THE THREE B’S:
BACH, BRAHMS, AND BEETHOVEN

Friday, November 1, 2024 · 6:30pm ·
Crosstown Theater
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Sunday, November 3, 2024 · 2:30pm ·
Scheidt Family Performing Arts Center

JOHANNES BRAHMS
(1833 - 1897)
Variations on a Theme by Haydn, Op. 56a
Chorale St. Antoni: Andante
Variation I: Poco piú animato
Variation II: Piú vivace
Variation III: Con moto
Variation IV: Andante con moto
Variation V: Vivace
Variation VI: Vivace
Variation VII: Grazioso
Variation VII: Presto non troppo
Finale: Andante

CARL PHILIPP EMANUEL BACH
(1714 - 1788)
Concerto for Flute in G Major, Wq. 169
I. Allegro di molto
II. Largo
III. Presto
Shantanique Moore, flute

INTERMISSION

LUDWIG VAN BEETHOVEN
(1770 - 1827)
Symphony No. 6 in F Major, Op. 68 “Pastoral”
I. Awakening of cheerful feelings on arriving in the country: Allegro ma non troppo
II. Scene by the brook: Andante molto mosso
III. Merry assembly of country folk: Allegro
IV. Thunderstorm: Allegro
V. Shepherd’s Song - Happy grateful feelings after the storm: Allegretto

Program Notes

by Michelle Pellay-Walker

Classic Accents One (November 2024)

Johannes Brahms (1833-1897):  Variations on a Theme by Joseph Haydn, Opus 56a
First Performance:  Vienna Philharmonic Orchestra, Johannes Brahms (conductor):  Vienna, November 1873

There is some controversy surrounding whether or not Haydn actually wrote the “Saint Anthony Chorale” that Brahms has set so beautifully in this piece;  he supposedly used a wind ensemble work that had been attributed to Haydn, with later scholarship suggesting that it doesn’t line up with Haydn’s style (I think I’ll let someone else argue that point!!).  What is NOT in question is the first rate nature of the writing:  Brahms, as usual proves his mastery of harmony and contrapuntal writing that few could emulate.  Brahms tended to favor the darker timbres of the orchestra, and that is very much in evidence here:  Woodwinds in pairs (plus piccolo and contrabassoon), four horns, two trumpets, timpani, triangle, and strings.  The piece is mostly scored in B-Flat Major, with Variations 2, 4, and 8 in B-Flat Minor.  The Finale features a ground bass of which J.S. Bach would heartily approve!!

Carl Philipp Emanuel Bach (1714-1788):  Concerto for Flute and Orchestra in G Major, Wq. 169
First Performance:  1755(?)

C.P.E. Bach, the second surviving son of Johann Sebastian Bach, was a well-known harpsichordist and pedagogue, and is closely associated with the Empfindsamer Stil movement (a style of musical composition developed in 18th-century Germany, intended to express "true and natural" feelings, featuring sudden contrasts of mood), that led the way in transitioning from the late Baroque to an early Classical style.  This concerto features a virtuoso flute part, accompanied by strings and basso continuo.  It is that last item that will immediately catch one’s attention:  Even though the forms mirror the Classical period structures we’re so familiar with (such as sonata form and binary form), the inclusion of the harpsichord as a continuo instrument sets it apart from its later contemporaries (think about similar compositions by Haydn and Mozart:  No harpsichord is used in these works).  So, it’s an interesting mix of the old and the new:  A Baroque sound that uses Classical forms.

