO is…

Did you know that the Charlotte Symphony is much more than what you see on the Belk and Knight Theater stages?

Beyond the Classical, Pops, Family, and Movie Series in the theaters, we work to uplift, entertain, and educate our community through inclusive education programs and community performances.

• The CSO has three programs for young musicians: the Youth Orchestra, the Youth Philharmonic, and the Youth Ensemble. CSO musicians participate in coaching throughout the year, and even perform with the young musicians!

• Reaching approximately 15,000 students each season, we also have extensive school programs, including Project Harmony, “Music and the Holocaust,” and “One Musical Family” Education Concerts.

• We perform throughout the region, from community parks and schools to breweries, senior care centers, and places of worship all season long.

MORE THAN WHAT’S ONSTAGE. The CSO is

To learn more, visit charlottesymphony.org

Kwamé Ryan

guest conductor

Kwamé Ryan was born in Canada and grew up on the Caribbean island of Trinidad, where he received his early musical education. He completed his studies in the U.K. and Hungary, reading Musicology at Cambridge University, and studying conducting with Peter Eötvös.

He held the position of General Music Director of Freiburg Opera between 1999 and 2003, and served as Musical and Artistic Director of the National Orchestra of Bordeaux Aquitaine between 2007 and 2013. As a guest conductor in Germany, he has conducted the Radio Orchestras of Stuttgart and Bavaria, the Deutsche Kammerphilharmonie, Konzerthausorchester Berlin, Staatsoper Saarbrücken and Staatsoper Stuttgart. While in France, he has worked at Opera de la Bastille, Opera de Lyon and the Orchestre Philharmonique de Radio France.

Work in the U.S. and the U.K. has taken him to the Symphony Orchestras of Baltimore, Dallas, Detroit, Indianapolis, Atlanta, Houston, Boston Lyric Opera, English National Opera, Scottish Chamber Orchestra, Royal Scottish Symphony and the London Philharmonia. He is a regular guest of the Seoul Philharmonic Orchestra and most recently returned to La Monnaie, Brussels for the world premiere of Kris Defoort’s opera, The Time of our Singing

A recipient of international awards for outstanding work in the field of music education, Ryan has served as Musical Director of the National Youth Orchestra of France and as Director of the Academy for the Performing Arts at the University of Trinidad and Tobago.

Upcoming engagements include returns to the Hamburg Symphony Orchestra and the Baltimore Symphony Orchestra, with debuts at the Stavanger Symphony and Netherlands Opera.

Bella Hristova

violin

Acclaimed for her passionate, powerful performances, beautiful sound, and compelling command of her instrument, violinist Bella Hristova is a young musician with a growing international career. The Strad has praised, “Every sound she draws is superb” and The Washington Post wrote she is “a player of impressive power and control”.

Her appearances with orchestras in recent seasons include the New York String Orchestra at Carnegie Hall, the Orchestra of St. Luke’s with Pinchas Zukerman at Lincoln Center, Buffalo and Forth Worth Philharmonics; Chautauqua, Columbus, Hawaii, Kansas City, Milwaukee and Winnipeg symphonies as well as orchestras in Asia, Europe, Latin America and New Zealand. In recital, Ms. Hristova has performed at some of the premier venues in the world, including Carnegie Hall, Merkin Concert Hall, the Isabella Gardner Museum in Boston, and Kennedy Center. A sought-after chamber musician, Ms. Hristova performs frequently with The Chamber Music Society of Lincoln Center and is an alum of The Bowers Program. In 2017 she and renowned pianist Michael Houstoun toured New Zealand, performing and recording Beethoven’s 10 Sonatas for Piano and Violin on the Rattle label. Ms. Hristova’s recording Bella Unaccompanied features works for solo violin by John Corigliano, Kevin Puts, Piazzolla, Milstein, and J. S. Bach, and her Naxos release of de Bériot solo works received impressive critical recognition. A committed proponent of new music, she has commissioned composers Joan Tower and Nokuthula Ngwenyama to write unaccompanied violin pieces which she premiered and is performing in recitals throughout the United States and abroad. Her husband, acclaimed composer David Serkin Ludwig was commissioned by a consortium of eight major orchestras across the United States to write a violin concerto for her, which she continues to actively perform.

