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MUSICIANS

BARNETT & COMPANY MASTERWORKS SERIES

VIOLIN IJoshua Holritz, Associate Concertmaster Nicholas Naegele, Assistant ConcertmasterMark ReneauCalvin LewisJeanne JohnsonDavid Katz Kyra DaviesChristian ZamoraNicholas Pappone Wendy Case Nathan Banks J.P. Brien-Slack VIOLIN IISheri Peck, PrincipalJennifer Whittle Rebecca JamesLee Smith Bryony Stroud WatsonMary Benno Anna GibbonsPaula PasquaMary Margaret NeelJosué Loyola Roncal VIOLAMegan Chisom, PrincipalTamara Hobbs Metiney SuwanawongseCasie RunkleMichael Holub Carl LarsonGabriel Schlaffer Susan Kemp

CELLOEric Reed, PrincipalSuzanne Sims Spencer BrewerSharon Reed David Peyton Lindsey Smith-Trostle Benjamin Van Winkle Hannah Kuhn

DOUBLE BASSTaylor Brown, Principal Dexter BellAdam BernsteinGiven Arnold Sarah Ransom J. Bret Alford

FLUTEKristen Holritz, PrincipalLisa MeyerhoferAmelia Dicks Principal Piccolo/Utility Flute John L. & Norma B. Anderson Chair

OBOEJessica Smithorn, PrincipalTeresa Spilko Carey Shinbaum

CLARINETEmily Bowland Steven Tonkinson

BASSOONEric Anderson, Principal Shelby Jones G. Eddie McCrary Jr

BEETHOVEN’S FIFTH

FRENCH HORNJeffrey Whaley Kelsey Bentley Richard Williams Joseph Demko Julie Gerhardt TRUMPETDavid Hobbs, Principal Clayton Chastain Jonathan Swygert

TROMBONE Douglas Warner, PricipalWilliam Mann Jeff Koonce

TUBAKenyon Wilson

TIMPANIAlex Wadner, Principal

PERCUSSIONChad Crummel, Principal David Pedigo

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GUEST ARTIST - ALEXANDER SITKOVETSKYAlexander Sitkovetsky was born in Moscow into a family with a well-established musical tradition.

His concerto debut came at the age of eight, and in the same year he moved to the UK to study at the Menuhin School. Lord Menuhin was his inspiration throughout his school years and they performed together on several occasions.

Highlights of his recent concerto performances include appearances with the Yomiuri Nippon Symphony Orchestra, Royal Philharmonic Orchestra, Munich Chamber Orchestra, Konzerthaus Orchester Berlin, Royal Northern Sinfonia, BBC Scottish Symphony Orchestra, Sinfonietta Rīga, Lithuanian National Symphony Orchestra, Netherlands Philharmonic Orchestra, Tokyo Symphony Orchestra, European Union Chamber Orchestra, Halle Orchestra, Academy of St. Martin’s in the Fields, Moscow Symphony Orchestra, St Petersburg Symphony Orchestra, Orquesta Filarmónica de Bolivia, National Polish Radio Symphony Orchestra, Russian State Philharmonic Orchestra, Residentie Orkest The Hague, Aarhus Symphony Orchestra, Welsh National Opera Orchestra, BBC National Orchestra of Wales, London Philharmonic Orchestra, Novosibirsk Symphony Orchestra, Philharmonia Orchestra, Arctic Philharmonic Chamber Orchestra and the Anhaltische Philharmonie Dessau.

He is also much in demand as a director and has directed and performed as a soloist regularly with the Australian Chamber Orchestra, Norwegian Chamber Orchestra, Amsterdam Sinfonietta, London Mozart Players, Lithuanian Chamber Orchestra, New York Chamber Players, Camerata Zurich and the Arctic Philharmonic Chamber Orchestra.

He is also regularly invited as guest soloist with orchestras touring the UK and these have recently included the Russian Philharmonic Novosibirsk, Brussels Philharmonic, St Petersburg Symphony Orchestra, and the Tonkünstler Orchester.

