Classical Series Archives - Long Beach Symphony

Magnificent Mozart & Mahler

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In Eckart’s words:

We begin our final concert of the season with one of Mozart’s best-known and most beloved works: Eine kleine Nachtmusik (or A Little Night Music) and like most of Mozart’s works, it sounds so simple and completely belies the composer’s sophistication. We actually don’t know for sure why Mozart composed this piece. He rarely composed without a specific purpose or commission. And there’s no mention of this work in his letters or those of his contemporaries. All we know is that he finished it when he was 31 years old in Vienna—the same year he wrote his opera Don Giovanni. Maybe it was one of several works written for a friend of his, Gottfried von Jacquin, in Vienna. Jacquin’s sister, Franziska, was a pupil of Mozart, and together, they met as a group at Jacquin’s home for what they called “discussions, games, and merrymaking.” Mozart actually wrote several works for the Jacquin household, and A Little Night Music may well have been one of them. And maybe it’s an example of party music—who knows? In any case, it is great music, lots of fun to play and to listen to.

In the second half, we will end our season with a bang—with one of the greatest symphonies of the 20th century: Gustav Mahler’s Symphony No. 5. Mahler was an incredibly busy conductor, and the only time he had to compose was during his summer breaks. Just like Brahms, Mahler usually spent his summers somewhere in the Austrian mountains, or maybe in the mountains of northern Italy. He actually built a house in Maiernigg on Lake Wörthersee in Austria and composed there. It was a special hut, away from the house and everything else—his composing hut. He needed solitude, and like Beethoven and Tchaikovsky, Mahler took long walks. At the time, Mahler studied polyphonic motets by Bach and songs by Schumann, and we can hear both of these influences in his Fifth Symphony. Mahler became really obsessed with polyphony after studying Bach, and we can hear that in the third and fifth movements of the symphony. His study of Schumann’s songs may well have inspired the famous fourth movement, the Adagietto, which we all know from Visconti’s movie Death in Venice.

We can also hear the influence of Anton Bruckner—in the big chorale at the end of the second movement and at the end of the fifth movement. The sounds of Vienna play a big role in Mahler’s music, especially the music of Johann Strauss—the waltz, the lightness, the dance. And very importantly, Mahler was inspired by military music. In his childhood, Mahler spent 15 years in Iglau, where his parents and siblings lived just a few steps away from the town’s main square. There, he was able to watch the performances of the military band, and those military sounds were incredibly important to his music—his music is infused with marching band rhythms of all sorts. All of these elements, and so much more, can be heard in Mahler’s music. The emotional range of this symphony is incredible—from the most tender moments to violent outbursts, from frivolous happiness to tender intimacy, mourning wailing, threatening sounds and defiance. There are often very sudden, almost jarring changes without warning. The emotions sometimes seem in disarray, chaotic, disoriented, even neurotic. In the end, this symphony is a journey from darkness to light.

It opens with a gigantic funeral march and ends in the finale with music that is full of joy—perhaps an experience of redemption, triumph, and victory. It’s a fantastic symphony that reflects the struggle of the individual—Mahler himself—and the universal struggle for happiness, love, and humanism, in general.

Audiences will enjoy the Classical ‎Series fun and elegant evening surrounded by the Terrace Theater’s dazzling fountains and fire pits, prelude ensemble in the lobby, 6:30 PM Pre-Concert Talk to gain greater knowledge regarding the evening programming, and the ability to “Sip & Enjoy” in the concert hall. Doors open at 6PM.

Pepe Romero Returns

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In Eckart’s words:

Our fourth classical concert is very special because we celebrate the return of Pepe Romero to Long Beach Symphony.

Pepe is a living legend who is not only one of the most wonderful musicians I have ever worked with, but also an incredible person who brings an irresistible humanity to the stage and to his music. I think it is that combination of incredible artistry and personality that makes his music-making so unique. I hope you can join us for this singular event. Pepe will perform the guitar concerto of all guitar concertos, the Concierto de Aranjuez by Spanish composer Joaquín Rodrigo, a concerto that transports us to Spain. The first movement is infused with dance-like rhythms– but I really think that the crown jewel of this work is the truly magical second movement, the slow movement and its haunting melody for English horn. It is one of the most beautiful melodies ever composed.