She is the recipient of numerous prizes and awards, including a 2013 Avery Fisher Career Grant, First Prize in the 2009 Young Concert Artists International Auditions, First Prize in the 2007 Michael Hill International Violin Competition in New Zealand, and was a Laureate of the 2006 International Violin Competition of Indianapolis.

Born in Pleven, Bulgaria to Russian and Bulgarian parents, Ms. Hristova began violin studies at the age of six. At twelve, she participated in master classes with Ruggiero Ricci at the Mozarteum in Salzburg. In 2003, she entered the famed Curtis Institute of Music in Philadelphia, where she studied with Ida Kavafian. She received her Artist Diploma with Jaime Laredo at Indiana University in 2010. Ms. Hristova lives in Philadelphia with her husband and their four cats. She performs on a 1655 Nicolò Amati violin.

FIRST VIOLINS

SECOND VIOLINS

HORNS

TIMPANI

PERCUSSION

TRUMPETS

TROMBONES

ARTISTIC OPERATIONS

Byron Johns, Principal The Mr. & Mrs. William H. Van Every Chair Andrew Fierova Robert Rydel Richard Goldfaden Philip Brindise†

Alex Wilborn, Principal The Betty J. Livingstone Chair Jonathan Kaplan Gabriel Slesinger, Associate Principal* The Marcus T. Hickman Chair

John Bartlett, Principal Thomas Burge

BASS TROMBONE Scott Hartman, Principal TUBA Colin Benton, Principal The Governor James G. Martin Chair

Jacob Lipham, Principal The Robert Haywood Morrison Chair

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, Acting Director of Operations Nixon Bustos, Principal Music Librarian Bradley Geneser, Assistant Librarian Erin Eady, Acting Personnel Manager John Jarrell, Stage Manager

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

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 music experiences.

The Charlotte Symphony upholds the highest artistic integrity and takes bold steps to engage with its community through music. Its 62 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 aims to serve 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

2022 was a huge year for the Charlotte Symphony. Thank you for making our favorite moments possible and for being a part of our CSO family. Let’s take a look back!

JANUARY

Jessica Cottis makes her debut conducting the Charlotte Symphony premiere of Kurt Weill’s witty and theatrical The Seven Deadly Sins

FEBRUARY

The CSO launches its Youth Ensemble, a training ensemble designed to bridge early music education with the Youth Orchestras.

MARCH

The Symphony celebrates its 90th birthday with a concert featuring Vaughan Williams’s Dona Nobis Pacem, dedicated to the people of Ukraine, and launches a digital archive, honoring the CSO’s storied history.

APRIL

The CSO welcomes Atlanta-based Orchestra Noir for a sold-out performance of R&B and hip-hop hits of the ’90s performed side by side with Beethoven.

MAY In his final concert as Music Director, Christopher Warren-Green leads the Charlotte Symphony and Charlotte Master Chorale in one of the greatest works of all time – Beethoven’s Symphony No. 9.

JUNE

The Charlotte Symphony’s iconic Summer Pops Series returns to Symphony Park for the first time since 2019.

JULY

Resident Conductor Christopher James Lees leads the CSO in an exciting program of patriotic music at Village Park in Kannapolis, one of the Symphony’s many free concerts for the community.

AUGUST

The Charlotte Symphony Orchestra reaches a two-year agreement with its musicians, creating stability for the Symphony and allowing for a more innovative, united, and diverse organization that reflects our community.

SEPTEMBER

After two years of virtual and hybrid instruction, Project Harmony returns to inperson instruction.