The current season will see his debuts with the Chattanooga Symphony & Opera and Romanian Sinfonietta, as well as return visits to the Royal Philharmonic Orchestra, English Symphony Orchestra, Sinfonietta Rīga, Aarhus Symphony Orchestra, Netherlands Youth Orchestra, and Camerata Salzburg. Further highlights will be appearances at various chamber music festivals and venues, tours with the Julia Fischer Quartet and the Sitkovetsky Trio and extensive periods of chamber music in Australia and the USA.

His critically acclaimed CPO recording of Andrzej Panufnik’s Violin Concerto with the Konzerthaus Orchester Berlin commemorating the composer’s 100th birthday won an ICMA Special Achievement Award. His most recent recording with the English Symphony Orchestra of the Philip Sawyers’s Violin Concerto was released to great critical acclaim.

Alexander was awarded 1st prize at the Trio di Trieste Duo Competition alongside pianist Wu Qian. He is an alumnus of the prestigious ‘Chamber Music Society Two’ programme at the Lincoln Center, and in 2016 received the Lincoln Center Emerging Artist Award.

Alexander is a founding member of the Sitkovetsky Piano Trio, with whom he has won various prizes including the Mecklenburg-Vorpommern Kammermusik Prize. The trio has performed all over the UK and Europe including Alte Oper Frankfurt, Concertgebouw Amsterdam and Wigmore Hall, and toured Asia recently.

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THOMAS LANDSCHOOT

BEETHOVEN’S FIFTHKayoko Dan, conductorAlexander Sitkovetsky, violin

BARNETT & COMPANY MASTERWORKS SERIES

CSO is an ArtsBuild community arts partner. Additional funding is provided by the Tennessee Arts Commission.

Intermission

Photography and video/audio recording are prohibited. Please remember to turn cell phones off.

This performance will be re-broadcast on Classical 90.5 WSMC on February 2 at 4:00 pm.

Flowers by Gil & Curt.

Join us immediately after the concert for Postlude, our post-concert Meet and Greet with Music Director Kayoko Dan, guest artist, and select musicians.

January 23, 2020 7:30PM

Tivoli Theatre

BEETHOVEN Symphony No.5 in C minor, op.67

I. Allegro con brio

II. Andante con moto

III. Allegro

IV. Allegro

BARBER Second Essay for Orchesta, op. 17

BRAHMS Concerto in D major for Violin and Orchestra, op.77

I. Allegro non troppo

II. Adagio

III. Allegro giocoso; ma non troppo vivace

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PROGRAM NOTES

Samuel Barber(b. March 9, 1910 in West Chester, PA;

d. January 23, 1981 in New York)

Second Essay for Orchestra

(10 minutes)

Samuel Osborne Barber II was a neoro-mantic composer who had some success-es before graduating the Curtis Institute of Music in 1934, but his biggest break came thanks to Arturo Toscanini. As Toscanini planned the inaugural season of the NBC Symphony (created expressly to lure him to America), he wanted to include something by an American composer. He commissioned a piece by Barber that be-came his (first) Essay for Orchestra. For good measure Barber also sent him Ada-gio for Strings. Toscanini conducted both pieces in a nationwide radio broadcast on November 5, 1938. That fixed the Adagio in the public mind as America’s mourning music and, because Toscanini was enthu-siastic about the Essay, Barber went on to write two more essays for orchestra.

Barber’s sketchbooks show he was work-ing on the Violin Concerto and Second Essay at the same time. Since the con-certo was a commission, it was unsurpris-ingly finished first (1940). When the US entered WWII Barber said of that time, “I have been composing very hard […] But I’ve taken the attitude that it is better to continue one’s job tutta forza until one’s draft board decides otherwise.” He was drafted in the Army Air Corps on Septem-ber 16, 1942 but he needn’t have worried. Aside from some clerical duties he was given much freedom to continue compos-ing.”

He finished Second Essay on March 15, 1942 and showed it to Bruno Walter the next day. One month later Walter and the New York Philharmonic premiered it in Carnegie Hall.

The piece was dedicated to poet Robert Horan who, along with the young bohe-mian Pauline Kael (later film critic for The New Yorker) he lived with, socialized regularly with Barber and his life partner Gian Carlo Menotti.

