THE BRITISH ISLES - MENDELSSOHN “SCOTTISH” AND DANNY BOY
Friday, March 28, 2025 · 6:30pm ·
Crosstown Theater
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Sunday, March 30, 2025 · 2:30pm ·
Scheidt Family Performing Arts Center
Eckart Preu, conductor | Hannah White, violin
PERCY ALDRIDGE GRAINGER
(1882 - 1961)
Irish Tune from County Derry
SAMUEL COLERIDGE-TAYLOR
(1875 - 1912)
Concerto for Violin in G minor, op. 80
I. Allegro maestoso
II. Andante semplice
III. Allegro molto
Hannah White, violin
INTERMISSION
FELIX MENDELSSOHN
(1809 - 1847)
Symphony No. 3 in A minor, op. 56, “Scottish”
I. Andante con moto - Allegro agitato
II. Scherzo assai vivace
III. Adagio cantabile
IV. Allegro guerriero - Finale maestoso
Program Notes
by Michelle Pellay-Walker
Percy Aldridge Grainger (1882-1961): Irish Tune from County Derry
Originally from Australia, Percy Aldridge Grainger is primarily known as a concert pianist and composer; his fascination with British folk music not only influenced his own writing style, but also played a prominent role in the arrangements for which he is so widely regarded. The Irish Tune from County Derry, perhaps better known to many as the Londonderry Air (or Danny Boy), is a traditional Irish folk tune that is closely associated with County Londonderry (County Derry), one of the six counties comprising Northern Ireland. Jane Ross submitted the tune to George Petrie for publication in The Ancient Music of Ireland, which was published in 1855. Grainger set the tune for different instrumentations several times between 1911 and 1920; this concert features the version for strings and two french horns. The lush, rich scoring heard over the course of two verses has made this one of the most popular versions for audiences over the decades, and indeed, it is as much of a joy to play as it is to listen to.
Samuel Coleridge-Taylor (1875-1912): Concerto for Violin in G Minor, Opus 80
First Performance: Norfolk Connecticut Music Festival, Maud Powell, soloist: June 1912
Afro-English composer Samuel Coleridge-Taylor was well-established in his field by 1898, when he first met American violinist Maud Powell on the occasion of her London debut (she had performed his Gipsy Suite as part of her repertoire, and would introduce the piece to the American public several years later). Their collaborative efforts on either side of the Atlantic Ocean proved fruitful, eventually leading to the writing of the Violin Concerto in G Minor in 1910; it was written specifically for her, and is dedicated to her. The three-movement work is scored for woodwinds in pairs, four horns, two trumpets, timpani, and strings. While originally intending to base the concerto on spirituals, Coleridge-Taylor ultimately decided to use his own thematic materials instead, resulting in a work that varies between the lyrical as well as the rhapsodic. The story of the original parts and score going down during the sinking of the Titanic is just that—a tall tale, as the parts were in fact shipped on another vessel; even so, they had to be hastily recopied after being lost in front of the premiere performance!! The collaboration between these two gifted artists is truly significant from a cultural standpoint, making a definitive statement in regards to the excellence of both black and female musicians. Sadly, Coleridge-Taylor was unable to attend the concerto’s premiere, and succumbed three months later to pneumonia. The Violin Concerto is one of the last of his works to be published during his lifetime.
Felix Mendelssohn (1809-1847): Symphony No. 3 in A Minor, Opus 56, “Scottish
First Performance: Leipzig Gewandhaus: March 1842
While on his initial visit to the British Isles, in 1829, German composer Felix Mendelssohn had the opportunity to visit the ruins of Holyrood Chapel, at Holyrood Palace in Edinburgh, Scotland. He wrote the following description to his family:
“In the deep twilight we went today to the palace where Queen Mary lived and loved...The chapel below is now roofless. Grass and ivy thrive there and at the broken altar where Mary was crowned Queen of Scotland. Everything is ruined, decayed, and the clear heavens pour in. I think I have found there the beginning of my "Scottish" Symphony.”
