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Indulge in the virtuosity of Tchaikovsky’s Violin Concerto in D major, Op. 35, followed by the majestic allure of Brahms Symphony No. 3. Experience an evening of unparalleled musical brilliance and be transported by the captivating melodies of these timeless masterpieces. Program BRAHMS Symphony No. 3 I. Allegro con brio II. Andante III. Poco Allegretto IV. Allegro — Un poco sostenuto – Intermission – TCHAIKOVSKY Violin Concerto I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo Program Notes Symphony No. 3 JOHANNES BRAHMS Born: May 7, 1833, Hamburg, Germany Died: April 3, 1897, Vienna, Austria-Hungary Composed: 1883 Premiered: December 2, 1883, Vienna, Austria-Hungary, Vienna Musikverein Duration: 35 minutes Johannes Brahms’ Third Symphony is a profound work that blends technical mastery with deep emotional resonance. It is the shortest of his four symphonies, yet it is often considered the most unified and structurally compact. Clara Schumann, Brahms’ lifelong friend and confidante, observed its cohesiveness, remarking, “All the movements seem to be of one piece, one beat of the heart, each one a jewel!” The symphony’s thematic material reappears across multiple movements, and its sophisticated key structure is a hallmark of Brahms’ intricate compositional style. The work opens with three mighty chords establishing the symphony’s primary motive, F–Af lat–F, a musical shorthand for Brahms’ personal motto, “Frei aber froh” (Free but happy). This motif, a playful response to his friend Joseph Joachim’s motto, “Frei aber einsam” (Free but lonely), recurs throughout the symphony, creating a sense of unity and coherence. The first movement begins with an ambiguous theme, fluctuating between F major and F minor, embodying the tension between major and minor modes that permeates the entire work. This movement showcases Brahms’ ability to develop and transform thematic material, culminating in a rich, dramatic narrative. The second movement, Andante, contrasts with its serene, lyrical quality. It begins with a meditative passage for clarinets, bassoons, and horns, ...

In the spirit of Tchaikovsky’s Circles, Vienna’s Riches, Paris Impressions, Seeking Haydn, and Neighboring Bach, this sixth installment of Alastair Presents takes us back to Vienna in the mid-to-late 19th-century where the Strauss Family had the market on dance music completely cornered. Music Director Alastair Willis says “The Strauss dynasty was a golden era of elegance, joy and beauty in music. It was amazing to live through it and experience it all. My famous brothers - Johann Jr, Edward and Josef Strauss - stole all the limelight. I became the forgotten brother – no one remembers me. Join us as I share what it was like to always be in their shadow, and how I helped them become waltzing superstars”. Come hear the most glorious waltzes and polkas ever composed performed brilliantly by the South Bend Symphony in a dramatic and historical presentation.   Secure your seat with a Season subscription. Visit www.southbendsymphony.org or call 574-232-6343 to save your seats and get the best prices!

Indulge in an unforgettable musical journey as Vaughan Williams’ Fantasia on a Theme by Thomas Tallis enchants with its ethereal beauty, Piazzolla’s Bandoneon Concerto as it captivates with its passionate rhythms, and Bartók's Concerto for Orchestra as it showcases the virtuosity of each section of the orchestra, blending folk influences with modernist complexity with guest bandoneon player, Hector del Curto. Program VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis PIAZZOLLA Bandoneón Concerto “Aconcagua” I. Allegro marcato II. Moderato III. Presto Intermission BARTOK Concerto for Orchestra I. Introduzione II. Giuoco delle coppie III. Elegia IV. Intermezzo interrotto V. Finale Program Notes Fantasia on a Theme by Thomas Tallis RALPH VAUGHAN WILLIAMS Born: October 12, 1872, Down Ampney, Gloucestershire Died: August 26,1958 (Hannover’s Terrace) London Composed: 1910 Premiered: September 6, 1910, Gloucester Cathedral, Three Choirs Festival Duration: 13 minutes When rising from the bed of death, O’erwhelmed with guilt and fear, I see my Maker face to face, O how shall I appear? It was these words from a Thomas Tallis hymn that Ralph Vaughan Williams saw after being asked to edit the English hymnal in 1906. They stuck with him so much that, in 1910, after being commissioned to write a piece for the prestigious Three Choirs Festival at Gloucester Cathedral, he paid homage to this composer whose work had inspired him for so long. Thomas Tallis’ (1505-1585) legacy as a composer is one of the first true masters. Born in 1505, he (along with contemporary William Byrd) was the most important English composers of the Tudor era and heavily influenced later composers such as Bach. Tallis’ music was often concerned with musical modes, and this theme, which Vaughan Williams used, is based on the third, or Phrygian, mode. At the time of Tallis’ writing of his work, the modes were considered to have character and/or moods, with the third being full of rage and anger, which Tallis ...

Enjoy an evening celebrating the vibrancy of the American spirit and classical mastery, featuring Copland's iconic Fanfare for the Common Man, Hailstork's dynamic Piano Concerto No. 3, Boyer's patriotic Rhapsody in Red, White and Blue, and the lush, emotive Symphonic Dances by Rachmaninoff with guest pianist Jeffrey Biegel. Program COPLAND Fanfare for the Common Man ADOLPHUS HAILSTORK – (Indiana Premiere) Piano Concerto No. 3 PETER BOYER – (Indiana Premiere) Rhapsody in Red, White & Blue – Intermission –  RACHMANINOFF Symphonic Dances I. (Non) allegro II. Andante con moto (Tempo di valse) III. Lento assai – Allegro vivace – Lento assai. Come prima – Allegro vivace Program Notes Fanfare for the Common Man AARON COPLAND Born: November 14, 1900, New York, New York Died: December 2, 1990, North Tarrytown, New York Composed: 1942 Premiered: March 12, 1943, Cincinnati Music Hall, Cincinnati Symphony Duration: 4 minutes Despite his training in Paris, Copeland is a composer who has often come to represent America through his music. Appalachian Spring, Rodeo, Billy the Kid, the list goes on and on in terms of pieces that, at least in today’s world, hold “American” qualities. However, in terms of patriotism, no other piece in his oeuvre comes close to Fanfare for the Common Man. Commissioned by Eugene Goossens, conductor of the Cincinnati Symphony Orchestra, it was one of several fanfares commissioned from American composers as part of a larger project to honor the American entry into the Second World War in December of 1941. It was a continuation of a similar project Goossens undertook during the First World War, in which they commissioned fanfares from British composers. The title comes from a speech by then Vice President Henry A. Wallace, who proclaimed the 20th century as “The Century of the Common Man.” Unlike the other fanfare commissioned, Fanfare for the Common Man has remained a staple in American symphonic repertoire. Leonard Bernstein ...