OCTOBER

Just in time for Halloween, the Charlotte Symphony presents Jordan Peele’s groundbreaking social thriller Get Out, with Michael Abels’ award-winning score performed live to the complete film.

NOVEMBER

The Charlotte Symphony welcomes superstar vocalist and multi-instrumentalist Rhiannon Giddens to the stage for the CSO’s 2022 Annual Gala.

DECEMBER

Awe-inspiring acrobatics and feats of strength take place above the musicians of the Charlotte Symphony while they perform for three packed houses at Cirque de Noël.

Visit the Charlotte Symphony’s blog to view the full year in review.

PROGRAM NOTES

Short Ride in a Fast Machine (1986)

premiere: June 13, 1986 in Mansfield, Massachusetts

The Great Woods Festival commissioned American composer John Adams’s Short Ride in a Fast Machine, in celebration of the inaugural concert at Great Woods, Mansfield, Massachusetts. The premiere took place on June 13, 1986, with Michael Tilson Thomas conducting the Pittsburgh Symphony Orchestra. Short Ride in a Fast Machine is precisely what its name suggests — a fleeting, hectic, and breathless journey that keeps its passengers on the edges of their seats from start to finish. Since its premiere, Short Ride in a Fast Machine has proven to be immensely popular, and remains one of the most performed of all contemporary orchestral works.

born: February 15, 1947 in Worcester, Massachusetts JOHN ADAMS

by Ken Metzer

Violin Concerto

in

D Major Opus 35 (1945)

In 1934, Austrian composer Erich Wolfgang Korngold traveled to Hollywood to arrange a film score based upon Felix Mendelssohn’s Incidental Music to Shakespeare’s A Midsummer Night’s Dream. Korngold’s opera, Der Kathrin, was scheduled for its Vienna premiere in the spring of 1938; however, the Nazi Anschluss forced its cancellation. Korngold then emigrated to the United States, returning to Hollywood. There, he applied his prodigious talents to the cinema, composing numerous film scores, two of which — Anthony Adverse (1936) and Robin Hood (1938) — received Academy Awards. With the conclusion of World War II, Korngold was able to return his attention to music for the concert hall. In 1945, he completed his Violin Concerto, a work he had begun in the late 1930s. Korngold dedicated the score to Gustav Mahler’s widow, Alma Mahler-Werfel. To some extent, the D-Major Concerto represents a synthesis of Korngold’s dual careers as a composer of film and concert music. Several of the Concerto’s principal melodies first appeared in the composer’s film soundtracks. The work is a fine example of Korngold’s melodic genius and late-Romantic style that made him a sensation in both Vienna and Hollywood. The Violin Concerto is in three movements. The first movement (Moderato nobile) begins with the soloist’s introduction of the wide-ranging principal melody, derived from the score to the film, Another Dawn (1937). The second movement Romance (Andante) opens with a brief, evocative orchestral introduction featuring a magical combination of vibraphone, harp, and celesta. The soloist enters with the principal theme of the Romance, originally from the score to Anthony Adverse (1936). The virtuoso Finale (Allegro assai vivace) is based upon a theme from the movie The Prince and the Pauper (1937).

premiere: February 15, 1947 in St. Louis, Missouri

born: May 29, 1897 in Brno, Czech Republic died: November 29, 1957 in Los Angeles, California

ERICH WOLFGANG KORNGOLD

AARON COPLAND

born: November 14, 1900 in Brooklyn, New York died: December 2, 1990 in Tarrytown, New York

Symphony No. 3

(1946)

premiere: October 18, 1946 in Boston, Massachusetts

Aaron Copland remains America’s foremost composer of concert music. Copland’s masterful and heartfelt incorporation of American folklore and melodies into such works as the ballets Billy the Kid (1940), Rodeo (1942), and Appalachian Spring (1944), the Lincoln Portrait (1942) for speaker and orchestra, and his arrangements of Old American Songs (1950 and 1952), have long inspired the affection and admiration of performers and concert audiences.

