TCHAIKOVSKY VIOLIN CONCERTO
Saturday, September 13, 2025 · 7:30pm
Cannon Center for Performing Arts
Sunday, September 14, 2025 · 2:30pm
Scheidt Family Performing Arts Center
Robert Moody, conductor
Randall Goosby, violin
PIOTR ILYICH TCHAIKOVSKY
(1840 - 1893)
Concerto in D Major for Violin and Orchestra, op. 35
I. Allegro moderato
II. Canzonetta: Andante
III. Finale: Allegro vivacissimo
Randall Goosby, violin
INTERMISSION
JEAN SIBELIUS
(1865 - 1957)
Symphony No. 2 in D Major, op. 43
I. Allegretto
II. Andante, ma rubato
III. Vivacissimo
IV. Finale: Allegro moderato
Program Notes
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Piotr Ilyich Tchaikovsky: Concerto for Violin and Orchestra in D Major, Opus 35
First Performance: Vienna, December 1881, Hans Richter, conductor, Adolph Brodsky, soloist
Piotr Ilyich Tchaikovsky’s iconic Violin Concerto, whilst receiving mixed reviews early on, has become a favourite of audience members and performers alike, and these days, is always awaited with eager anticipation. He began composing the work in Clarens, Switzerland in 1878 (whilst recovering from a bout of depression brought on by the fallout from his rather unfortunate marriage), and it received its premiere performance in Vienna three years later. It is scored for a standard 19th century orchestra, featuring woodwinds in pairs, four horns, two trumpets, timpani, and strings. The First Movement begins with an introduction played by the orchestra—whose theme is never heard again—and continues in a fairly traditional sonata form. The cadenza is placed between the development and the recapitulation, rather than between the recap and the coda, as was typical of most concerti from the Classical era. Movement Two is in a sweetly lyrical ABA form, and is followed by Movement Three, a boisterous sonata form with rondo elements, with no break in the music. The piece has been subjected to what many (myself included) consider to be unnecessary cuts off and on over its performance history, apparently to remove redundant material and/or to shorten its length. Happily, in the 21st century, it is normally presented as originally penned by the composer.Jean Sibelius (1865-1957): Symphony No. 2 in D Major, Opus 43
First Performance: Helsinki Philharmonic Society, March 1902, Jean Sibelius, conductor
Personal Note: The Second Symphony of Jean Sibelius has long been a favorite of mine. My dad gave me my first recording of the work during my early teens, on an eight-track tape that I still have. I had known the piece quite well for a number of years before I ever got to perform it, and it goes without saying what a happy occasion getting to finally play it turned out to be!!Sibelius began writing this symphony in 1901 and finished it a year later, with the first performance taking place in Helsinki that spring. It is scored for a large orchestra that includes woodwinds in pairs, four horns, triple brass plus tuba, timpani, and strings. The work is in four movements, with movements three and four played without a break in the music. There has been some controversy off and on about whether or not the symphony is programmatic in nature (Sibelius himself categorically denied any such intent); be that as it may, the work is a masterpiece of fiery brilliance. Many moods are captured here: The effervescence and drama of the first movement; a second movement that by turns creates a stark landscape in contrast with intense passion; a scherzo that gives the strings a serious workout along with the beautifully lyrical melody led by the oboe in the trio; and the triumphant fourth movement, complete with trumpet fanfares.
Note of interest: The Minnesota Orchestra's renowned conductor, Osmo Vanska, also from Finland, had this to say about the work (in 1998): "The Second Symphony is connected with our nation's fight for independence, but it is also about the struggle, crisis and turning-point in the life of an individual. This is what makes it so touching."
On Stage
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Internationally acclaimed conductor Robert Moody is now celebrating his 10th season as Music Director of The Memphis Symphony Orchestra (Tennessee), 20th season as Music Director of Arizona Musicfest, and his 2nd season as Music Director of the Baltimore Chamber Orchestra.
Under his artistic leadership, AZ Musicfest has become the premiere Winter Music Festival Orchestra in North America, boasting a roster of players from the world’s greatest orchestras. The Memphis Symphony has enjoyed exponential growth in programming, recording, and new commissions. Baltimore Chamber Orchestra boasts top players from the top orchestras in the Baltimore/Washington area and presents innovative and “out of the box” live orchestral programming at world class levels in the Mid-Atlantic.
Prior positions have included music director for both the Portland Symphony (Maine) and the Winston-Salem Symphony (North Carolina), and Principal Conductor for Lakeland Opera (Florida). Earlier in his career, he held conducting positions with the Phoenix Symphony, Evansville Philharmonic, Santa Fe Opera, Brevard Music Center, Interschool Orchestras of New York City, and apprenticed at Landestheater Opera in Linz, Austria.
