Letter from the Conductor

First let me say, it is an enormous honor leading this fine ensemble, the Rockford Symphony Orchestra. What a thrill for me to be here!

In constructing this program, I imagined what it must have been like to be a composer in America in the 1920-1940s. Hollywood was in its infancy, where film music was just beginning to make its mark. Composers traversed many “styles”, without the modern labels often attached to works such as Broadway, film, or “serious” music. Jazz was raging in major cities across the country, and the draw of this musical wonderland was attracting European composers to America. This was my overarching thought, as I put these works together to form this evening’s offering.

Recognized during her lifetime as a trail blazing composer, Florence Price’s music has recently been reintroduced to mainstream orchestral repertoire. I think you will soon discover that her concerto is a marvel: a piece full of melodic inspiration, classic concerto fast-slow-fast form, and infused rhythmic vitality. Jazz rhythms and harmonies abound, with the slow movement serving as a stunning duet between oboe and the solo piano.

Our program titled “The Great Gatsby” draws its inspiration from the opening work by John Harbison. This overture, with its saxophone solo, gives us a look into the operatic world inspired by Gatsby – through the sound world of a living composer. Both biting and whimsical, it is a festive curtain-raiser that hearkens back the Roaring 20s.

Copland, Korngold, and Gershwin comprise the second half of this evening’s concert. While known certainly for their concert works, all three had established their presence in the realm of film music. Copland’s work for English horn and trumpet, Quiet City, transports the listener into the desolate spaces found in metropolitan areas. It is a haunting and stunningly beautiful work, which is direct contract to the Much Ado About Nothing suite of Korngold. This incidental music to Shakespeare’s drama highlights the creativity, color, and melody often found in his music. Korngold was a brilliant orchestrator, and we explore rich string sonorities, horn calls, and evocative sounds from the harp, harmonium, and piano throughout the course of this five-movement suite.

Certainly, the 20th century produced no greater tunesmith than George Gershwin. This gift for song made him the ideal choice for Broadway and film alike. This suite of songs (arranged by Robert Russell Bennett) touches on some of his greatest hits from Damsel in Distress to his timeless score, An American in Paris.

It is my hope you find tremendous enjoyment in this concert, and it is a privilege to bring this wonderful music to the Rockford community.

Musically yours, Scott Terrell