In his essays Barber mimicked the literary form, something not unduly long focusing on a main point. The second essay starts with the theme, gently stated, by the solo flute. It is not a catchy tune and extends a full four measures without repeating any-thing directly. Thus when Barber works this melody through dramatic and intense sections it may have to be a subliminal recognition of its ongoing presence. A quirky fugal section is also based unobvi-ously on the first theme. The final section is a dramatic chorale and ends with a harmonically embellished “amen” (plagal) cadence.

Johannes Brahms(b. May 7, 1833 in Hamburg; d. April 3, 1897 in Vienna)

Violin Concerto in D Major, Op. 77

(38 minutes) In 1853 Brahms toured for two months accompanying Hungarian violinist Eduard Reményi. Reményi introduced him to the well-established Franz Liszt and to the up-and-coming violinist Joseph Joachim. Brahms may have impressed Liszt, but—exhausted from touring—fell asleep as Liszt performed for him. Reményi was so offended that he immediately ended their relationship. Fortunately Brahms already had in hand a letter of introduction from Joachim to Robert and Clara Schumann whom Brahms already revered from afar.

The relationship Brahms had with the Schumanns got his career jumpstarted and he relied on the support and friend-ship he received from Clara until her death in 1896.

PROGRAM NOTES (con’t)

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PROGRAM NOTES (con’t)

Yet Brahms would have never written a violin concerto if, over the more than twenty years since meeting Joseph Joachim, they had not formed an endur-ing friendship.

Brahms, a pianist first, after some false starts, finished his Piano Concerto, No. 1 in 1858, but he clearly felt he would only live up to the high expectations of his peers when he had composed a sym-phony. It cost him at least fourteen years of difficult labor and he felt keenly the stakes involved.

Of Brahms Symphony No. 1 conductor Hans von Bülow, a mighty figure in his own right, dubbed it Beethoven’s Tenth: high praise, saying in essence it was the obvious heir to Beethoven’s Ninth that had premiered more than fifty years before.

Brahms’ muse had been liberated. He composed his D-Major Symphony in just four months the next year. As he thought of more worlds to conquer, he thought of a violin concerto and immediately turned to Joachim.

While they spent some time together working out details, much of the collabo-ration took place by post. Suggestions flew back and forth. Joachim offered ideas that Brahms thanked him for but then ignored. Nevertheless Brahms took a lot of advice and the concerto has Joachim’s fingerprints everywhere, not just the amazing cadenza Joachim wrote for the first movement.

Brahms conducted the premiere with Joachim as soloist in Leipzig, January 1, 1879.

Originally Brahms imagined his concerto with four movements; he was already thinking symphonically. The first move-ment shows the symphonic thinking,

making the violin a full partner with the orchestra. The orchestra has an un-usually long opening, laying out a lot of musical material. More than once it seems that the soloist must be about to enter, but we are kept waiting. The violin enters with a showy flourish and, in a nod to Beethoven’s Violin Concerto (also in D Major), timpani accompany.

The second movement that replaced two others Brahms inexplicably called a “feeble adagio.” Solo oboe introduces the main melody; the violin’s primary role is beautiful embellishments.

The finale is a rondo, a joyous romp with a hint of gypsy. Of all the movements it plays to Joachim’s virtuoso strengths, especially double-stops (playing two strings together).

Ludwig van Beethoven

(b. December 16, 1770 in Bonn; d. March 26, 1827 in Vienna

Symphony No. 5 in C Minor, Op. 67

(31 minutes)

In 1805 Beethoven had reached full mu-sical maturity, but other aspects of his life were problematic. Although it had not yet curtailed his ability to perform, his grow-ing deafness complicated life for a man with little instinct for social graces. That, in particular, made the love and marriage that a successful man in his thirties might aspire to, elusive and finally unattain-able. Still, he heartfully pursued several women—including the “Immortal Beloved” referenced in an unsent letter found after his death. Her identity has been the cen-ter of much speculation.

Beethoven apparently had hopes of mar-rying a student, the young widow Jose-phine Deym, but her parents made clear she would lose support for her children if she married Beethoven. Josephine’s sister, Theresa Brunswick, somewhat

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older and unencumbered, seems to have attracted Beethoven’s romantic atten-tions in turn. She adored his music and remained his friend the rest of his life. Either woman might have been the ad-dressee of the unsent letter.

These matters of the heart, as well as financial considerations that almost drove him from Vienna, were all playing out in 1804-08 when Beethoven composed the Symphony No. 5.

