Program Notes

FATE NOW CONQUERS by Carlos Simon

This piece was inspired by a journal entry from Ludwig van Beethoven’s notebook written in 1815: “Iliad. The Twenty-Second Book But Fate now conquers; I am hers; and yet not she shall share In my renown; that life is left to every noble spirit And that some great deed shall beget that all lives shall inherit.”

Using the beautifully fluid harmonic structure of the 2nd movement of Beethoven’s 7th symphony, I have composed musical gestures that are representative of the unpredictable ways of fate. Jolting stabs, coupled with an agitated groove with every persona. Frenzied arpeggios in the strings that morph into an ambiguous cloud of free-flowing running passages depicts the uncertainty of life that hovers over us.

We know that Beethoven strived to overcome many obstacles in his life and documented his aspirations to prevail, despite his ailments. Whatever the specific reason for including this particularly profound passage from the Iliad, in the end, it seems that Beethoven relinquished to fate. Fate now conquers.

-Carlos Simon

PIANO CONCERTO IN F by George Gershwin, featuring Artina McCain, Piano

When George Gershwin premiered his Piano Concerto in F in 1925, he was still riding the wave of success from his groundbreaking Rhapsody in Blue (1924), which had dazzled audiences with its bold fusion of jazz and classical styles. Commissioned by Walter Damrosch, conductor of the New York Symphony Society, the concerto marked Gershwin’s first full-length orchestral work written entirely in his own hand — a confident statement that he could succeed not only on Broadway but also in the concert hall.

Unlike Rhapsody in Blue, which had been orchestrated by Ferde Grofé, the Concerto in F was fully orchestrated by Gershwin himself. Set in the traditional three-movement concerto format, the work showcases his remarkable ability to blend classical structure with the syncopations, blues harmonies, and rhythmic vitality of jazz.

The first movement, Allegro, opens with a spirited Charleston rhythm that propels the music forward, brimming with bold brass, sweeping strings, and vibrant piano lines. The second movement, Adagio – Andante con moto, features a sultry blues theme introduced by a solo trumpet, evoking a late-night jazz club atmosphere that gradually blossoms into lyrical, expressive piano passages. The finale, Allegro agitato, is a whirlwind of motion, weaving in themes from earlier movements in a spirited, virtuosic close.

Though the concerto was well-received by audiences at its premiere at Carnegie Hall — with Gershwin himself at the piano — critical reception was mixed. Some traditional classical critics questioned the work’s seriousness, while others admired its freshness and daring. Over time, the Concerto in F has become a beloved staple of the piano concerto repertoire, celebrated for its innovation, charm, and infectious joy.

SYMPHONY NO. 7 by Ludwig van Beethoven

Completed in 1812, Beethoven's Seventh Symphony stands among the most rhythmically driven and jubilant works in the symphonic repertoire. Premiered in Vienna on December 8, 1813, at a charity concert for soldiers wounded in the Battle of Hanau, the performance was a resounding success — so much so that the second movement was immediately encored, and the entire symphony was praised as a triumph of artistic expression.

Composed during a time of personal and political turmoil — Beethoven was battling worsening deafness and Europe was gripped by the Napoleonic Wars — the symphony paradoxically brims with unrelenting energy and optimism. Beethoven referred to it as “one of the happiest products of my poor talents.” The work is a masterclass in rhythmic invention, with music critic and composer Richard Wagner famously describing it as “the apotheosis of the dance.”

The first movement, Poco sostenuto – Vivace, begins with a majestic introduction that builds into a lively, propulsive Vivace, characterized by a relentless rhythmic motif that drives the entire movement forward. The second movement, Allegretto, is perhaps the most famous — a solemn, almost processional theme that grows into an emotional tapestry of texture and contrast. The third movement, Presto, is a spirited scherzo with a playful trio section that returns multiple times, creating a sense of joyful unpredictability. The finale, Allegro con brio, is a whirlwind of sound and motion, culminating in a thrilling climax that surges with life and energy.

Critics and audiences alike have long revered the Seventh Symphony for its rhythmic intensity and emotional power. It has been interpreted as everything from a celebration of life to a defiant cry of triumph. For modern listeners, its sheer vitality continues to inspire, proving that even in times of adversity, joy can be a profound and revolutionary force.
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