TCHAIKOVSKY’S 5TH & WYNTON MARSALIS VIOLIN CONCERTO

Saturday, April 27, 2024 · 7:30pm ·
Cannon Center for the Performing Arts
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Sunday, April 28, 2024 · 2:30pm ·
Scheidt Family Performing Arts Center

Special Thanks
Presented by the Arthur F. & Alice E. Adams Charitable Foundation
Saturday’s performance is sponsored by the MSO Circle of Friends and their Eddy Award presentation.
Sunday’s performance is sponsored by Trezevant Manor.

WYNTON MARSALIS
(b. 1961)
Concerto for violin and orchestra
I. Rhapsody
II. Rondo Burlesque
III. Blues
IV. Hootenanny
Kelly Hall-Tompkins, violin

INTERMISSION

PIOTR ILYICH TCHAIKOVSKY
(1840 - 1893)
Symphony No. 5 in e minor, op. 64
I.  Andante - Allegro con anima
II.  Andante cantabile con alcuna licenza
III.  Valse:   Allegro moderato
IV.  Finale:  Andante maestoso - Allegro vivace

Program Notes

by Michelle Pellay-Walker

Wynton Marsalis (b. 1961):  Violin Concerto in D
First Performance:  London Symphony Orchestra (James Gaffigan, conductor), Nicola Benedetti, soloist
London:  Barbican Centre, November 2015

The following Notes are extracted from the Wynton Marsalis website (www.wyntonmarsalis.org); specifically, these are the liner notes from the premiere recording of the work, which were provided by Mr. Marsalis: Official website for jazz musician Wynton Marsalis: news, tour dates, latest releases, audio and video, biograph...

“The Violin Concerto in D was written for Nicola Benedetti.  Though scored for symphony orchestra, with tremendous respect for the demands of that instrument, it is nonetheless written from the perspective of a jazz musician and New Orleans bluesman.

…The biggest challenges are:  How to orchestrate the nuance and virtuosity in jazz and blues for an ensemble not versed in those styles (a technical issue), and how to create a consistent groove without a rhythm section (a musical/philosophical issue).

…I looked for real-life examples in the history of jazz–symphonic collaborations, and to the environment and experience that connect Nicky and me.  I considered aspects of her Scottish ancestry, the great Afro-American abolitionist Frederick Douglass’s love of legendary Scottish poet Robert Burns, my love and inextinguishable respect for Scottish baritone saxophonist Joe Temperley (and his gleeful recitation of pungent limericks), and the luminous but obscure achievements of Afro-American keyed bugler Francis Johnson, father of the American cornet tradition, and one of the first published American composers,…who was also a fine fiddler.  These sources led me to reconnect with the Anglo-Celtic roots of Afro-American music.

The piece opens with a whispered note in the solo violin before the orchestra enters, as if to say “And so it came to pass,” or “Once upon a time.”  Then we are into a form constructed in fours—as in the four corners of the earth, where Nicky's travels take her.

Each movement (Rhapsody, Rondo Burlesque, Blues, and Hootenanny) reveals a different aspect of her dream, which becomes reality through the public storytelling that is virtuosic performance.

Rhapsody is a complex dream that becomes a nightmare, progresses into peacefulness, and dissolves into ancestral memory

The Rondo Burlesque is a syncopated, New Orleans jazz, calliope, circus clown, African gumbo, Mardi Gras party, in odd meters.

Blues is the progression of flirtation, courtship, intimacy, sermonizing, final loss, and abject loneliness, that is out there to claim us all.

Hootenanny is a raucous, stomping, and whimsical barnyard throw-down.  She excites us with all types of virtuosic chicanery, and gets us intoxicated with revelry, and then,…goes on down the Good King’s highway to other places yet to be seen or even foretold.

As in the blues and jazz tradition, our journey ends with the jubilance and uplift of an optimistic conclusion.”

