Sound of Charlotte Blog
Get to Know Music Director Kwamé Ryan
November 7, 2024
In anticipation of Kwamé Ryan's inaugural concerts as Music Director on November 22 and 23, we're excited to share a glimpse into his remarkable background and the passion he brings to the Charlotte Symphony. Get to know the man behind the baton and what makes his vision for the Symphony so unique.
Early Inspiration
Kwamé Ryan's fascination with orchestral music began at the age of six, when he first heard John Williams's score for Star Wars at a drive-in theater in his home of Trinidad. "I was just completely absorbed by the sound of the orchestra," he says. "It was almost like I couldn't come back from that musical land far, far away."
From Cello to Double Bass
While Ryan originally hoped to play the cello, he instead took up the double bass. He went on to perform with the National Youth Orchestra of Great Britain, where he also honed his conducting skills by assisting with rehearsals.Champion of New Music
Hungarian composer and conductor Peter Eötvös played a pivotal role in shaping Ryan's approach to music, introducing him to contemporary works and instilling in him the importance of championing new voices in composition.
Mary Kouyoumdjian and Scout Tufankjian with Kwamé Ryan and the NY Philharmonic.
Engaging Young Audiences
Ryan is dedicated to introducing younger audiences to classical music. He recently penned an article for The Guardian, highlighting the value of connecting children with orchestral music through accessible genres like movies and video games.Commitment to Music Education
Throughout his career, Ryan has been a staunch advocate for music education around the world. He has returned to the BBC Proms on multiple occasions to lead children's programs and served as director of the French Youth Orchestra and at the University of Trinidad and Tobago, where he advanced youth arts initiatives.
Award-Winning Premiere
In 2021, Kwamé Ryan conducted The Time of Our Singing by Kris Defoort which won the World Premier Award at the International Opera Awards 2022.Roots in Germany
When he's not traveling, Ryan's home base is in Freiburg, Germany, nestled at the edge of the Black Forest, where he enjoys spending time on walks or bike riding.
Join us in welcoming Kwamé Ryan as he steps onto the Charlotte Symphony podium for his inaugural concerts featuring Pēteris Vasks's Musica Dolorosa and Brahms's A German Requiem, November 22 and 23. Plus, don't miss the chance to hear Ryan share his insights into the program at the pre-concert talk, starting at 6:30 pm. Read more
5 Fun facts about the Shostakovich & Mendelssohn concert
October 22, 2024Curious about what you'll experience at the Shostakovich & Mendelssohn concert? Keep reading for some surprising and fun facts about the soloist, conductor, and composers featured.
1. Amaryn Olmeda designs her own dresses
Joining us as the soloist for Mendelssohn's Violin Concerto in E minor, 16-year-old wunderkind Amaryn Olmeda brings both musical and artistic flair to the stage -- she even designs some of her own performance gowns! In a recent interview with The Violin Channel, she shared that if she weren't a musician, she'd find fashion design a fun alternative.
2. Mendelssohn composed 18 symphonies in his life
Between the ages of 12 and 14, Mendelssohn composed 13 string symphonies, intended for performances in the Mendelssohn household. He completed his first full orchestral symphony when he was only 15 years old.
3. Shostakovich's 9th symphony shocked critics around the world
Shostakovich had promised a grandiose, heroic Ninth Symphony, even hinting at a powerful chorale and a triumphant song of praise. But when it finally premiered, it was anything but -- instead, the symphony turned out to be short, lighthearted, and full of wit, defying all expectations! Before the symphony premiered, Shostakovich said, "Musicians will love to play it and critics will delight in bashing it."
4. Anthony Parnther has worked on the music for Oscar winning films
Anthony Parnther is one of the most sought-after conductors in the film industry, having worked on major blockbusters like Avatar: The Way of Water, Oppenheimer, The Mandalorian, Creed III, and Turning Red. Renowned composer Ludwig Göransson, known for his iconic scores for Black Panther and Oppenheimer, considers Parnther an invaluable collaborator when bringing new film scores to life.
5. Edward Elgar was a fan of Samuel Coleridge-Taylor
Just one year after leaving school, Samuel Coleridge-Taylor received a prestigious commission from the Three Choirs Festival, thanks to a recommendation from none other than Edward Elgar. Elgar praised the young composer, telling the festival that Coleridge-Taylor was "far and away the cleverest fellow going amongst the young men." Read moreCellist Jeremy Lamb discusses ‘Oumuamua with Harvard Professor
May 14, 2024In the lead-up to the orchestral premiere of his work A Ride on 'Oumuamua, CSO cellist Jeremy Lamb talks to theoretical physicist and Harvard Professor Dr. Avi Loeb about 'Oumuamua, the first interstellar object to enter our solar system, and the inspiration for Jeremy's composition.
