Program Notes

OVERTURE TO CANDIDE by Leonard Bernstein

Leonard Bernstein (1918–1990) was one of the most influential and dynamic figures in American music. A true musical polymath, he was a world-renowned conductor, pianist, educator, and composer, equally at home on the concert stage and on Broadway. Bernstein is perhaps best known for West Side Story, but his work spans everything from symphonies and operas to film scores and choral music. He had a gift for blending classical traditions with the rhythms and sounds of American life—jazz, musical theater, and popular song.

The Overture to Candide comes from Bernstein’s 1956 operetta Candide, based on the satirical novella by the French philosopher Voltaire. The story follows a young man’s wild journey through a world filled with absurd misfortunes, poking fun at blind optimism and society’s contradictions. While the full operetta had a rocky start and didn’t immediately catch on with audiences, the overture was an instant hit. It quickly became a favorite in concert halls and remains one of Bernstein’s most performed orchestral works.

The overture itself is short but packed with brilliance. It opens with a bold brass fanfare that grabs your attention, then races ahead with breakneck speed. Bernstein weaves together several tunes from the operetta, using rapid rhythms, sharp contrasts, and witty musical turns that reflect the story’s humor and unpredictability. Listen for the sparkling runs in the strings, quicksilver woodwind flourishes, and the way the music seems to smile at you—it's music that's as fun to watch as it is to hear.

Critics have long praised the Overture to Candide for its dazzling orchestration and sheer exuberance. It’s a perfect introduction to Bernstein’s genius and a lively invitation into the world of classical music—accessible, joyful, and full of character. Whether you're new to the concert hall or a regular guest, this overture promises to entertain and energize.

DANCE FOR CELLO AND ORCHESTRA by Anna Clyne

Anna Clyne (b. 1980) is a British-born composer known for her emotionally rich and imaginative music, often blending classical traditions with modern sounds. Educated in both the UK and the US, she has worked with major orchestras around the world and has earned a reputation for creating music that is both deeply expressive and accessible. Clyne often collaborates closely with performers, and her music frequently draws inspiration from poetry, visual art, and personal reflection.

Dance for Cello and Orchestra, composed in 2019, was written for the acclaimed cellist Inbal Segev, who also premiered the work. The piece is in five connected movements, each one based on a line from a short poem Clyne wrote herself:

“when you speak
I hear the echo of
a dance
I once knew
forgotten long ago”

These poetic lines form the titles of the movements—when you speak, I hear the echo, of a dance, I once knew, and forgotten long ago—and provide a reflective and nostalgic frame for the music.

Although the title suggests motion and rhythm, Dance is not about traditional dance forms. Instead, the piece explores the emotional idea of dance—its grace, memory, and expressive potential. The cello, with its wide range and human-like voice, becomes a storyteller, weaving through shifting moods that range from tender lyricism to fiery intensity.

Musically, listeners will notice the rich interplay between the solo cello and the orchestra. Clyne creates colorful textures and dramatic contrasts, using everything from shimmering strings to bold brass. Each movement has its own character: from the mysterious opening to the driving energy of the central “dance,” to the haunting beauty of the final movement, which fades into silence like a memory.

Dance is a moving, modern concerto that speaks to the heart. It showcases not only the virtuosity of the soloist but also Clyne’s gift for writing music that is both personal and powerfully evocative.

SYMPHONY NO. 4 by Pyotr Illich Tchaikovsky

Pyotr Ilyich Tchaikovsky (1840–1893) is one of the most beloved composers of the Romantic era, known for his sweeping melodies, emotional intensity, and dramatic orchestration. A Russian composer with a deep sensitivity, Tchaikovsky often struggled with personal turmoil, and much of his music reflects this inner conflict and passion.

Tchaikovsky composed his Symphony No. 4 between 1877 and 1878, during one of the most turbulent periods of his life. At the time, he was recovering from a brief and disastrous marriage and wrestling with personal identity and emotional instability. Financially and emotionally, he was supported by Nadezhda von Meck, a wealthy widow who became his patron. Interestingly, they never met in person, but their long correspondence became a vital source of encouragement for Tchaikovsky.

Tchaikovsky described this symphony as a reflection of "fate"—a force that hovers over life like an inescapable presence. In a letter to von Meck, he explained that the opening fanfare represents this fate, and it returns throughout the piece, reminding the listener of life's challenges and uncertainties.

The first movement is bold and dramatic, beginning with a powerful brass motif that symbolizes fate. This energy gives way to contrasting sections of tenderness and turmoil, mirroring the highs and lows of the human experience. The second movement is more reflective—a melancholic melody in the oboe captures the feeling of quiet sadness and longing. The third movement is a playful, light scherzo, notable for its use of pizzicato (plucked strings), creating a whimsical and lively texture. The final movement bursts forth with energy and celebration, but even here, the "fate" theme briefly returns, reminding us that joy is often shadowed by struggle. Nevertheless, the symphony ends in a triumphant blaze.

Tchaikovsky's Fourth Symphony is a deeply personal and emotionally rich work. It balances beauty and drama, sorrow and joy—offering a powerful expression of resilience in the face of life's unpredictability. For listeners, it remains one of Tchaikovsky’s most compelling and human creations.

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