Alongside this brief description, Mendelssohn also included a few bars of music that would ultimately become the first movement’s opening theme. Work on the symphony occurred sporadically over the course of 13 years, from 1829 to 1842, with the premiere performance taking place in June of 1842. By that time, he was no longer referencing it as “Scottish,” though audience members have kept up the nomenclature in the years following his passing. The work is scored for woodwinds in pairs, four horns, two trumpets, timpani, and strings, and the movements are intended to be played without pause. The first movement begins with a slow introduction, before continuing in a sonata form that has been described as “dark and stormy.” The second moment is very dancelike in its character, reminiscent of a scherzo despite its duple meter. The gentle lyricism of movement three could be a lullaby, with movement four returning the listener to the feel of a dance, before the almost hymnlike Coda that brings the symphony to its triumphant conclusion.
On Stage
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Eckart Preu is Music Director of the Long Beach Symphony, the Portland Symphony, and the Cincinnati Chamber Orchestra.
Previously, he held positions of Music Director with the Spokane Symphony (WA) and Stamford Symphony (CT), and served as Associate Conductor of the Richmond Symphony (VA), and Resident Conductor of the American Symphony Orchestra (NY). In Europe, Mr. Preu was Music Director of the Orchestre International de Paris from 1993-95.
His guest conducting engagements have included concerts with the Jerusalem Symphony (Israel), Auckland Philharmonia (New Zealand), Philharmonic Orchestra of Jalisco (Mexico), Philharmonic Orchestra of Bogota (Columbia), State Orchestra in Halle (Germany), Christchurch Symphony (New Zealand), and multiple appearances with the Symphony Orchestra of Chile, and the Symphony Orchestra of Tenerife (Spain).
A sought-after guest conductor in the US he has appeared with the American Symphony, Knoxville Symphony, Eugene Symphony, Memphis Symphony Orchestra, Delaware Symphony, Duluth Superior Symphony, Fairfax Symphony Orchestra, Wichita Symphony, and others.
Career highlights include performances at Carnegie Hall, the Sorbonne in Paris, and projects with Violins of Hope in Cincinnati, Long Beach, and Portland.
His first commercial recording was the world premiere of “Letters from Lincoln”, a work commissioned by the Spokane Symphony from Michael Daugherty, featuring baritone soloist Thomas Hampson. With the Portland Symphony Orchestra, he recorded the first commercial recordings of Arturo Marquez’ “Mascaras”, Ana Lara’s “Angeles de llama y hielo” (Angels of Flame and Ice), and Enrico Chapela’s “Rotor”.
He has collaborated with internationally renowned soloists including Sarah Chang, Pepe Romero, Arturo Sandoval, Stephen Hough, Evelyn Glennie, Anne Akiko Meyers, Jeremy Denk, Leila Josefowicz, Louis Lortie, Richard Stoltzman, and many others.
A native of Germany, Mr. Preu earned a master's degree in conducting from the Hochschule für Musik in Weimar studying under Gunter Kahlert. He also studied under Jean-Sebastien Bereau at the Conservatoire National Supérieur de Musique de Paris in France. Mr. Preu’s education was made possible by scholarships from the Herbert von Karajan Foundation, the Konrad Adenauer Foundation, and the French Ministry of Culture.
Eckart Preu’s early musical training was in piano and voice. At the age of 10, he became a member of the Boys Choir Dresdner Kreuzchor and went on to work with them as soloist, rehearsal pianist, and Assistant Conductor.
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Described by New York Concert Review as “phenomenal”, Award-winning Black female violinist, Hannah White, pursues to be an authentic and relatable voice in today’s changing landscape of classical music.
Hitting her tempo as a soloist, Hannah soloed with the Milwaukee Symphony Orchestra at age nine and has been featured on stage across four continents ever since. Ms. White has soloed with symphonies as Cleveland Symphony Orchestra, Dallas Symphony Orchestra, New World Symphony Orchestra, Albany Symphony Orchestra, Syracuse Symphony Orchestra, Ann Arbor Symphony Orchestra, Hudson Valley Philharmonic, South Bend Symphony Orchestra, Symphoria Orchestra, Milwaukee Symphony Orchestra, San Francisco Chamber Orchestra, Madison Symphony Orchestra, Buffalo Philharmonic Orchestra, Sphinx Symphony Orchestra, and Orchestra Noir among many others. Hannah’s performances have earned dozens of reviews.
