Jack M. Champaigne Masterworks Series

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 ...

Copland’s El Salón México, Revueltas’ La Noche de los Mayas bold rhythms, and Moncayo’s Huapango stirring melodies converge into an immersive fusion of sound that celebrates the spirit of Latin America. Westwater Arts brilliantly marries panoramic photography with live classical performances, creating a breathtaking synthesis of visual and musical artistry.

The Symphony welcomes acclaimed clarinetist Anthony McGill for an emotionally powerful evening featuring Tchaikovsky’s Symphony No. 6.  

South Bend Symphony Concertmaster Jameson Cooper takes center stage as the Symphony presents Beethoven’s Eroica—a revolutionary masterpiece of heroism, resilience, and triumph. 

Cellist Joshua Roman takes center stage to perform Dvořák’s Cello Concerto, a masterful work showcasing the cello’s expressive depth and technical brilliance. 

The season crescendos with Carmina Burana, a spectacular choral work featuring the South Bend Chamber Singers, Saint Mary’s College Belles Voix, and Notre Dame Glee Club.