The symphony premiered December 22, 1808, at a four-hour concert exclusively made up of Beethoven premieres, allconducted and/or played by Beethoven himself. The humongous undertaking was plagued by a frigid hall, scant rehearsal time, and some ill-will among singers and musicians who had previously felt slighted while dealing with Beethoven. Later performances of the symphony, however, were received rapturously. Its overwhelming popularity has continued unabated ever since.

Dit-dit-dit-DAH, the arresting open-ing of the first movement, derived from Beethoven hearing the call of a yel-lowhammer while walking in the Wiener Prater, a large public park still in Vienna today. Its call is suggested by saying, “A little bit of bread and no cheese.” Beethoven often started from a small suggestion. His notebooks show endless working out of details for most of his compositions. The yellowhammer’s many fast notes, Beethoven condensed to just three and he had himself a motif to state fiercely and to repeat incessantly, embla-zoning it into the listener’s mind. “Such is the blow of Fate on the door.,” said Beethoven.

The emotional stress in his life pours out in obsessive repetition. Even the lyri-cal second theme is still undergirded by the knocks of fate. A surprise oboe solo

interrupts the recapitulation—perhaps a vain plea for respite. The coda brings an aggressive new theme. Fateful knocking comes again. Could it be another reca-pitulation? It was only a feint and seven bars of firm chords bring us to the end.

The placid second movement is a theme with three variations. Halfway through the first variation, the mood becomes hushed. In the lower strings we hear fate knocking once again.

The opening of the scherzo, outline the C-minor chord upwards, is a quotation from Mozart’s Symphony No. 40. Yes, it’s so simple it might be coincidence, but Beethoven copied the bars from Mozart verbatim into his notebook. Brass blare repeated notes, short-short-short-long: We hear fate knocking once more. The fugal trio section shows off Beethoven’s mastery of an older style. The scherzo returns, almost inaudibly, with pizzicato strings, creating a perfect setup for the magical bridge section that follows. The timpanist quietly thumps a C—a pedal point all through the build-up directly into the radiant finale.

The effect is all catharsis. We hear again the fate-knocking rhythm, first in quick note values, then longer, more obviously, quoting from the scherzo. In music if not in love the soul triumphs.

(c) 2011, 2018, 2020 by Steven Hollingsworth,Creative Commons Public Attribution 3.0

United States License.Contact steve@trecorde.net

PROGRAM NOTES (con’t)

Matching Gift ProgramsExxon Mobil Foundation • GE Foundation

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CORPORATE & FOUNDATION SUPPORT $25,000+

The Tucker Foundation

William Montague Performing Arts Fund

$10,000+

$5,000+

$2,500+

Artistic Color GraphicsBlueCross BlueShield of Tennessee

BlueCross BlueShield of Tennessee Community Trust

Chattanooga Metropolitan Airport AuthorityConversant Group

M & M Industries, Inc.The Mark Hite Team

Peace CommunicationsPerforming Arts League

Pinnacle Financial PartnersThe Trust Company

Matching Gift ProgramsExxon Mobil Foundation • GE Foundation

Tri-State Musicians’ Union Local 80, AFM Elder’s Ace Hardware

$1,000+Chambliss Law

Delta Dental of TennesseeDerryberry Public Relations

Grace M. Russell Scholarship Fund

Memorial Healthcare SystemPublix Super Markets Charities

Women’s Philharmonic AdvocacyWarehouse Row

$500+

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Listed below are donors who have given to the CSO’s Annual Fund or other giving from January 1, 2019 through January 10, 2020. Despite our best efforts, names are sometimes misspelled or omitted. If corrections need to be made, please contact Cathy Dreger at cdreger@chattanoogasymphony.org.