Despite the immense popularity of such works (or perhaps, because of it), Aaron Copland also sought to compose pieces that built upon the traditions of European concert music. The Clarinet Concerto (1948), written for Benny Goodman, represents one such venture, although the stylistic influence of American jazz is also quite prominent. Copland’s Third Symphony, commissioned by the Koussevitsky Foundation, represents perhaps the composer’s most ambitious work in this traditional vein. Copland’s Third followed two relatively brief Symphonies, completed in 1925 and 1933. The composition of the Third Symphony took place between 1944 and 1946. Copland finished the orchestration of the final movement on September 29, 1946, just a few weeks before the Symphony’s premiere on October 18, with Serge Koussevitsky conducting the Boston Symphony Orchestra. The New York Music Critics Circle selected Aaron Copland’s Third Symphony as the best work by an American composer played during the 1946-7 season.

Aaron Copland Discusses his Third Symphony

In Copland’s program notes for the premiere of his Third Symphony, he cautioned: One aspect of the symphony ought to be pointed out: it contains no folk or popular material. During the late twenties it was customary to pigeonhole me as a composer of symphonic jazz, with emphasis on the jazz. More recently I have been catalogued as a purveyor of Americana. Any reference to jazz or folk-material in this work was purely unconscious. While it is true that all of the melodies are Copland’s own, the spirit of such works as Appalachian Spring and Lincoln Portrait may be found in the Symphony’s transparent orchestration and beautiful, arching themes.

In addition, Copland acknowledged the presence in the Third Symphony of one of the most familiar and beloved American concert works: I do borrow from myself by using Fanfare for the Common Man (1942) in an extended and reshaped form in the final movement. I used this opportunity to carry my Fanfare material further and to satisfy my desire to give the Third Symphony an affirmative tone. After all, it was a wartime piece — or more accurately, an end-of-war piece — intended to reflect the euphoric spirit of the country at the time. The Third Symphony is in four movements. Copland describes the first (Molto moderato) as “broad and expansive in character”. The second movement (Allegro molto) serves the function of the Symphony’s lively scherzo. Copland describes the slow-tempo third movement (Andantino quasi allegretto) as “the freest of all in formal structure. Although it is built up sectionally, the various sections are intended to emerge one from another in continuous flow, somewhat in the manner of a closely knit series of variations.” Copland’s Fanfare for the Common Man (Molto deliberato) serves as the introduction to the main portion of the Symphony’s finale (Allegro risoluto) that propels to a majestic close.

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Ms. Rosemarie Marshall & Mr. Lee Wilkins

Theodore & Katherine Martinez

Ed & Wendy Matthews

Steve & Tammy Matula

Jill Maxwell

Kim & Alan Maxwell

Ms. Judy Mayo

James & Stephanie McGarvey

Eric Miller

Kimberly Moore-Wright

Dr. & Mrs. Michael E. Norman

Dimitris & Jennifer Papageorgiou

Cookie & Jerry Parnell Rose & Bailey Patrick

Bradley & Sharon Patterson Mr. Conrad Puckett

Emily & Brian Reinicker

Dr. Livia Robicsek

Mr. & Mrs. Albert E. Rodgers

Sarah E. Schoedinger

Eileen Scholl

Dr. & Mrs. Marvin Shapiro Ginny Shaw

Carol Smith

James & Ellie Stephens

Larry Stratemeyer

Brenda Gail Summers

Carrie & Jeffrey Teixeira

Melissa M. Tolin

Patti Tracey & Chris Hudson

Sarah & Tim Turner Minyan Wang

Jenny & Henry Ward

Ms. Leslie Webster Mr. Erik Weghorst

Mr. & Mrs. Richard J. Wertheimer Mrs. Carol Wilson Allen & Clara Wolfe

Karen & Charles Wolff

GOVERNMENT

Weilerstein, conductor Joyce Yang, piano