At Carnegie Hall, Hannah was featured as a soloist, twice, and as a duet earning standing ovations and raving reviews at all three sold-out concerts. Hannah soloed on four national and international tours with Sphinx Virtuosi, was concertmaster of two international tours with Chineke, and concertmaster and co-artistic director of three tours with Kontrapunktus Baroque. She performed for world leaders at World Economic Forum in Davos, Switzerland. She soloed at League of American Orchestras National Conference, Music Teachers National Association National Conference, Dame Myra Hess recital series, Moscow Ballet, and Wolf Trap. Hannah is featured on Rachel Barton Pine’s Music by Black Composers CD. Hannah has collaborated with Thodos Dance Chicago, Fulcrum Point, Torq Percussion Quartet, principal members of the Chicago Symphony Orchestra, Dance Center Evanston, Schaumburg Ice Skaters, Chicago Children’s Choir, and Pentatonix’s Kevin Olusola, among others.
Ms. White has performed with top pop artists as Rhihanna, Billie Eilish, John Legend, Steve Lacey, Busta Rhymes, H.E.R., Earth Wind and Fire, Bell Biv Devoe, Billy Porter, Coco Jones, Lucky Daye, and Chaka Khan among many others. She has performed at the Oscars Awards, BET Awards, ESPYs Awards, Oscars Academy Museum Gala, and has worked with producers for movie sound tracks, music videos, albums, and animes.
Hannah has been invited to perform in prestigious venues such as Carnegie Hall, Severance Hall, Adelaide, Australia, Wigmore Hall London, England, Davos, Switzerland, Queen’s Hall, Edinburg, Scotland, Sau Paulo, Brazil, Kennedy Center, Trinity College Cambridge, England, Rock and Roll Hall of Fame, Dolby Theater, Ordway Center, Harris Theater, Ravinia, New World Center, Disneyland, Hill Auditorium, Hollywood Bowl, Morris Theater, Greek Theater, and Meyerson Center, Orchestra Hall, John’s Smith Square, London, England, Wolf Trap, Concert Hall, Caroline H. Hume Concert Hall, Zipper Hall, Aspen Music Camp, Hill Auditorium, Dalton Center, Folly Theater, Gallery of Art Museum, Rackham Auditorium, Rockefeller University, and University of Austin among many more.
Media appearances of Hannah White include: CNN, BBC, Today Show International in Davos, Switzerland, ABC, Amazon Live, Twitch, BET, CNBC International, Chicago’s WFMT, NPR’s From the Top, WCLV, WVIZ, Ideastream, Classical MPR, MPTV’s Black Nouveau, WPT, DPTV, Al Jazeera, Spark Media’s mini documentary series, Strad Magazine, Strings Magazine, Bein and Fushi Magazine, The Violin Channel, and numerous newspapers throughout United States.
Ms. White has won 1st prize at dozens of competitions at the Regional, National, and International Level both as soloist and chamber player. Hannah is recipient of the prestigious Isaac Stern Award at Carnegie Hall, Ambassador of Doublestop Foundation, Jack Kent Cooke Scholarship, Musicians Club of Women of Chicago Scholarship, MPower Grant, Puth Foundation, William Warfield Scholarship, and Music Institute of Chicago Fellow Laureate.
Hannah believes in giving back to her community through imparting her world class training to kids of all social and economic status. She boasts of her participation in residencies at Columbia University, Penn State, University of Houston, and San Jose State University. She has taught at various high schools and given master classes throughout United States. She is currently teacher at Colburn School’s Jumpstart, Stories and Strings, and USC/Colburn Programs. She is also faculty at Santa Monica Conservatory of Music and Montebello Royal Academy. As cultural ambassador, Ms. White has performed at over 100 outreaches.
Hannah graduated from the Colburn Conservatory studying with renowned teacher, Robert Lipsett. She is continuing her graduate studies with Robert Lipsett at the Colburn Conservatory. Her previous teacher is Danielle Belen through the Music Institute of Chicago, The Academy. Hannah’s violin is on generous loan from Rachel Barton Pine Foundation.