We’ll start the evening with Elegia Andina for Orchestra by Gabriela Frank, a composer who is American but explores her Peruvian roots in her music, much like other composers before her, such as Zoltán Kodály and Béla Bartók, she collects music from indigenous peoples and weaves those influences into her compositions. So, for instance, in her Elegia Andina, there is a very prominent solo flute part inspired by the zampoña, or pan flute. The pan flute, or panpipe, is a traditional Andean instrument that originated in Peru. In this music, you will hear nostalgic elements inspired by the panpipes of the region. For me, Andean Elegy tells a story. I call it “A Day in the Jungle.” The opening represents night and the awakening of the jungle. It’s really like the rainforest groans as it comes to life, and the flute is the first bird awake, making sure that, with an improvisational solo, nobody stays asleep. One after another, the other creatures of the jungle awaken—moaning and groaning, dangerous animals, crawling things, giant snakes—whatever you imagine. Then, there is a tropical storm, and just like in real life, it comes quickly and hits hard, and before you know it, it’s over. Finally, the rainforest music from the beginning returns, evening settles, and in the dusk, only two clarinets are still awake in a love duet. Finally, peace settles in a dreamy atmosphere of the night. So that’s A Day in the Jungle by Gabriela Lena Frank.

In the second half of the program, you will hear George Frideric Handel’s famous Water Music. Handel represents the high point of English Baroque music, which I find very funny because, originally, he was German. But the English loved Handel, especially when he decided to Anglicize his name to George “Frederick.” Besides his masterwork, the oratorio Messiah, it is his Water Music that is his most familiar composition. The story of Water Music speaks to a very twisted storyline that involves royal bloodlines in Britain. Long story short, when Queen Anne died without leaving an heir, the English crown passed to the House of Hanover. The new king, George I, requested music for a lavish boat trip down the River Thames. It was supposed to be a big party, and the king was known to enjoy music during his outdoor excursions. Handel was asked to compose music for the occasion to entertain the king and his guests. The first performance of Water Music was actually on the water, with the musicians stationed in the middle of the river on a barge. It was a kind of open-air concert experience, and Handel himself, of course, directed the band. There were hundreds of boats on the river. The king loved Handel’s music so much that he demanded it be repeated over and over again.

We will play a selection of movements from the three Water Music suites. All movements are based on dance forms of the day, such as the allemande, the sarabande, or minuets. There is a lot of famous music in these suites, and as expected for party music, the pieces are very joyful and bright, with bold brass sections and spirited dances like the gavotte or the famous hornpipe.

Celebratory and festive, this is one of Handel’s greatest orchestral works and a true Baroque masterpiece.

Tchaikovsky & Strauss

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In Eckart’s words:

Our third program features two of my favorite composers, Pyotr Ilyich Tchaikovsky and Richard Strauss.

Tchaikovsky didn’t have an easy life. After his failed—actually, disastrous—marriage and subsequent suicide attempt by drowning in the Moscow River, Tchaikovsky’s patron, Nadezhda von Meck, gave the composer money for a holiday. She told him, “Go away, go away from Russia—go to Switzerland and recover your spirits.” And so, he did. On this trip, Tchaikovsky was accompanied by a friend, the violinist Josef Kotek. When they arrived in Switzerland, they had a lot of time to kill, so together, they read through tons of violin music. As a result of this violin immersion, Tchaikovsky decided to write his own violin concerto which he completed in only two weeks. Over time, this Violin Concerto has become one of the great showpieces in the violin repertoire: It has everything—great melodies, technical pyrotechnics, and colorful Russian orchestration—and every time I conduct it, it is a thrill. Our soloist, Tai Murray, has performed all over the world, with the BBC Scottish Symphony Orchestra, the Chicago Symphony, and the LA Phil, she is a recipient of the Sphinx Organization’s Sphinx Medal of Excellence and is an incredible musician and fantastic violinist.