More Famous Than Mozart: Joseph Bologne, Chevalier de Saint-Georges
February 5, 2024
In 18th century France, Joseph Bologne was an unrivaled superstar -- in modern times, he would easily be a household name. Not only a composer, conductor, and a virtuosic violinist who outshone Mozart in Paris, the Chevalier de Saint-Georges earned renown as the greatest swordsman in Europe, a Colonel in the French Revolution, and leader in the abolitionist movement. Until recently, however, Bologne's incredible talent and achievements had faded to near-obscurity.
Bologne was born to an enslaved African-Guadeloupean mother and a French plantation owner father in 1745 on the island of Guadeloupe. The family moved to France when Joseph was a young child, and his father placed him in an elite private school in Paris. Notwithstanding the racist "Code Noir" that even prevented him from taking his father's suffix, "de Saint-Georges," Bologne studied alongside young aristocracy. Prominent teachers included the renowned master of arms, La Boëssière. The young swordsman excelled in fencing; at 17, receiving knighthood from Louis XV -- becoming Chevalier de Saint-Georges.
Though the Chevalier distinguished himself in many pursuits, his musical career rose to extraordinary heights, including the Palace of Versailles. Little is known about his musical training, though he likely learned from composer François-Joseph Gossec. Bologne publicly debuted two violin concertos (Op. 2) as the soloist with Gossec's Concert des Amateurs in 1772, later succeeding Gossec as the orchestra's musical director. He later founded the Concert de la Loge Olympique, which survived through the beginning of the Revolution, and after which, Bologne briefly led the Cercle de l'Harmonie.
His compositions spanned from violin concertos to operas, instrumental forms written between 1771 and 1779 comprising his oeuvre. Bologne contributed to the emerging Classical period with inventive styles. Bologne's symphonie concertantes, a blend of the Baroque concerto grosso and the Classical concerto, were some of the first in France to establish the genre. He wrote three sets of six works for string quartet, Six Quatours concertans. Bologne's three sonatas for keyboard and violin broke from the still-popular basso continuo Baroque style, and he looked ahead to the forming Classical period with textures and harmonies.
Bologne's intricate violin pieces gained the admiration of Mozart, who quite likely copied the Chevalier's work. A passage from Mozart's Symphonie Concertante in E-flat (K. 364) closely follows Bologne's violin concerto (Op. 7, No. 1), written the previous year. At the height of his illustrious career, Bologne often performed for Queen Marie Antoinette, and across the Atlantic, President John Adams acknowledged him as "the most accomplished man in Europe in riding, shooting, fencing, dancing and music."
But even exceptional talent and a high society upbringing did not protect the Chevalier from experiencing racism throughout his life. When he was considered a favorite to direct the Académie Royal de Musique, the foremost musical position in France, three of the Opera's prima donnas refused to be led by a person of mixed race. Their petition crushed Bologne's candidacy.
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Photos: Charlotte Symphony Annual Gala and Concert
October 3, 2023
On Wednesday, September 20, the Charlotte Symphony held its Annual Gala, kicking off the 2023-24 season with a celebratory evening. The Symphony welcomed superstar soprano Renée Fleming to the stage, alongside Conductor Laureate Christopher Warren-Green, to perform beloved works like Strauss's Four Last Songs, "Climb Ev'ry Mountain," and a touching rendition of "Hallelujah."
The concert was the centerpiece of the Gala evening which honored Christopher Warren-Green for his remarkable contributions to the Charlotte Symphony during his twelve years as Music Director. Guests of the Gala enjoyed a pre-concert cocktail reception and an elegant post-concert dinner at Urban Garden.
The following day, Renée Fleming hosted "Music and Mind," a conversation on the intersection of music, neuroscience, and healthcare presented in partnership with Atrium Health and Queens University of Charlotte. Check out the photos in the slideshow above. Read more
Five Must-See Concerts of the 2023-24 Season
September 6, 2023
Anticipation is building as we get closer to the start of our 2023-24 season! With such an incredible lineup of concerts, choosing where to begin might seem overwhelming. But don't worry, we're here to help! Here are five concerts that deserve a special spot on your calendar:
An Evening with Renée Fleming
September 20 | Belk TheaterLovingly referred to as "the people's diva," Renée Fleming is one of the most beloved and celebrated singers of our time -- and she's returning to Charlotte for the first time in nearly 20 years! In this one-night-only event, led by Conductor Laureate Christopher Warren-Green, Ms. Fleming performs favorites from La Bohème and The Sound of Music alongside Richard Strauss's Four Last Songs, which she hails as "the greatest piece written for soprano and orchestra."
