Kalena Bovell Conducts Beethoven

Kalena Bovell Conducts Beethoven

Kalena Bovell Conducts Beethoven
Scott Moore Performs Hummel Trumpet Concerto

The 2021-2022 Paul and Linnea Bert Classic Accents Series

Kalena Bovell, conductor | Scott Moore, trumpet

Friday, Apri 29, 2022 · 6:30pm · Crosstown Theater

Sunday, May 1, 2022 · 2:30pm · Germantown United Methodist Church
 

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CLARICE ASSAD 
(b. 1978)

Impressions suite for chamber orchestra
I. Personas. Theme & Variations
II. Fusion. Dança Brasileira
III. Affection. Slow Waltz
IV. Precision. Perpetual Motion
V. Unity. Coda
                     

JOHANN NEPOMUK HUMMEL (1778 - 1837)

Concerto in E-flat Major for Trumpet and Orchestra
I. Allegro con spirito
II. Andante
III. Rondo
Scott Moore, trumpet

 

INTERMISSION


LUDWIG VAN BEETHOVEN (1770 - 1827)

Symphony No. 2 in D-Major, op. 36
I. Adagio Molto—Allegro con brio
II. Larghetto
III. Scherzo: Allegro
IV. Allegro Molto


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Meet the Musicians 

 

Kalena Bovell, MSO Assistant Conductor 

With her distinctive voice as maestra, speaker, and poet, critics praise Panamanian-American conductor Kalena Bovell as “one of the brightest stars in classical music.” (Channel 3 News, Connecticut).

Named a 2022-2024 Award Recipient of the Taki Alsop Conducting Fellowship, Bovell’s singular imprint on the arts distills into two values: community engagement and musical excellence. She employs these values as Assistant Conductor to the Memphis Symphony Orchestra and Conductor of the Memphis Youth Symphony, while continuing to have high demand as a guest conductor.

Bovell's 2021-2022 season featured her debut at the BBC Proms with the Chineke! Orchestra, of which ArtsDesk stated simply: "Never let her go." The season also features debuts with Oakland Symphony, Louisville Orchestra, Rochester Philharmonic, Memphis Symphony Orchestra, and the New England Conservatory, as well as a return to the Sewanee Summer Music Festival. Outside conducting, Bovell's poem, "Tethered Voices," will be premiered by the University of Michigan Symphony Orchestra, set to music by James Lees III. Since making her professional debut as the Chicago Sinfonietta’s Assistant Conductor in 2016, invitations as guest conductor have included Hartford Opera Theatre, New Britain Symphony, and a particularly memorable performance leading Hamilton star Leslie Odom Jr. with the Memphis Symphony prior to her official appointment.

 

Scott Moore, trumpet

Scott Moore is Principal Trumpet of the Memphis Symphony Orchestra, and also performs annually in the Arizona Musicfest orchestra. He has performed with the Chicago Symphony, the St. Louis Symphony, the Baltimore Symphony, and the National Symphony, and as guest principal with the symphony orchestras of Atlanta, Toronto, and Jacksonville. He has recorded and performed with the Nashville Chamber Orchestra, and with I Fiamminghi, the Orchestra of Flanders. Mr. Moore is also the leader of the MSO Big Band.

As a soloist, Mr. Moore has appeared with the San Antonio Symphony, the Nashville Chamber Orchestra, the Tennessee Summer Symphony, the Chattanooga Symphony, and on numerous occasions with the Memphis Symphony. He has also been a featured Guest Artist at the International Trumpet Guild Conference.

Scott Moore has a Master of Music degree from the New England Conservatory of Music, and a Bachelor of Arts degree from McNeese State University. His teachers have included Charles Schlueter, Arnold Jacobs, and Michael Ewald.

 

Robert Moody's Notes

Our MSO Assistant Conductor Maestro Bovell has become a most popular and loved musical leader in our community!  Kalena, born to Panamanian parents, chose powerful music of Brazilian-American composer Clarice Assad to kick of this concert!  Our own MSO trumpet star Scott Moore then joins Kalena and the orchestra for a true gem of Classical Trumpet concerto writing.  And the mighty Beethoven 2 brings the Classic Accents season to full celebratory conclusion! 

- Music Director Robert Moody
 

Program Notes

by Michelle Pellay-Walker 

“Impressions, Suite For Chamber Orchestra, was commissioned by the New Century Chamber Orchestra in 2008. Written originally for NCCO’s as a season opener, the purpose of the piece was to showcase the orchestra’s performers’ diversity and uniqueness and create a musical portrait of the first impressions between the musicians of the orchestra and the composer herself. The first movement is a set of variations, one for each of the orchestra’s five sections. The second movement, Dança Brasileira, echoes Assad’s homeland. The film noirs of Hollywood inspired the middle movement’s, Slow Waltz, while Perpetual Motion, the fourth movement, showcases skill and proficiency. The last movement serves as a bridge, and the suite concludes by reflecting on its very opening” [extracted from www.clariceasssad.com]. Clarice Assad has done a wonderful job of showcasing the myriad techniques to be found in string playing. The five principals are featured in the first movement variations, and the moods created by each are fascinating, contrasting, and just flat-out fun to listen to. The double bass variation is particularly striking; it begins pizzicato before settling into an arco that for all intents and purposes is a cadenza. The NCCO recorded this work in 2009; it has subsequently been choreographed both in the United States and in Brazil.

Johann Nepomuk Hummel wrote one of the two most famous trumpet concertos from the Classical era, the other having been composed by Franz Joseph Haydn. The Trumpet Concerto in E-Flat Major, WoO 1, S. 49 (originally in the key of E Major) was written in December of 1803 for Viennese trumpet virtuoso Anton Weidinger, as was the Haydn; it was first performed on New Year’s Day in 1804, and marked the beginning of Hummel’s tenure as kapellmeister of the court orchestra of Nikolaus II, Prince Esterházy, in the old Austro-Hungarian Empire. The orchestral forces are slightly reduced from typical Classical period scoring, most notably omitting the bassoons from the woodwind section. Both soloist and orchestra get quite a workout in this concerto, especially in the outer movements. The second movement, in both its lyricism and its triplet orchestral accompaniment, may bring Mozart’s “Elvira Madigan” piano concerto to mind; both are similar in mood, though the Hummel continues into the third movement following a dominant cadence rather than ending on the tonic in which it began.

Ludwig Van Beethoven’s Symphony No. 2 in D Major, Opus 36, was written mostly during the composer’s stay at Heiligenstadt in 1802. Dedicated to Karl Alois, Prince Lichnowsky, it was premiered at the Theater an der Wien in Vienna on 5 April the following year, with the composer on the podium. Scored for a mature Classical period orchestra (woodwinds in pairs, horns, trumpets, timpani, and strings), the four-movement work takes approximately 35 minutes to perform. The power and intensity that Beethoven brings even to his early compositions is very evident here. There is a restless energy to the first movement following the introductory adagio; the second movement’s pastoral nature foreshadows the Sixth Symphony, which would be written a little over five years later. Movement three replaces the usual Minuet & Trio with a scherzo (same basic form and meter (triple), but much faster in tempo),…and with movement four, it’s off to the races yet again: Berlioz described it as a scherzo in a duple, rather than a triple meter. The symphony was initially described by one Viennese critic as "a hideously writhing, wounded dragon that refuses to die, but writhing in its last agonies and, in the fourth movement, bleeding to death.” Well, said dragon is still alive and thriving, as the performances in this concert set will demonstrate!!

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