Guest conducting this season includes debuts with Cincinnati Symphony, Hong Kong Philharmonic, Madison Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Tallahassee Symphony, and Winnipeg Symphony. He also will return to Lakeland Symphony, and lead concerts with the Royal Conservatory Orchestra in Toronto, Canada, and the IberAcademy Orchestra in Medellin, Colombia.
Maestro Moody has conducted many of the world's major orchestras and opera companies, including Chicago Symphony, Los Angeles Philharmonic, Toronto Symphony, Dallas and Houston Symphonies, Kansas-City Symphony, Minnesota Orchestra, Washington National Opera, Aachen and Baden Baden Symphony Orchestras in Germany, Wushi and Shenzhen Orchestras (China),Orquesta Filarmonica de Bogotá (Colombia), the Vienna Chamber Orchestra (Austria), Tampere Philharmonic (Finland) and Banatul Orchestra (Romania). He is also a frequent guest conductor in South Africa, returning often for concerts with the three major orchestras there – the Cape Town, Johannesburg, and KZN (Durban) Philharmonics.
A frequent collaborator with opera superstar Renée Fleming, he will conduct her on multiple occasions in the upcoming season in China, Canada, and the United States. In 2024 he performed the full orchestra world premiere of Voices of Nature: The Anthropocene, a song cycle created by Ms. Fleming in collaboration with National Geographic.
Moody’s work can be found on several commercial recordings, including the Canadian Brass albums Bach and Legends, R. Carlos Nokai’s Fourth World, and with Memphis Symphony Orchestra and trumpet legend Ryan Anthony on Re:Mission Rubato.
Robert is also a close friend and collaborator with Grammy winning composer Mason Bates. Their friendship spans over 30 years, and Moody was the first conductor to commission a full orchestral work from Bates. Robert also commissioned several major works of Mason’s, including Rusty Air in Carolina, and the much lauded Desert Transport. Last season he conducted the world premiere of Bate’s triple concerto Silicon Hymnal with the Grammy winning ensemble Time For Three.
A South Carolina native, Moody holds degrees from Furman University and the Eastman School of Music, where he earned his conducting degree with Donald Neuen. Additional studies included an undergraduate study abroad in Vienna, Austria, and a summer of study with Otto Werner Mueller at Le Domaine Forget in Quebec. He is a Rotarian, and has served on the boards of AIDs Care Services, Winston-Salem YMCA, WDAV Classical Radio, and the Charlotte Master Chorale.
Moody celebrates the life and work of organist/conductor Jimmy Jones, his spouse of 18 years who passed away unexpectedly early in 2024. He now dedicates all his musical endeavors to Jimmy.
Moody lives in Memphis with their two dogs; he is an avid runner, swimmer, history buff, “Jeopardy!” addict, and snow-skier.
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“For me, personally, music has been a way to inspire others” – Goosby’s own words sum up perfectly his commitment to being an artist who makes a difference. Signed exclusively to Decca Classics in 2020 at the age of 24, American violinist Randall Goosby is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of under-represented composers to light. Goosby was recently appointed to Juilliard School’s Preparatory Division and joins the Pre-College violin faculty beginning in Fall 2025.
Highlights of Randall Goosby’s 2025/26 season include debut performances with the Atlanta Symphony/Leonard Slatkin, Orchestre National de France/Cristian Măcelaru, KBS Symphony/Peter Oundjian, and San Diego Symphony/Kahchun Wong. Goosby returns to the San Francisco Symphony, Pittsburgh Symphony, and New Jersey Symphony. He appears in recital across North America and Europe with pianist Zhu Wang as well as with the Renaissance Quartet, and joins clarinetist Anthony McGill and pianist Joshua Mhoon in a program presented by the Philadelphia Chamber Music Society.
Summer 2025 includes Goosby’s debut at the Bravo! Vail Music Festival with the Philadelphia Orchestra and Marin Alsop performing Mozart’s Violin Concerto No. 3, and at the Verbier Festival where he performs solo and chamber recitals. Goosby returns to the Cleveland Orchestra with Marie Jacquot, and joins the Music Academy of the West as a Mosher Guest Artist. Previous engagements have included debut performances with the Chicago Symphony Orchestra/Sir Mark Elder, Minnesota Orchestra/Thomas Søndergård, National Arts Centre Orchestra/Alexander Shelley, Montreal Symphony Orchestra/Dalia Stasevska, and Netherlands Radio Philharmonic/Michele Mariotti. Goosby joined the London Philharmonic Orchestra on their 2024 U.S. tour led by Edward Gardner performing Barber’s Violin Concerto. As of 2024/25, Goosby is a member of Konzerthaus Dortmund’s series “Junge Wilde”.
