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The Bryan Symphony Orchestra at T.T.U.
thanks
Bill Boruff
Chrysler, Plymouth, Dodge,
Jeep, Inc.
Highway 111 South
Sparta, TN
for sponsoring the February 13 concert
Support for this concert's guest artists was provided by the
Tennessee Arts Commission
Over the years, Mastersingers has performed such major works as Brahms' German Requiem, Haydn's Creation, Mendelssohn's Elijah, and Bach's Magnificat. In 1997, they joined the orchestra for a performance of Vaughan Williams' Serenade to Music, Faure's Pavane, and Ravel's Daphnis and Chloe: Suite No. 2.
The Tennessee Tech Chorale is an auditioned, mixed vocal group of singers who perform choral literature of all musical styles. They represent the university on an annual goodwill tour to high schools in Tennessee and surrounding states.
Dr. Susan Smith is the director of both the Chorale and Concert Choir.
Membership in the Concert Choir is open to all students of the university and
does not require an audition. This ensemble performs choral literature from
a variety of style periods and cultures.
On a business note, the board is looking into ways to enhance the promotion of the Bryan Symphony Orchestra throughout the community. If you have any ideas or concerns on how or what we should be doing to better support our patrons and our community, please call the office or contact a board member.
This endowed scholarship will be administered through the Bryan Symphony Orchestra at Tennessee Technological University to recognize and support the development of outstanding music students at TTU, while honoring the spirit and contributions of Dr. Ayers.
A long-time faculty member of the University and an active member of the Bryan Symphony Orchestra Board, he was serving as Board President at the time of his death on Thursday, September 23. Dr. Ayers, Associate Vice President for Research at Tennessee Technological University, had served as Interim Chair of the Department of Music and Art in 1993-94 and was a strong supporter of the artistic activities at the University.
Tax-deductible contributions in memory of Dr. Jerry Ayers may be made to the Bryan Symphony Orchestra for this scholarship fund. For more information, call the symphony office at (931)372-6088.
These are the questions which have challenged philosophers, religious leaders, and thoughtful individuals from the beginning of time.
Gustav Mahler occupied himself with these important questions, and he placed his answers in the form of music. Although Mahler discounted the value of programs in helping to understand his music, preferring to have his symphonies seen as absolute music, he did write and say things which help all of us come to grips with these great works and their mysteries. If the First and Second symphonies are the struggle of the individual and the resurrection of the spirit, the Third and Fourth complete the set by dealing with man s place in the natural order and offering a vision of the hereafter.
The Fourth Symphony really began with the composition of a lied using a poem from Das Knaben Wunderhorn. Later that song turned into a movement for voice and orchestra, which was originally subtitled What the Child tells Me. It concerned the Heavenly Life, describing heaven through the eyes of an innocent child - focusing upon the wonderful food, the activities of the saints, and the music of heaven. Originally intended to appear in the Third Symphony, it was saved for the Fourth instead. When we consider that the Third Symphony concerned itself with the development of life from simple to complex and culminating with a movement about love, we begin to understand Mahler s thinking. The Fourth Symphony completes the Third - beyond love is heaven - a heaven which is embodied on Earth in the innocence of the child. Such a wide-ranging subject would require a whole symphony instead of a single movement, and the world of the Fourth concerns itself only with this single-most challenging issue.
The Fourth Symphony is perhaps Mahler s most popular symphony, but it was not well received at its premiere. After the enormous forces and great lengths required for his Second and Third symphonies, the Fourth came as a surprise. Less than an hour in length and not even using low brass, relying upon traditional Sonata, Scherzo, Variation and Lied forms, it seemed to be simultaneously a step backward and a leap beyond the realm of Tradition. While the futurists were disappointed in the references to Classicism in the late-Romantic Age, the symphony s modern approach to polyphony, unusual harmonies, jarring instrumental colors and juxtapositions of extreme emotions sent the conservatives running for cover. It took years for an audience to accept the Fourth on its own terms, and the general public took much longer.
Today, the Fourth is revered as a work of great beauty, subtle humor, and transcendent vision. It s spiritual world is as wide ranging as Mahler s own, utilizing references to Judaic and Christian elements and a world-view which seems to include the Eastern religions as well as those of the West. The symphony s innovations no longer shock us, the child-like naivete and Mahler s personal musical language do not seem the stuff of parody anymore.
Almost a century later, perhaps we are finally ready to listen to Mahler s answers to the most profound questions: To search for heaven and find it in the face of childhood.
Mahler called the finale of his Fourth Symphony the spire of the work. We are so grateful to have Linda Ferreira as our soloist for this movement.
Professor Ferreira is well known to residents of the Upper Cumberland as a faculty member of TTU s Department of Music and Art, and Director of the Cumberland Children s Chorus. Her vocal appearances with the Takolas Trio and as a recitalist have been a welcome feature of the musical life of our area. The Bryan Symphony Orchestra is delighted to have her join us in performing the Mahler Fourth Symphony.
Bernstein s Chichester Psalms is one of my favorite works.
Written during a chaotic period, its ancient words, sung in Hebrew, were drawn from the Psalms. Strangely, they were as timely as the morning paper. The chorus Why do the nations rage? is juxtaposed with the single voice of a child intoning The Lord is my shepherd.
Seen in context of the period in which it was written, with serialism and chance music representing the extremes of musical control and freedom, and with political and social issues, such as Vietnam, the Generation Gap, and the Civil Rights movement splitting the nation, Chichester Psalms was somehow both catharsis and balm. It affirmed tonality with its beautiful melodies and rich, pungent harmonies, even as it affirmed the human spirit.
Presenting a work like Chichester Psalms requires the cooperation of many people. We are indebted to the Mastersingers and its director, Joy Rachor, the TTU Concert Choir and TTU Chorale and their director, Dr. Susan Smith, for their collaboration with the orchestra. Soloists from these groups, as well as the boy soprano voice of Joseph Groom, Jr., will be heard in the Bernstein work.
Here, then, are two works of deep wisdom and great humanity. I truly hope you enjoy the program.
Joseph Groom, Jr., son of Joe and Mitzi Groom and a fourth grade
student at Capshaw, will be the featured soloist for the
Chichester Psalms. He is a member of the Capshaw Chorus,
their jump rope team, and the Cumberland Children's Chorus. He has
studied violin for four years and has been a soprano soloist for the
premiere of Robert Jager's I Dream of Peace and for
Mendelssohn's Elijah.
It's wonderful for the orchestra to play for a sold-out house! Please remember, your donation of tickets is tax-deductible, and we will be glad to provide a receipt.
Jan Lundy
Bryan Symphony Orchestra
Office: Room 355 372-6088
Bryan Fine Arts Building
e-mail address: jlundy@tntech.edu
Janet Lundy, Executive Director and Co-editor of Notes and Notices
with Carolyn Whitson
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