The Arkansas Symphony Orchestra (ASO), Philip Mann, Music Director and Conductor, presents the fourth concert in the 2014-2015 Stella Boyle Smith Masterworks Series: Tchaikovsky and Mozart Festival. The concert takes place at the Maumelle Performing Arts Center on Saturday, January 31, 2015 at 7:30 p.m., and Sunday, February 1, 2015 at 3:00 p.m.
The ASO, under the baton of guest conductor Vladimir Verbitsky, is joined by young violin virtuoso Randall Goosby for Mozart’s Concerto for Violin in A Major. Tchaikovsky’s Polonaise from Eugene Onegin and his epic Symphony No. 4 are also presented on the program. The Masterworks Series is sponsored by the Stella Boyle Smith Trust. The concert sponsor is the National Endowment for the Arts.
Concert Conversations – All concert ticket holders are invited to a pre-concert lecture an hour before each Masterworks concert. These talks feature insights from the Maestro and guest artists, and feature musical examples to enrich the concert experience.
Tickets are $19, $35, $49, and $58; active duty military and student tickets are $10 are can be purchased online at http://www.ArkansasSymphony.org; at the Maumelle Performing Arts Center box office beginning 90 minutes prior to a concert; or by phone at 501-666-1761, ext. 100. All Arkansas students grades K-12 are admitted to Sunday’s matinee free of charge with the purchase of an adult ticket using the Entergy Kids’ Ticket, downloadable at the ASO website.
Randall Goosby, violin
Vladimir Verbitsky, guest conductor
TCHAIKOVSKY: Polonaise from Eugene Onegin
MOZART: Concerto for Violin No. 5 in A Major, K. 219
TCHAIKOVSKY: Symphony No. 4 in F minor, Op. 36
Eugene Onegin is Tchaikovsky’s most popular opera, and the Polonaise is heard during a ballroom scene in Act Three.
Mozart composed the last four of his five violin concertos in December of 1775. With lyrical intensity bordering on the operatic, a slow and heartfelt true Adagio, and a firey, virtuosic rondo in the style of a minuet as a finale, Violin Concerto No. 5 is the most accomplished of its brethren.
Symphony No. 4 was composed around the same time period as Tchaikovsky’s popular opera, Eugene Onegin. Speaking of the harsh opening brass fanfare (which recurs throughout the work), the composer writes, “This is Fate, the power which hinders one in the pursuit of happiness from gaining the goal, whose jealousy provides that peace and comfort do not prevail, that the sky is not free from clouds – a might that swings, like the sword of Damocles, constantly over the head, that poisons continually the soul. This might is overpowering and invincible. There is nothing to do but submit and vainly to complain.”