Goosby’s debut album for Decca, entitled ‘Roots’, is a celebration of African-American music which explores its evolution from the spiritual through to present-day compositions. Collaborating with pianist Zhu Wang, Goosby curated an album paying homage to the pioneering artists that paved the way for him and other artists of colour. It features three world-premiere recordings of music written by African-American composer Florence Price, and includes works by composers William Grant Still and Coleridge-Taylor Perkinson plus a newly commissioned piece by acclaimed double bassist Xavier Foley, a fellow Sphinx Organization and Young Concert Artists alumnus. “Roots: Deluxe Edition” was released in spring 2024 and features new recordings of music by Carlos Simon, William Grant Still and Florence Price.
In spring 2023, Goosby’s debut concerto album was released for Decca Classics together with Yannick Nézet-Séguin and the Philadelphia Orchestra performing violin concertos by Max Bruch and Florence Price. Gramophone Magazine observed: “There’s an honesty and modesty…This playing isn’t dressed to impress but to express.”
Goosby is deeply passionate about inspiring and serving others through education, social engagement and outreach activities. He has enjoyed working with non-profit organizations such as the Opportunity Music Project and Concerts in Motion in New York City, as well as participating in community engagement programs for schools, hospitals and assisted living facilities across the United States. Goosby collaborates frequently with the Iris Collective, an organization based in his hometown of Memphis, TN which builds community through music education and creative engagement. Goosby was the inaugural recipient of the 2024 Harmony for Change Award presented by Midori & Friends and also named the Cincinnati Symphony’s 24/25 MAC Music Innovator, a season-long residency in which he curated and lead community engagement activities with young musicians, and at historic cultural sites throughout the city of Cincinnati.
Randall Goosby began studying violin at the age of seven, and made his solo debut with the Jacksonville Symphony at age nine. Four years later, he became the youngest First Prize winner of the Sphinx Competition at thirteen, leading to debut performances with the New York Philharmonic, Cleveland Orchestra, and New World Symphony the following year.
A former student of Itzhak Perlman and Catherine Cho, he received his Bachelor’s, Master’s and Artist Diploma degrees from the Juilliard School. He is an alumni of the Perlman Music Program and studied previously with Philippe Quint. He plays the Antonio Stradivarius, Cremona, “ex-Strauss,” 1708 on generous loan from Samsung Foundation of Culture.
Mr. Goosby records exclusively for Decca.More information on Randall Goosby can be found at www.randallgoosby.com
Management for Randall Goosby:
Primo Artists, New York, NY www.primoartists.com
Memphis Symphony Orchestra
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Barrie Cooper, Concertmaster
The Joy Brown Wiener Chair
Marisa Polesky, Assistant Concertmaster
Diane Zelickman Cohen, Assistant Principal
Wen-Yih Yu, Assistant Principal
Long Long Kang
Priscilla Tsai
Jordan Musgrave
Daniel Gilbert
Carissa Perez
Martin Palacious
Janaina Fernandes -
Erin Kaste, Principal
The Dunbar and Constance Abston Chair
Lenore McIntyre, Assistant Principal
Yennifer Correia, Assistant Principal
Ann Pretzer
Esther Humphries
Miguel Lesmes
Janet Cooper
James Ryan
Jamie Weaver -
Jennifer Puckett, Principal
The Corinne Falls Murrah Chair
Michelle Pellay-Walker, Assistant Principal
Aaron Tubergen, Assistant Principal
Beth Luscombe
Rossana Cauti
Elizabeth Boardman
Matthew Finley
Eddy Malave
Armee Hong -
Ruth Valente Burgess, Principal
The Vincent de Frank Chair
Jonathan Kirkscey, Assistant Principal
Hannah Schmidt, Assistant Principal
Jeffrey Jurciukonis
Estefan Perez
Mark Wallace
Roberta Dos Santos
Christine Sears -
Scott Best, Principal
Chris Butler
Sean O’Hara
Andrew Palmer
Garrett Kirk
Kaleb Collins -
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The Marion Dugdale McClure Chair
Delara Hashemi -
Lani Kelly, Principal
The Paul and Linnea Bert Chair
Saundra D’Amato
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The Gayle S. Rose Chair
Rena Feller -
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The Carolyn Horrell Heppel Chair
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The Morrie A. Moss Chair
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Scott Moore, Principal
The Smith & Nephew Chair
Elizabeth Carter
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Mark Souedi
Mark Vail -
Charles Schulz, Principal
The Charles and Sharen Schulz Chair -
Ed Murray, Principal
Legacy gifts help ensure that the Memphis Symphony Orchestra continues to inspire and enrich our community for generations to come. This weekend, we remember our dear friend Mary Alice Quinn.
A Legacy of Music
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 2024 - 2025 Season.
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The Arney, Scheidt and Gronauer Families
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