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.

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 Theater

Lovingly 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 Theater

This 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 Theater

The 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 Auditorium

Relive 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 Theater

This 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.

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.

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!