The Hot Sardines
November 10-11 | Knight TheaterThis group puts the "hot" in hot jazz! Think Harlem Renaissance cabarets and New Orleans speakeasies with a touch of cigar smoke and Parisian "je ne sais quoi." The Hot Sardines offer a mix of standards and modern-day hits, brought to life with brassy horn arrangements, rollicking piano, and incredible vocals by Miz Elizabeth.
Verdi's Requiem
November 17-18 | Belk TheaterThe raw power of Verdi's Requiem -- with more than 70 musicians and a choir of over 100 -- will blow you right back in your seat when Kwamé Ryan joins the Charlotte Symphony and Charlotte Master Chorale to conduct this musical tour de force. Verdi's Requiem is full of contrasts, from the sublime lyricism of the opening movement to the sheer terror of its infamous "Dies irae."
Beauty and the Beast in Concert
January 12-13 | Oven AuditoriumRelive the enchantment of Belle and the Beast's timeless journey and share the magic of this Disney classic with your little ones! Alan Menken's Academy Award-winning score, including "Tale as Old as Time" and "Be Our Guest," will come to life when performed by the Charlotte Symphony in sync with the full-length film. Get there a few minutes early to grab some popcorn and enjoy the show!
Jennifer Koh Plays Mazzoli
January 19-20, 2024 | Knight TheaterThis all-American program takes us from the Blue Ridge Mountains of North Carolina to the open ranges of the Old American West with Jennifer Higdon's Cold Mountain Suite and Aaron Copland's Billy the Kid Suite. Violinist Jennifer Koh, known for her intense and commanding performances, brings her dazzling virtuosity to Missy Mazzoli's Violin Concerto, Procession, which will lead you on a music journey through five healing spells based on the healing rituals of the Middle Ages.
Kenney Potter on Mendelssohn’s Lobgesang
March 1, 2023
Jessica Cottis returns to the Charlotte Symphony on March 24 & 25 to lead the Orchestra and Charlotte Master Chorale in Mendelssohn's Lobgesang (Hymn of Praise), A Symphony-Cantata. The work premiered in 1840 as the culmination of a festival in Leipzig celebrating the 400th anniversary of Gutenberg's printing press. Robert Schumann attended the premiere and reported on the similarities between Lobgesang and Beethoven's Ninth, "save for the distinguishing difference that the three orchestral movements proceed without any pause between them -- an innovation in the symphonic form. No better form could have been selected for this special purpose."
Here, Charlotte Master Chorale Artistic Director Kenney Potter shares some insight on this incredible work and how the Chorale is preparing.
| For those who are unfamiliar with this work, what should they expect? Triumphant music that expresses the text of Psalm 150 beautifully. The listener will hear first the trombones state the main theme of the work, which is sung with the text of Psalm 150 ("Let everything that has breath, praise the Lord.") What I find interesting is that the trombone is the horn of choice for many German speakers vs. trumpets. A good example is in the Mozart Requiem, where the Tuba Mirum "final days" theme is played by the trombone (this is due to Luther's translation that the trombone signaled the last days). I think it was a purposeful decision to utilize the trombones. |
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What do you make of the comparisons between Mendelssohn's Lobgesang to Beethoven's Symphony No. 9?
There are obvious similarities, since the listener will hear three orchestra movements (labeled in traditional format) followed by a choral movement. The difference is that Mendelssohn himself labeled this work as a "symphony-cantata on words of the Holy Bible for soloists, choir, and orchestra."
What does it take to prepare the Charlotte Master Chorale for a work of this scope?
Compared to Beethoven 9, there is more material to prepare. Also, Mendelssohn was more understanding of the voices and their ranges and capabilities. Beethoven is extremely challenging for vocalists due to the extreme ranges, particularly for the sopranos.
What are your favorite moments in the work?
The opening chorus, the utilization and treatment of the "Now Thank We All Our God" tune in the eighth movement, and the final fugue.
What are you looking forward to most about this performance?
It is always a joy to collaborate with the Charlotte Symphony, especially on works that our Charlotte audience needs to hear!
The Charlotte Symphony and Charlotte Master Chorale perform Mendelssohn Hymn of Praise on March 24 & 25 at Belk Theater -- Get tickets today!
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William Grant Still: The Dean of African American Composers
February 1, 2023
William Grant Still (1895-1978), often called The Dean of African American Composers, was an American composer, arranger, conductor, and pioneer of early 20th-century classical music. He was born in Mississippi and grew up in Little Rock Arkansas where he learned to play the violin and piano. Despite facing significant racial barriers and prejudice, Still went on to become one of the most influential figures in classical music, paving the way for future generations of African American musicians and inspiring countless composers with his unique style.