Piotr Ilyich Tchaikovsky (1840-1893):  Symphony No. 5 in E Minor, Opus 64
First Performance:  Saint Petersburg Philharmonic Society (Piotr Ilyich Tchaikovsky, conductor)
Saint Petersburg:  Mariinsky Theatre, November 1888

Piotr Ilyich Tchaikovsky composed his Fifth Symphony between May and August of the year 1888;  it was premiered later that November in Saint Petersburg.  It is a substantial work, scored for woodwinds in pairs (with an added third flute doubling piccolo), full brass, timpani, and strings.  As with its predecessor, this symphony contains a primary theme, which occurs in various forms throughout the piece.  This important 19th century compositional technique, sometimes referred to as cyclism, has been a feature of several works that the MSO has performed (or will perform) this season;  these include Modest Mussorgsky’s Pictures at an Exhibition, Ludwig Van Beethoven’s Fifth Symphony, Hector Berlioz's Symphonie Fantastique, and Antonin Dvorak's “New World” Symphony (which will be featured next month, on our rescheduled Masterworks Three concert set).  In the case of the Tchaikovsky, the motto theme is the first thing we hear at the outset, played by the clarinets.  In the second movement, it makes two dramatic appearances:   just before the recapitulation, and in the coda.  It is gently referenced at the end of the succeeding Valse, and then bookends the last movement, in addition to being prominently featured in that movement’s middle section.  While this Symphony was not initially well received, especially in the United States, it has gone on to become one of Tchaikovsky's most popular works:  This is no doubt thanks to its lush scoring and beautiful melodic lines.  The writing for clarinet is especially notable, along with the horn solo that begins the second movement (later repeated by the cellos and the violins), and the bassoon solos in the third movement.

On Stage

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, Assistant Principal
Jessica Munson
Long Long Kang
Janaina Fernandes*
The Rebecca Webb Wilson Fellow
Priscilla Tsai
Edward Sanford

Violin II
Gaylon McKay Patterson, Principal
The Dunbar and Constance Abston Chair
Erin Kaste, Assistant Principal
Lenore McIntyre, Assistant Principal
Yennifer Correia
Rebeca Rathlef*
The Judith and Sheldon Korones Memorial Fellow
Jordan Musgrave
Julia Mendez Farhi Johnson
Daniel Gilbert
Michael Brennan

Viola
Jennifer Puckett, Principal
The Corinne Falls Murrah Chair
Michelle Pellay-Walker, Assistant Principal
Aaron Tubergen, Assistant Principal
Matthew Finley*
The Joyce McAnulty Blackmon Memorial Fellowship
Beth Luscombe
Katie Brown
Lenny Schranze
Jane Schranze

Cello
Ruth Valente Burgess, Principal
The Vincent de Frank Chair
Iren Zombor, Assistant Principal
Jonathan Kirkscey, Assistant Principal
Hannah Schmidt
Mark Wallace
Lisandro Acosta*
The Ellen Rolfes Legacy Fellow
Jeffrey Jurciukonis
Estefan Perez

Bass
Scott Best, Principal
Chris Butler, Assistant Principal
Jeremy Upton
Sean O’Hara
Garrett Kirk
Andrew Palmer

Flute
Shantanique Moore, Principal
The Marion Dugdale McClure Chair
Delara Hashemi
Kelly Herrmann

Piccolo
Kelly Herrmann

Oboe
Saundra D’Amato, Principal
The Paul and Linnea Bert Chair
Shelly Sublett, Assistant Principal
Lani Kelly, Visiting Oboe

English Horn
Shelly Sublett, Principal

Clarinet
Andre Dyachenko, Principal
The Gayle S. Rose Chair

Rena Feller
Nobuko Igarashi

Bass Clarinet
Nobuko Igarashi

Bassoon
Susanna Whitney, Principal
The Carolyn Horrell Heppel Chair

Michael Scott
Christopher Piecuch

Contrabassoon
Christopher Piecuch

Horn
Caroline Kinsey, Principal
The Morrie A. Moss Chair

Robert Patterson, Assistant Principal
Jeremiah Frederick
Daniel Vidican

Trumpet
Scott Moore, Principal
The Smith & Nephew Chair

Susan Enger
Elizabeth Carter

Trombone
Greg Luscombe, Principal
Wes Lebo
Mark Vail

Bass Trombone
Mark Vail

Tuba
Charles Schulz, Principal
The Charles and Sharen Schulz Chair

Timpani
Frank Shaffer, Principal

Percussion
David Carlisle, Principal
Ed Murray, Assistant Principal
Bill Shaltis
Michael Karcz

Harp
Frances Cobb Kenney, Principal
The Ruth Marie Moore Cobb Chair

*Circle of Friends Fellow

DONORS

THANK YOU! Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission, and others make annual contributions to support the Memphis Symphony Orchestra. The following community members have expressed their support for the Memphis Symphony for the 2023 - 2024 Season.

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This list recognizes philanthropic contributors to the MSO made between July 1, 2023 - April 10, 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 will correct our records. We appreciate your generosity and understanding.