Memphis Symphony Orchestra
Violin I
Barrie Cooper, Concertmaster
The Joy Brown Wiener Chair
Marisa Polesky, Assistant Concertmaster
Diane Zelickman Cohen, Assistant Principal
Wen-Yih Yu
Jessica Munson
Janaina Fernandes*
The Rebecca Webb Wilson Fellow
Violin II
Gaylon Patterson, Principal
The Dunbar and Constance Abston Chair
Erin Kaste, Assistant Principal
Lenore McIntyre, Assistant Principal
Yennifer Correia
Daniel Parker*
The Judith and Sheldon Korones Memorial Fellow
Priscilla Tsai
Viola
Michelle Pellay-Walker, Principal
The Corinne Falls Murrah Chair
Aaron Tubergen, Assistant Principal
Beth Luscombe, Assistant Principal
Michael Brennan
Cello
Ruth Valente Burgess, Principal
The Vincent de Frank Chair
Jonathan Kircksey, Assistant Principal
Hannah Schmidt
Bass
Scott Best, Principal
Chris Butler, Assistant Principal
Flute
Shantanique Moore, Principal
The Marion Dugdale McClure Chair
Delara Hashemi
Oboe
Saundra D’Amato, Principal
The Paul and Linnea Bert Chair
Lani Kelly, Visiting Oboe
Clarinet
Andre Dyachenko, Principal
The Gayle S. Rose Chair
Rena Feller
Bassoon
Marissa Takaki, Principal
The Carolyn Horrell Heppel Chair
Daryn Zubke
Horn
Jeremiah Frederick, Principal
The Morrie A. Moss Chair
Robert Patterson, Assistant Principal
Parker Nelson
David Renfro
Trumpet
Elizabeth Carter, Principal
The Smith & Nephew Chair
Benjamin Lewis
Trombone
Greg Luscombe, Principal
Mark Soueidi
Mark Vail
Timpani
Ed Murray, Principal
*Circle of Friends Fellow
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Michael and Aimee Spikes
Susan Springfield
Stacey Bowers
Barbara Stafford
Tracey Stallings
Rebecca Stanfield
Lindsey Stanfill
Dianne Stanford
Terry Starr
Julian Steelmen
Jeremiah Steinbrink
Stephanie Johnson
Edith Stern
John Stewart
Lauran Stimac
John and Anne Stokes
Donna Stroup
Karen Stuart
David and Mary Anne K. Sullivan
Suzanne Drewry
Tabitha Arrington
Owen and Margaret Tabor
Tabrina Davis
Taylor Wilmott
Terri Williams
Robin Thoda
Sally Thomason
Kimberly Thompson
Sarah Tillman
Timothy Todd
David Tipton
Mark Tittle
Tom Ebers
Tom Timimak
Benjamin Trainor
Tuesday Study Club
Michael Ulm
Jennilynn Utkov
Jo Vail
Alan Valentine
Bill and Peggy Veeser
Carmel Verrier and Walter Heger
Vicki Carayiannis
Virginia Terrell
Charles Walker
Russell Walker
Philip Walkley
Julie Wallace
Erin Walter
Paula Walter
Gavin Ward
Kathleen and Tim Waters
Samantha Watts
Alonzo and Suzane Weaver
Gina and Jeffrey Webb
Debra West
Benny and Gayle Westmoreland
A C and Ruby Wharton
Lain Whitaker
Willard & Catherine Whitaker
Justin White
Alvin and Myra Whitney
Reggie Whitney
Ogden Whyte
Marilyn Wiener
William Koenig
William Page
William Scott
William Ufferman
Suzanne Williamson
Linda Willis
Willow Blythe
Wilson Hubbard
Teresa Wilson
Dean and Lauran Wingo
Dorothy Work
Yavette Gray
Linda Yoakum
Jason and Susan Young
David and Nelie Zanca
Carolyn & Robert Meza
Jennifer Diprizio & Patrick Krolik
Mary Van Dyke
Ann Marie Person
Mary Stuart David
Sharon Devine Harris
Victoria N Crozier
Angel David Martinez Nieto
This list recognizes philanthropic contributors to the MSO made between July 1, 2023 - August 28, 2024 . While compiling this list every effort has been made to reflect the accuracy of our donors. If your name has been misspelled, omitted, or misrepresented please contact us at 901-537-2500 and we will correct our records. We appreciate your generosity and understanding.