Still was the first African American conductor to lead a major American orchestra, and the first to have an opera produced by the New York City Opera. Throughout his career, Still composed more than 150 works, including five operas, eight ballets, six symphonies, and numerous other works for solo instruments, choral ensembles, and small and large orchestral groups.
Still's music was born of the Harlem Renaissance and his sound is characterized by its fusion of classical, blues, and spiritual elements, reflecting his experiences as a black man in early 20th-century America. He drew inspiration from a wide range of musical styles, including European classical music, African American spirituals, and jazz, creating a unique musical voice that was ahead of its time. His compositions feature intricate rhythms, lyrical melodies, and rich harmonies, and he often used his music to address political and social issues of the day.
Today, William Grant Still continues to inspire musicians and audiences alike. His music has been performed by major symphony orchestras, opera companies, and ballet companies around the world, and his legacy continues to influence contemporary classical music.
Explore five of the best pieces of music by William Grant Still on Classic fm.
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Joshua Weilerstein on Brahms’s Fourth Symphony
January 19, 2023
Acclaimed conductor Joshua Weilerstein makes his debut with the Charlotte Symphony on February 10 & 11, leading the orchestra in Brahms's Symphony No. 4. This remarkable work showcases the composer's mastery of form, counterpoint, and emotional expression; and is a must-hear for classical music lovers and newcomers alike. The program will also include Ethel Smyth's On the Cliffs of Cornwall and Edvard Grieg's Piano Concerto in A minor.
Here, Joshua Weilerstein shares some insight into this incredible program.
What stands out to you most about this concert?
Brahms's Fourth Symphony is one of the most intensely passionate pieces that Brahms ever wrote. It represented 'the end' for him in many ways. It is his last symphony, last major orchestral work, and it seems to almost express an apocalyptic sense as well, as Brahms saw the deepening fissures and cracks that would result in the breakdown of European society in the years after he wrote the symphony. At the same time, it is a piece full of all the love and warmth that makes Brahms's music so irresistible to us.
To put it briefly, it is a symphony that encompasses the entire gamut of human emotion, and its intensity makes it unforgettable to hear live! It's also a great pleasure to be doing the music of Ethel Smyth and Edvard Grieg as well. The three composers once shared a meal together, which makes us feel like we've gone back in time to hear this music.
What are you looking forward to about working with the Charlotte Symphony?
I've never been to Charlotte before, so I'm very excited to be meeting the orchestra for the first time and to get to know the city. It's always a thrill to make music with a brand new group of people.
Learn more about this program from Joshua Weilerstein at the pre-concert talk, held before each concert on the Mezzanine Level of the lobby at 6:30 pm. Get tickets today!
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A Composer to Know: Erich Wolfgang Korngold
January 3, 2023
If you've visited a movie theater and delighted in the grand scores of composers like John Williams, Michael Giacchino, or Hans Zimmer, you owe a debt of gratitude to a composer who came before -- Erich Wolfgang Korngold.
Born in 1897 in what is now the Czech Republic, Korngold was a child prodigy, composing the ballet Der Schneemann (The Snowman) at age 11, causing quite a sensation at its debut performance in Vienna. As a young man, he composed multiple operas including Die tote Stadt (The Dead City), which became one of the greatest hits of the 1920s, receiving several performances at the Metropolitan Opera. The work was eventually banned by the Nazi regime because of Korngold's Jewish ancestry and after WWII, it fell into obscurity.
But it was Korngold's background in opera which revolutionized cinematic music. In the early 1930s, Korngold traveled to the United States to work on the film A Midsummer Night's Dream and began traveling between the US and Europe until the spread of Nazi influence forced him to settle in California in 1938. Korngold brought to film scoring the technique of mimicking the rhythms of spoken word and the frequent use of leitmotifs -- musical themes for characters, items, or concepts -- borrowed from Wagner's epic operas and heard today in movies like Star Wars. In 1938 Korngold received an Oscar for the score of The Adventures of Robin Hood.
Outside of the film industry, Korngold wrote plenty of non-programmatic music, including his Violin Concerto, which has become one of the mainstays of the repertoire and received an enthusiastic response after its premiere in St. Louis. The critics in New York were harsher, with The New York Times critic panning it as a "Hollywood Concerto," reflecting the prejudice against Korngold's lush and romantic musical style and the way in which the music establishment looked down upon film composers.
The work was dedicated to Alma Mahler, the widow of Korngold's childhood mentor, Gustav Mahler, and received its premiere in February of 1947 by Jascha Heifetz and the St. Louis Symphony conducted by Vladimir Golschmann. All three movements of this virtuosic and demanding concerto draw on themes from films produced between 1937 and 1939.
Experience Erich Korngold's Violin Concerto performed by Bella Hristova with conductor Kwamé Ryan on January 13 &14 at the Belk Theater.
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