The second half of the program is going to be fantastic. We will play for you one of the greatest tone poems by Richard Strauss, a work inspired by Miguel de Cervantes’ famous novel Don Quixote de la Mancha. Strauss, who was a brilliant orchestrator and able to create phenomenal colors with the orchestra, captures the fantastic adventures of this aging knight-errant and his loyal squire, Sancho Panza. The musical imagery you will hear is quite incredible. The antihero, Don Quixote, is portrayed by a solo cello, performed by our own principal cellist, Cécilia Tsan. Don Quixote’s servant, Sancho Panza, is represented by the solo viola, played by our principal violist, Andrew Duckles. (I have to say, it is always such a pleasure to present our own brilliant musicians as soloists.) The tone poem follows the adventures of this pair, Don Quixote and Sancho Panza, with Strauss selecting various episodes from the novel. For instance, there is The Adventure of the Windmills, in which Don Quixote charges what he believes to be giants; The Victorious Battle with the Sheep, where the entire orchestra bleeds like sheep; and The Ride Through the Air, where you can literally hear the wind blowing and howling as Don Quixote flies through the sky. It’s an amazing moment in the piece. Don Quixote’s skewed perception of the world—and the clash of his dreams with reality—gives Strauss an opportunity for wonderful ironic effects. You will hear some of the most graphic program music ever written, some of the funniest as well, and some remarkably touching episodes. At its core, it’s a profoundly human story. The music is a remarkable fusion of humor, pathos, virtuosity, lushness and color, and it remains one of Strauss’s most important contributions to the orchestral repertoire.

And imagine—he was only 34 years old when he wrote this. It’s incredible.

Beethoven, Bach & Beyond

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In Eckart’s words:

Our second concert is called Beethoven, Bach, and Beyond.

We open this program with a piece by a Lebanese composer, Houtaf Khoury. He studied in Tripoli, Lebanon, and in Kiev, Ukraine. He has composed five symphonies, several concertos for various instruments, as well as chamber and solo music. What you are about to hear is a touching, beautiful, rich, and honest work called The Journey. It is scored for solo violin and strings. It is a magical work that will feature our concertmaster, Roger Wilkie, on solo violin.

Bach’s Concerto for Two Pianos in C Major is an absolutely brilliant work in which the two keyboardists don’t really need an orchestra, as it has often been questioned whether the string parts for this concerto were added later, as the pianists are perfectly fine on their own. In fact, the second movement is played solely by the two pianists, without any other instruments. It was this very concerto—Bach’s Concerto for Two Pianos and Strings in C Major—that caught the attention and ear of Sergei Prokofiev. A brilliant pianist himself, Prokofiev wrote five piano concertos—or maybe not…, because there is a manuscript by Prokofiev with sketches for an additional concerto for two pianos and strings. It turns out this was a concerto Prokofiev had started to write, modeled after the very Concerto for Two Pianos by Bach. However, the manuscript was left incomplete at the time of Prokofiev’s death, and all we have is 24 pages.

We asked one of the most accomplished composers and arrangers in Hollywood, Conrad Pope, to continue where Prokofiev left off. You are about to hear the result: a composition that honors the essence of Prokofiev’s ideas, expands on his sketches, cherishes his daring and beautiful musical language, and offers us a vision of what might have been—what Prokofiev might have done. I could not imagine better partners than the brilliant pianists of the Silver-Garburg Piano Duo, who will perform two concertos on this program: first, Bach’s Concerto for Two Pianos, followed by the premiere of Conrad Pope’s completion of Prokofiev’s unfinished Piano Concerto No. 6 for Two Pianos.