Ludwig van Beethoven (1770-1827):  Symphony No. Six in F Major, Opus 68, “Pastoral”
First Performance:  Theater an der Vien, Ludwig van Beethoven (conductor):  Vienna, December 1808

Beethoven was known as a lover of nature, and frequently took long walks in the Vienna countryside;  those walks are thought, in some circles, to have directly inspired this work.  It is quasi-programmatic in nature:  Beethoven gives each movement a descriptive title in addition to the tempo designations.  He doesn’t paint a specific picture for us, but gives us suggestions to allow our own imaginations to lead us in the right direction from the initial point of reference.  There are several interesting things about this piece from a purely structural standpoint:  The symphony has five movements, not four—and three of those movements are played with no break whatsoever in the music.  Just a few items to listen for:  In movement two (Scene by the Brook),  Beethoven uses a meandering figure in the interior strings to represent the flow of the water.  Near the end, he specifically references bird calls by his use of the woodwind instruments:  flute (nightingale), oboe (quail), and clarinet (cuckoo).  The Merry Gathering of Country Folk is a boisterous scherzo, containing a trio that is played twice, not just once, and abruptly leads into the Thunderstorm movement.  His use of the instruments to depict various elements of the storm is particularly effective here.  The gentle transition into The Shepherd’s Hymn of Thanksgiving Following the Storm is also beautifully done—the timpani gradually fades out as the storm recedes into the distance.  The scoring for this piece is also interesting:  Woodwinds in pairs, plus piccolo (fourth movement only), two horns, two trumpets (last three movements only), two trombones (last two movements only), timpani (fourth movement only), and strings.  One of the better know uses of this work in popular culture is in the movie, Fantasia dating from 1940, featuring the Philadelphia Orchestra conducted by Leopold Stokowski.

Print program notes

On Stage

  • American conductor Kyle Dickson has built a reputation as an inspiring and compelling presence on the podium. Recipient of the 2021 Grant Park Music Festival Advocate for Arts Award and the Concert Artists Guild's Richard S. Weinart Award, Dickson was recently appointed to the Madeleine Luce Moore Assistant Conductor Chair of the Memphis Symphony Orchestra and Conductor of the Memphis Youth Symphony. From 2021-2023, Dickson was a Salonen Fellow with the San Francisco Symphony under the guidance of Music Director Esa-Pekka Salonen and Assistant Conductor of the Chicago Sinfonietta under Maestra Mei-Ann Chen.

    ​Dickson has recently appeared as guest conductor with the San Francisco Symphony, Minnesota Orchestra, National Symphony Orchestra, Detroit Symphony, Wichita Symphony, Oakland Symphony, and the Louisville Orchestra. In 23/24, Dickson made debuts with the Pasadena Symphony, Marin Symphony, Portland Symphony (ME), and Ballet Memphis. As Cover Conductor, Dickson has been engaged by the New York Philharmonic, St. Louis Symphony, and the San Diego Symphony as well as serving as Assistant Conductor for concerts with the NDR Elbphilharmonie Hamburg, Orchestre de Paris, and the Chicago Symphony Orchestra. In 2022, he was selected as a Conducting Fellow at the National Orchestral Institute’s Conducting Academy led by Marin Alsop and he was the 2023 Festival Napa Valley Revzen Conducting Fellow.

    ​A passionate educator regarded for his commitment to youth as well as diversity in the arts, Dickson was awarded the Weissberg Prize and the 2024 Spirit of Detroit Award for his series, MUSIC REPRESENTS. He was Assistant Conductor for Carnegie Hall’s 2022 National Youth Orchestra (NYO2) and has worked closely with the Inner City Youth Orchestra of Los Angeles, Colburn Academy Virtuosi, Chicago Youth Symphony, and the Claremont Young Musicians Orchestra among other youth ensembles across the country. He has been guest conductor of the CSO Young Artists Competition, Civic Orchestra of Chicago, and in 24/25 makes his debut with the Equity Arc Orchestra.

    ​Trained as a violinist, Dickson was a prizewinner at the 2010 NANM National Concerto Competition. As guest artist, he’s held chamber music residencies at Indiana University-South Bend, the United World College of South East Asia, and served on the Violin and Chamber Music faculty at the New Music School (Chicago). He has performed with the Grant Park Festival Orchestra, Lansing Symphony, Quad City Symphony, and as Concertmaster of the Chicago Composers Orchestra. Additionally, his playing can be heard on albums by recording artists such as John Legend, Chance the Rapper, Jessie J and others as a member of the Matt Jones/Recollective Orchestra. Dickson studied Conducting at the Colburn School and Northwestern University as student of Esa-Pekka Salonen and Victor Yampolsky.

