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.
On Stage
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AAmerican 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.
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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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Jennifer Puckett, Principal
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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Scott Best, Principal
Chris Butler, Assistant Principal
Flute
Delara Hashemi, Principal
The Marion Dugdale McClure Chair
Jenny Davis
Mari Kamikura
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Saundra D’Amato, Principal
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Lani Kelly, Visiting Oboe
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Rena Feller
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Susanna Whitney, Principal
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Tina Hazell
Christopher Piecuch
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Christopher Piecuch
Horn
Caroline Kinsey, Principal
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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
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Barry Oliver, Principal
The Buzzy Hussey and Hal Brunt Chair
*Circle of Friends Fellow
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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.