Our final work of the evening is Beethoven’s Symphony No. 6, his Pastorale Symphony. In contrast to the dramatic and intense Symphony No. 5, which was written around the same time, this symphony is infused with a sense of peace and tranquility: Beethoven loved nature. He often took long walks in the countryside to think, be alone, and find peace. This symphony vividly depicts rural landscapes, shepherds, and the serenity of the countryside. Beethoven gave titles to each movement. For instance, the first movement is called Awakening of Cheerful Feelings Upon Arrival in the Countryside. Then we have the scene By the Brook, Merry Gathering of Country Folk, the famous Thunderstorm, and finally, the Shepherd’s Song. Beethoven masterfully invents themes that evoke the sounds of nature. You can hear bird calls in the woodwinds, the rustling of leaves, the gentle flow of a brook in the strings, and then the thunderstorm, where the entire orchestra is going crazy.

This symphony represents a search for solace in nature. Composed during a time of personal and political turmoil, it reveals a deeply intimate and personal side of Beethoven, as we accompany him on his journey through the countryside.

Passion & Tragedy

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In Eckart’s words:

Welcome to the new season of Long Beach Symphony!

Our opening concert begins with a work by Haitian American composer Sydney Guillaume. Titled Lavil Okap, or “the city of Cap-Haïtien” in Haitian Creole, the piece was composed in 2020. The music draws inspiration from the African rhythms that enslaved people brought to Haiti, and from the very first notes, it projects a jubilant atmosphere driven by catchy rhythms throughout. He really brings Haitian street music to the concert hall. It’s a piece that is a lot of fun to play, and I know you’ll love listening to it. As a special treat, the composer himself will join us for the performance.

In contrast, our next piece features the mesmerizing music of Frédéric Chopin. We will be performing his Piano Concerto No. 2, welcoming back the brilliant Fei-Fei Dong, who became one of Long Beach’s favorite pianists when she performed Rachmaninoff’s Second Piano Concerto in 2018. Chopin wrote mostly piano music—mazurkas, waltzes, polonaises—and very little for piano and orchestra. He was just 19 when he composed this concerto and its premiere at the Warsaw National Theatre marked his first major concert success. The press hailed him as the “Paganini of the piano.” And yet, his music requires “fast fingers,” but it is so much more: he really finds the soul of the piano and his music comes not only virtuosic, but also very intimate and personal–almost fragile at the same time. The most memorable parts, for me, are not the fast, brilliant parts, but the slow and heavenly middle movement. In a letter, he writes that this middle movement was inspired by his love for a fellow student at the conservatoire, a young singer. If music can express love and vulnerability, this is the music.

For the second half of the program, big contrast again, as we end the concert with a bang with Leonard Bernstein’s West Side Story Symphonic Dances. Bernstein was not only the greatest American conductor, but also one of the greatest American composers. The piece that earned him his widest popular acclaim is West Side Story. It was written in the 1950s and is a remake of Shakespeare’s Romeo and Juliet, but this time this tale is a tale of young love against a backdrop of gang warfare in New York City. The music is so fantastic and brilliant. You will recognize a lot of the famous songs and dances, including America, Maria, and the Mambo. The Long Beach Symphony is going to knock it out of the park—and you’ll be part of the performance as well! So warm up your voices, and we’ll see you there!

Love Stories: Tchaikovsky 4 and More!

Embark upon this musical journey which recognizes the Symphony’s meaningful relationships and partnerships in Long Beach, including the Cambodian community. This concert is a celebration of who we are. It will open with traditional Cambodian music, the ethereal performances of Cambodian dancers Modern Apsara, and the resounding Pin Peat Ensemble under the guidance of Master Ho. “Hanuman & Sovan Macha” from Ramayana Story is arranged for orchestra by Hans Preu. The Ramayana is an ancient Indian epic that tells the story of Prince Rama’s journey to rescue his wife Sita from the demon king Ravana. It’s a complex tale with themes of love, duty, courage, and good versus evil.