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In-Kind DonorsAlimentariArea 61 GalleryBantam + BiddyWarren BarnettBruce Baird ClothierChattanooga Football ClubChattanooga Theatre CentreMr. and Mrs. George S. ClintonCoca-Cola Bottling CompanyKimberly ConnorKayoko Dan and Andrew TempleDish T’PassElder’s Ace HardwareEmbellishHart GalleryJessica Klaaren JewelryBryan and Mindy KellyLarimar MedSpaMs. Rebecca MillerPeace CommunicationsBrent SandersMr. Mark Siedlecki and The Rev. Erik BroerenBill & Carolyn SilzlePat Starke The Tivoli Theatre FoundationTupelo HoneyRobert WestHarriett & Berton Whitaker

Ms. Jenny EwingRosella Ewing-TerryMs. Ellen FarrowMegan FergusonAlyssa FinlayMr. David FishmanLucy FittsChris FlansburgDrs. Cristina and Radian FloreaKen and Jennifer FlynnRebecca FowlerMr. I. FranciscoEllen FreibergKathryn FreundHans J. FuhrimannBrenda GallagherSylvia GardenhireMr. and Mrs. Larry GarnerJames GaskinJanet GeerlingsCharles GeterMr. Roger GishCaroline GoldschmittMrs. Ruth GonterPamela GordonMr. Andy GrahamKris GrahamApril GranbergBrian GreenMargaret GreesonMr. and Mrs. Charles F. GrovesSarah HaaseLarry and Judy HaightErika HalterIrene HamiltonMalu HammansDr. Melissa HampSherrye HamptonMr. Steve HankinsShiley HarperBrittany HarrisJohn & Anne RankinConnie HartKimberly M. HayenMike and Natasha HaynesCandice and Robert HaysJeanne HelmsPaul K. HesselinkHeather HicksGreg HighwoodRandy HillAlice Faye HitchcockMs. Carol HobbsMs. Mary HollandJohn HornMs. Linda HostetlerMr. Vincent HottonMr. and Mrs. Donald P. HoustonJohn HowardGregory HughesKarl HuntTom HusbandLori IvyMrs. Lisl JacksonWill JacksonMs. Janet JobeMs. Caroline JohnsonJody JohnsonMr. Matt JohnsonNancy JohnsonDarlene & Hailey JohnstonCarla and Chuck JonesKris C. JonesLogan JonesDr. Natasha JonesElisabeth JordanFrank & Dorothy JumpEunjoo KalJennifer KaleBerneet KaurKelli Kaylor

Tiffany KeenerAdam KellerMr. Ray KellumEarl KendallMr. & Mrs. Wilson von KesslerMary and Burrell David KetchersidElizabeth & John KillianJason KilmerYeji KimLori KingDrs. Matt and Angela KodsiDr. & Mrs. Alan KohrtMr. Stephen KolderupSteven KrugDonna KubergMr. Phil LambertDavid LanamanNatalie LandauTiffany LangleyWillie LassetterSusan LaughreySusan LeeAndrew B. LeftonRebecca LeVallyMr. Robert L. LewisErin LindleyKathleen LockerWilliam LoweryMr. Kendall LowreyJoseph & Anne LubinskiMissy LucePia MacDonaldDavid MannoDiane MarbleRebekah L. MarrDendy MarshallDarry MartinSamuel MassengaleMr. and Mrs. Thomas MayMatt MaynorCoreena MaytonDr. Michael MazzoliniJames McCoyMr. Eddie McCraryAndrea McCurdySteve and Linda McGannOlivia and Geoff McGowenStella McHughLynn McKeeBetsy McLeanNancy McLodaSusan I. McRaeScarlett MeadowsAlix MichelJanet MiddlebrooksLindsey MiddletonBrian MillerTammi MillerTroy MinchewCatherine MiskellyMr. and Mrs. Marshal MizeRaquel MondidoMs. Claire MooneyFloyd & Lynn MooreO. James Morgan and R. Anne BarronMarian MoselRobin MossEmma MullinsMr. William MullinsHeather MyersDr. and Mrs. David NeallGeorge NelsonSusan NewmanJennifer NicelyMs. Samantha NiemeyerKimberly NydickAngela NyeJoy OdomPaula OffuttPam and Richard ParkTimothy Pascarella