  • Flutist Shantanique Moore is a sought-after freelance musician who is often noted for her “brilliant sound and technical mastery.” Shantanique has built a dynamic freelance career as an orchestral musician, performing with the Pittsburgh, Detroit, Seattle, Minnesota, and National Symphonies, and internationally with the Chinecke! Orchestra in London (among others).

    As an advocate for promoting musicianship and flute playing, Shantanique has served on the board of directors of the Southeast Michigan Flute Association as secretary, and as the SEMFA Flute Choir director. She is also an active member of the National Flute Association. Shantanique loves teaching enthusiastic flute students and takes pride in the development and success of her students. Her students frequently garner high ratings at State and Regional Solo & Ensemble, are active members of youth symphony programs such as the Detroit Civic Youth Ensembles, and have gone on to pursue music at the collegiate level.

    Shantanique holds both a Bachelor and a Master of Music degree from Wayne State University, where she held numerous scholarships and was awarded several honors while studying with the Detroit Symphony’s Assistant Principal Flutist, Sharon Sparrow and the Detroit Opera Theatre Orchestra’s Second Flutist, Laura Larson. She has had the privilege to study with and appear in masterclasses for Carrie Wiesinger, Lorna McGhee, Mark Sparks, Robert Aitken, William Bennett, and Amy Porter.

    When not practicing or performing, Shantanique enjoys kayaking, sleeping, and binging her favorite TV shows.

    Shantanique plays on a Haynes Custom flute and Hammig piccolo.

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
Janaina Fernandes*
The Rebecca Webb Wilson Fellow
James Ryan

Violin II
Gaylon Patterson, Principal
The Dunbar and Constance Abston Chair
Erin Kaste, Assistant Principal
Lenore McIntyre, Assistant Principal
Yennifer Correia
Esther Humphries
Janet Cooper

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The Corinne Falls Murrah Chair
Aaron Tubergen, Assistant Principal
Beth Luscombe, Assistant Principal
Michael Brennan

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Ruth Valente Burgess, Principal
The Vincent de Frank Chair
Iren Zombor, Assistant Principal
Jonathan Kirkscey, Assistant Principal

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Chris Butler, Assistant Principal

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Delara Hashemi, Principal
The Marion Dugdale McClure Chair
Jenny Davis
Mari Kamikura

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The Paul and Linnea Bert Chair
Lani Kelly, Visiting Oboe

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Andre Dyachenko, Principal
The Gayle S. Rose Chair
Rena Feller

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Susanna Whitney, Principal
The Carolyn Horrell Heppel Chair
Tina Hazell
Christopher Piecuch

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Christopher Piecuch

Horn
Caroline Kinsey, Principal
The Morrie A. Moss Chair
Robert Patterson
Jeremiah Frederick
Jimmy Rhine, Jr.

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Scott Moore, Principal
The Smith & Nephew Chair
Elizabeth Carter

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Greg Luscombe, Principal
Ken Spain

Timpani
Ed Murray, Principal

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David Carlisle, Principal

Keyboard
Barry Oliver, Principal
The Buzzy Hussey and Hal Brunt Chair

*Circle of Friends Fellow

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    Karen Shea
    Paul Shifflet
    Shirley Turner
    William Short
    Susan & Matt Shorter
    Martina Sigal
    Liz and Rouben Simonian
    Elizabeth and David Simpson
    Gregory Skinner
    Jerald and Louise Sklar
    Dr. William Skoog
    Harriet Skupin
    Stephen & Chelsea B Slabaugh
    Peter Slavish
    John Sligh
    Corey Smith
    Joel Smith
    Pamela K. Smith
    Sonya Walton
    Sophia Woods
    Katharine Sorenson
    David and Jackie Spear
    Diane Spears
    Raymond and Gayle Spence
    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 will correct our records. We appreciate your generosity and understanding.