This carefully curated program unfolds as a tapestry of cultural resonances, an ode to Long Beach’s diverse populace. Chinary Ung’s composition, “Water Rings, Overture,” emerges as a testament to the symbiosis of tradition and innovation, echoing the legacy of his mentor, Chinese-American composer Chou Wen-chung. Ung skillfully intertwines the threads of traditional Cambodian melodies with avant-garde elements, mirroring Wen-chung ‘s groundbreaking fusion with traditional Chinese music in a true cultural convergence. (Many audience members will recall Chinary Ung for Long Beach Symphony’s premiere production of KHMERASPORA.)

The Butterfly Lovers violin concerto, beautifully written as a collaboration by He Zhanhao and Chen Gang will feature guest artist Gao Can on violin.

Concluding this evocative journey (and season) is Tchaikovsky’s Symphony No. 4, the same piece that closed Long Beach Symphony (then known as Philharmonic) 1^st season on June 7, 1935! Delving into the depths of Tchaikovsky’s personal tribulations and a poignant expression of the composer’s tumultuous emotional landscape, the symphony unfolds as a powerful narrative that includes the fleeting romance that marked the composer’s tumultuous piece. Not to be understated, it was this piece that Music Director Eckart Preu used for his audition that gained him the prestigious podium with Long Beach Symphony in 2017. This symphony promises to be a grand crescendo, resonating with the transformative evolution of the orchestra under the conductor’s baton.

Audiences will enjoy the Classical Series fun and elegant evening surrounded by the Terrace Theater’s dazzling fountains and fire pits, live ensemble in the lobby, 6:30 PM Pre-Concert Talk to gain greater knowledge regarding the evening programming, and the ability to “Sip & Enjoy” in the concert hall. Doors open at 6PM.

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Musical Fusion with Arturo Sandoval

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We are proud to bring Arturo Sandoval to our stage, fresh off this most prestigious of honors.

Read the Evening’s Program Notes Here

This evening will captivate a diverse audience drawn together by the magnetic allure of the multifaceted virtuoso, Arturo Sandoval. Renowned for his mastery in the realms of both jazz and classical music, Sandoval’s ten GRAMMY Awards and his expansive repertoire as a trumpeter, vocalist, storyteller, and composer ensure a captivating performance, promising a harmonious fusion of genres and emotions.

We open with Adam Schoenberg’s “Cool Cat,” a piece inspired by the captivating Los Angeles’ own P22, a thematic inspiration with vibrant fanfare. (We appreciate permission to play this piece for which LA Phil has exclusive rights.)

In honor of our virtuosic guest artist, George Gershwin’s “Cuban Overture” is a nod to Sandoval’s Cuban heritage. This piece, born from Gershwin’s immersive experiences in Havana in the 1930s and his fascination for Cuban music and percussion instruments reminds us of Gershwin’s return from Cuba with a suitcase full of instruments that will eloquently blend Cuban rhythms and instrumentation into this rich soundscape.

Arturo Sandoval then takes the stage featuring his magnum opus, “Concerto for Trumpet No. 2.” Sandoval’s versatility shone through as he seamlessly transitioned between trumpet, piano, and vocals, enraptures the audience with not just his musical prowess but also his engaging storytelling. The performance, reminiscent of a bygone Las Vegas era display of the multitude of talents, is enhanced by Sandoval’s charisma and generosity of spirit that will elevate the evening into a transcendent experience of inclusivity.

The orchestra takes center stage with Paul Hindemith’s “Symphonic Metamorphosis,” a composition serving as a dazzling and catchy showcase of the orchestra’s prowess. The piece, though perhaps not immediately recognizable by its title, is familiar to most. Born in Germany and fleeing first to Switzerland and eventually to America, Hindemith demonstrates his ability to draw inspiration from the romantic German composers and crafts a four-movement symphony that resonates with both familiarity and innovation, pleasing to musicians and audiences alike.

Completing the evening is Rachmaninoff’s SERGE: Themes from Piano Concerto No. 2, which transports listeners through a poignant musical journey. With emotive piano phrases supported by lush orchestration, the Adagio unveils a profound emotional landscape. A delicate balance of restraint and passion characterizes this movement, drawing the audience into a world of profound introspection.