James PassmoreKen & Debby PatricJennifer PattersonJohn PayneMs. Claire PeacockAustin & Haley PedigoBillie PelhamVince & Sheila PereskiMr. and Mrs. Mark PetersonJennifer PettitMr. George PiperMs. Andrea PitkowRandal PlattsAlison PostonMr. Brian PoteetNorman & Gloria PoynterJohn & Janie PrescottSusan Colville PrudowskyJerry & Katherine RagonKendall RayMr. Clayton RhodesLeah RhodesMr. & Mrs. Joel W. Richardson, Jr.Joel RiddleBrett RobinsonMary RochelleRonald RogersTimothy RogersJeffrey RoseMr. and Mrs. Barry RossRobert RothMr. Thomas RowanPat RozaAndrea RussoDavid & Judith SachsmanShelly SackAileen San LuisLara SandersBob & Marlene SauerAlan SchideMr. Larry SchlabachCynthia SchmidlinMr. and Mrs. Tom SchowJacob SchwartzChip PerlewitzWilliam ScottDavid SeabergMary SegarsChristina SeminarioRay SextonMontana ShadrickKristin SharpDr. C. Wayne ShearerDiane ShellyMr. Jack ShepardTravis ShortMr. Mark Siedlecki and The Rev. Erik BroerenMs. June SilverMr. Russell SimmsRebecca SinclairDana SmithDeborah SmithEdwin SmithLee SmithTammy SmithMs. Judith SongyDaniel SperawAlan SpringDanielle & James SpringerKidambi SreenivasGerald StaffordEmily StephensonRonald StephensonMs. Michele StevesChris StitzleinRobert and Mary StoetznerHarry StoneMs. Vicki StoneRobert StreetmanVirginia StromDylan Suehiro

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In Tribute Mr. Carey Shinbaum In memory of Robert BurksTri-State Musicians’ Union Local 80, AFM In memory of Robert BurksMr. Taylor Brown, Local 80 President In memory of Robert Burks, past Local 80 PresidentAnonymous In honor of Kathy AllisonRobert and Lisa Lee In memory of Mary BarkerMr. Leonard Murray and Ms. Jacqueline Marschak In memory of Robert BurksHelen Pregulman In honor of Kim GavinHelena Binder & Jim Zien In honor of Bob Bernhardt

Eric Herbst In memory of Douglas HerbstAnonymous In honor of Mark and Jenni SmithMr. Thomas Royer In honor of William RoyerPatricia Daniel In honor of Martha Mackey

This list reflects tribute gifts made from July 2019-present.

CONCERT ETIQUETTEWe want everyone to have a great concert experience! Please take a minute to review these symphony etiquette tips to make the show comfortable and enjoyable for yourself and others. If you want to learn more, visit our website at chattanoogasymphony.org/experience/faq.

CLAPPING: CSO musicians love to hear people applauding, but there are times when you normally don’t applaud at a classical concert. For our Barnett & Company Masterworks concerts, people generally clap after the entire piece is done. There may be three or four “parts” or movements in each piece, but it’s best to wait until after the entire piece is performed and the conductor has dropped the baton. If in doubt, watch for the conductor to completely lower their arms and begin to acknowledge the orchestra. If you’re still unsure, wait until others begin clapping and follow their lead! That being said, don’t feel embarrassed if you do clap. We appreciate it!

HALL/INTERMISSION: Guests are welcome to leave their seats and move about the venue during intermission, but we ask that you wait until the lights have been turned on before attempting to exit. Please refrain from entering or exiting the hall during a piece, or wait until in between movements.

THINGS TO AVOID: Even the smallest sounds are amplified in a performance hall. Before the performance begins, please unwrap candy, turn down hearing aids and turn off all pagers, cell phones, beepers, and watch alarms. While we hope you are excited to discuss the performance post-concert, we ask that you please refrain from holding conversations while a piece is being performed. Photography and sound recordings are not permitted. Avoiding these and other distractions helps create an environment in which the music can be heard and enjoyed by all. If you are a student and would like to take notes for your paper, please ask the box office or an usher to seat you close to the stage or towards the back of the hall so you can have some light to write.

Thank you for your consideration. Enjoy the show!

VALENTINE’S WEEKEND • FEBRUARY 14 &15 TIVOLI THEATRE • 7:30PM • VALERIE DUKE, VOCALIST

FREE SWING DANCE INSTRUCTION!

NEW THIS YEAR! BIG BAND FEVER DANCE COMPETITION Dance the salsa with your partner for the chance

to win CSO tickets, cash prizes, and more! For full details or to register for the competition, visit

chattanoogasymphony.org/dance.

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Get your tickets at 423.267.8583 or chattanoogasymphony.org