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Utah SymphonySchubert's Symphony No. 6
Delve into the music of four prolific composers, beginning with Haydn’s Symphony No. 61. Known as the “Father of the Symphony,” Haydn fills this exquisite composition with tender reflection. Then, Associate Concertmaster Kathryn Eberle takes the spotlight as soloist in an intimate performance of Beethoven’s rule-breaking Romance in G Major, aptly titled for its lovely, swelling theme and variations. Eberle’s musicality continues to glow in Saint-Saëns’ Havanaise, which was composed with “a crackling hotel room fire” in mind—this piece is as warm and lively as its inspiration. The evening concludes with Schubert’s Symphony No. 6, fondly dubbed the “Little C Major,” written when Schubert was just 21 years old.
Utah SymphonySchubert's Symphony No. 6
Delve into the music of four prolific composers, beginning with Haydn’s Symphony No. 61. Known as the “Father of the Symphony,” Haydn fills this exquisite composition with tender reflection. Then, Associate Concertmaster Kathryn Eberle takes the spotlight as soloist in an intimate performance of Beethoven’s rule-breaking Romance in G Major, aptly titled for its lovely, swelling theme and variations. Eberle’s musicality continues to glow in Saint-Saëns’ Havanaise, which was composed with “a crackling hotel room fire” in mind—this piece is as warm and lively as its inspiration. The evening concludes with Schubert’s Symphony No. 6, fondly dubbed the “Little C Major,” written when Schubert was just 21 years old.
Utah SymphonyMendelssohn’s “Scottish” Symphony
Grammy-nominated composer Anna Clyne takes traditional folk themes to a new level in PIVOT—a piece that embodies its name as the orchestra constantly “pivots” through the twists and turns of the music. Then, hear the bass in a new light as Principal Bass David Yavornitzky brings Koussevitzky’s Concerto for Double Bass to life, highlighting the rich notes of Russian romanticism. Finally, be swept away by Mendelssohn’s “Scottish” Symphony, a composition inspired by his visit to the rolling green highlands of Caledonia.
Utah SymphonyMendelssohn’s “Scottish” Symphony
Grammy-nominated composer Anna Clyne takes traditional folk themes to a new level in PIVOT—a piece that embodies its name as the orchestra constantly “pivots” through the twists and turns of the music. Then, hear the bass in a new light as Principal Bass David Yavornitzky brings Koussevitzky’s Concerto for Double Bass to life, highlighting the rich notes of Russian romanticism. Finally, be swept away by Mendelssohn’s “Scottish” Symphony, a composition inspired by his visit to the rolling green highlands of Caledonia.
Utah SymphonySchoenberg’s Transfigured Night
Let us serenade you with the melodies of Strauss’ Serenade, a short and sweet tribute to romance directly influenced by the composer’s grand predecessor, Mozart. The ode to lyricism continues with Holst’s Lyric Movement performed by Principal Viola Brant Bayless, who captures the depth and freedom of the piece. In a showcase of his instrumental prowess, Bayless follows with Hindemith’s Kammermusik No. 5—the viola pitted in a melancholy monologue against the rich, dark timbres of the wind instruments. Finally, descend into Schoenberg’s achingly beautiful Transfigured Night, directly inspired by Richard Dehmel’s poem. This story tells of heartbreak and redemption as a woman confesses to her new partner that she is carrying another man’s child, yet he responds that their love will shape this child into one who is theirs. They embrace and continue their walk with a new transfigured perspective on life under the light of the moon and stars.
Utah SymphonySchoenberg’s Transfigured Night
Let us serenade you with the melodies of Strauss’ Serenade, a short and sweet tribute to romance directly influenced by the composer’s grand predecessor, Mozart. The ode to lyricism continues with Holst’s Lyric Movement performed by Principal Viola Brant Bayless, who captures the depth and freedom of the piece. In a showcase of his instrumental prowess, Bayless follows with Hindemith’s Kammermusik No. 5—the viola pitted in a melancholy monologue against the rich, dark timbres of the wind instruments. Finally, descend into Schoenberg’s achingly beautiful Transfigured Night, directly inspired by Richard Dehmel’s poem. This story tells of heartbreak and redemption as a woman confesses to her new partner that she is carrying another man’s child, yet he responds that their love will shape this child into one who is theirs. They embrace and continue their walk with a new transfigured perspective on life under the light of the moon and stars.
Utah SymphonyHaydn, Mozart & More
Our summer at St. Mary’s Catholic Church comes to a close with a program in which Principal Horn Jessica Danz showcases her instrument’s elegance in Mozart’s Horn Concerto No. 4—jubilant, playful, and filled with the reminiscent sounds of hunting calls. Danz then conquers Villanelle, written by Dukas as a challenging exam piece for horn, sharing the soul and virtuosity of the instrument. The evening begins with Lutoslawski’s Overture, where the sharp sounds of the strings fill the intimate venue with an intensity that directly contrasts with the work that follows, Françaix’s light and delightful Sérénade. Haydn’s Symphony No. 90 brings the concert to a rousing “end”—only to quietly resume after four measures of silence, giving Haydn the last word with this classic joke.
Utah SymphonyHaydn, Mozart & More
Our summer at St. Mary’s Catholic Church comes to a close with a program in which Principal Horn Jessica Danz showcases her instrument’s elegance in Mozart’s Horn Concerto No. 4—jubilant, playful, and filled with the reminiscent sounds of hunting calls. Danz then conquers Villanelle, written by Dukas as a challenging exam piece for horn, sharing the soul and virtuosity of the instrument. The evening begins with Lutoslawski’s Overture, where the sharp sounds of the strings fill the intimate venue with an intensity that directly contrasts with the work that follows, Françaix’s light and delightful Sérénade. Haydn’s Symphony No. 90 brings the concert to a rousing “end”—only to quietly resume after four measures of silence, giving Haydn the last word with this classic joke.