Learn more about Arturo’s story here:

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Bluegrass & Beethoven

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During this adventurous and audacious evening, the audience will feel as if it is traveling through rhythmic habaneras, bluegrass dances, and classical symphonies, covering an expansive landscape of musical and cultural terrain. The program, carefully curated to elicit joy and celebration, invites contemplation on the whimsical delight of bluegrass and the classics playing alongside each other. Indeed, the concert emerges as a testament to the transformative power of music that transcends boundaries and converges diverse traditions into an enjoyable and harmonious event.

This evening includes a curated ensemble of award-winning musical masterpieces, genres, and influences. Commencing the program is Arturo Marquez’s “Danzon No. 2,” a resplendent fusion of Contradance and Cuban habanera steeped in the cultural heritage of Mexico. Marquez, a luminary hailing from a lineage of folk musicians, deftly intertwines traditional Mexican musical forms into this composition that resonates with the rhythmic allure of ballrooms in bustling Mexico City. The composition exudes an infectious energy, captivating the audience with its catchy rhythms and toe-tapping quality. Marquez’s composition unfolds as a vivacious dance, wherein sultry, passionate melodies intermingle seamlessly with an underlying drive, creating an experience that is both easy on the ears and exuberantly invigorating for both performers and listeners alike.

Following this rhythmic odyssey is Michael Torke’s “Sky”, a virtuosic composition tailor-made for the prodigious Tessa Lark. The concerto, a manifestation of Torke’s Pulitzer Prize-winning genius, weaves together the classical prowess of a renowned violinist with the rich heritage of Kentucky’s fiddling tradition. Lark, nominated for a GRAMMY in the Best Classical Instrumental Solo category and recipient Lincoln Center’s prestigious Emerging Artist Awards, effortlessly navigates the intricate complexities of the concerto, seamlessly transitioning between her classical prowess and her roots in bluegrass. Torke’s creation, though challenging, unfolds as a lighthearted, evocative homage to the bluegrass idiom, a musical journey that is both technically demanding and artistically rewarding.

The concert expands into Beethoven’s Symphony No. 1, a composition that resonates with the effervescence of dance. Beethoven, often perceived through the lens of sternness, here reveals a facet of exuberance, challenging the notion that he was solely a solemn maestro. The symphony, imbued with an upbeat character, weaves together a diverse range of influences, mirroring the theme of the entire program.

READ THE EVENING’S PROGRAM NOTES HERE.

Get in the mood! Tessa Lark as seen with West Michigan Symphony:

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Gershwin & Friends

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Embark upon an evening that pays homage to the rich tapestry of American music with an exquisite celebration of diverse musical cultures, influences, identities, and expressive forms where the melodies echo the origins and spirit of America in a harmonious and colorful celebration of past and present.

We open with Coincident Dances, the work from contemporary composer Jessie Montgomery as she channels her profound reflections on the dynamic rhythms of New York City into an innovative musical composition. This piece, a convergence of simultaneous sounds, contrasting times, and diverse cultural ideas, unfolds as a rhythmic masterpiece that elicits an immediate response of understanding and appreciation.

William Grant Still’s Symphony No. 5, “Western Hemisphere” is an opulent composition exuding a late romantic sensibility. Filled with lush and melodic passages, the symphony pulsates with rhythmic vitality, reminiscent of the blue scale. Its cinematic quality carries a positive message of American goodwill and prosperity, exploring the vigorous life-sustaining forces of the hemisphere and focusing on the beauty of nature.

With the timeless genius of George Gershwin, whose signature fusion of jazz and classical music takes center stage, this piano concerto was written a year after “Rhapsody in Blue,” promising an even more ambitious and expansive musical journey. This concerto, performed by the extraordinary pianist Clayton Stephenson, elevates the evening to unparalleled heights. Stephenson, a trailblazing talent and the first black finalist of the Van Cliburn International Piano Competition in 2022, lends his remarkable artistry to this symphonic spectacle.

The program seamlessly weaves together the threads of American identity, from Montgomery’s contemporary reflections to Still’s lush romanticism and Gershwin’s groundbreaking fusion of genres. Join us on this transcendent journey, where the melodies echo the vibrant spirit of America, past and present, in a harmonious celebration of musical innovation and brilliance.

Enjoy here Clayton Stephenson’s performance of Gershwin’s Piano Concerto

Enjoy the evening’s PROGRAM NOTES

Audiences will enjoy the Classical https://longbeachsymphony.org/2024-11-9-concert-program-notes/ ‎Series fun and elegant evening surrounded by the Terrace Theater’s dazzling fountains and fire pits, live ensemble in the lobby, 6:30 PM Pre-Concert Talk to gain greater knowledge regarding the evening programming, and the ability to “Sip & Enjoy” in the concert hall. Doors open at 6PM.

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A NEW WORLD – Celebrating Long Beach Symphony’s 90th Anniversary!

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Welcome to this celebratory affair as we open the 2024-2025 Season and 90th anniversary of Long Beach Symphony. Beethoven’s Egmont Overture opens our 90^th Anniversary Season which was the first piece the Symphony performed in 1934. It will be followed by the West Coast Premiere of Anna Clyne’s Quarter Days and Dvořák’s “Goin’ Home” and Symphony No. 9 “From the New World.”

Egmont Overture, Op. 84, the jubilant opus that inaugurated the Long Beach Symphony in 1934, encapsulates the quintessence of Beethoven’s artistry. Revered as the “Victory Symphony,” its power and thunderous beginning emanates with an almost excessive virtuosic jubilation. Beethoven had a deeply rooted belief in humanistic freedom. He was drawn to protagonists who fought against repressive forces. In this emotional overture – which is part of incidental music composed to accompany Goethe’s play “Egmont” – he depicts the struggle of count Egmont fighting for freedom and liberty. From thunderous chords of oppression to fanfares of victory, with its dramatic turn from tragedy into triumph, Beethoven unleashes some of his most powerful music. This overture showcases the power and virtuosity of music and represents the philosophical and musical ideals of this orchestra.

Cultivating new beginnings, we present the West Coast Premiere of “Quarter Days, a new concerto for solo string quartet and orchestra by the distinguished British violinist, composer, and Emmy nominee Anna Clyne. Her cello concerto DANCE – performed by the Long Beach Symphony in 2022 – has garnered over 10 million plays on Spotify. We are proud to be part of the consortium that commissioned “Quarter Days”. This concerto will be a great opportunity to showcase the principal string players of the orchestra as soloists, featuring Concertmaster Roger Wilke, Chloé Tardif (Violin II, Principal), Andrew Duckles (Viola, Principal), and Cécilia Tsan (Cello, Principal). Quarter Days is a reflection on the passing of time – both within a minute, a day, and through the seasons of the year. Anna Clyne’s music has an instant appeal – full of lyricism, colors, and emotion.

The evening concludes with Antonin Dvořák’s Ninth Symphony “From the New World”, composed during Antonin Dvořák’s early days in the United States. It is not only one of quintessential symphonies of the entire orchestral repertoire, but it also stands as a testament to his encouragement of American composers to cultivate a national identity in their music. This tour-de-force for the orchestra includes influences of Native-American melodies, spirituals – and of course his indomitable “Czech spirit.” The performance of the “New World” Symphony will be preceded by a presentation of “Goin’ Home”, a song based on the famous melody of the second movement, with a text by William Arms Fisher.

Be inspired by these works:

Beethoven – Egmont Overture, op. 84, Bernstein, Vienna Philharmonic

Anna Clyne introduces us to quarter days

Dvořák – Symphony No. 9 “From the New World” / Karajan · Berliner Philharmoniker

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Be inspired by the backstories: Enjoy the Program Notes for this concert, by Susan Swinburne.

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