Oak Ridge Symphony Orchestra Strings & Soloists Yayman, Schoen, Tillman

Oak Ridge Symphony
Ticket price
$15
Live and in person at the Historic Grove Theater

Experience great music with ORCMA as we present an inclusive and diverse range of orchestral, choral, and chamber music in its many forms.  Music Director Dan Allcott leads Oak Ridge Symphony Orchestra Strings in a concert featuring soloists Deniz Yayman, Lydia Schoen, and Joel Tillman, Saturday, April 17, 2021, 3:30 PM.  The concert will not have an intermission, and will conclude by 4:30 PM.  A limited number of tickets are available for in-person attendance at $15/person.  Scroll down and click on the Ticket Request Form to purchase your tickets.  Tickets will not be printed.  Check in at the door.  See you there!

In-person attendees must meet certain requirements:

  • Purchase tickets in advance online or by calling (865) 483-5569;
  • Be fully vaccinated against COVID-19 and show proof upon arrival at the theater;
  • Wear a properly fitted mask (not only a face shield) covering nose and mouth at all times;
  • Remain socially distanced when entering and exiting the theater and during the performance

 

Can't attend?  If you're not already an ORCMA email subscriber, sign up to our eList by sending your request to lisa@orcma.org.  A link to the recorded concert will be emailed to you.  Or, call (865) 483-5569 for assistance.

 

Oak Ridge Symphony Orchestra Strings & Soloists

Dan Allcott, Music Director & Conductor

Deniz Yayman, oboe
Lydia Schoen, English horn
Joel Tillman, trumpet

Saturday, April 17, 2021
3:30 PM

The Historic Grove Theater

A link to the concert recording will be available after April 18 for ORCMA's email subscribers.

ORCMA's 2020 strategic plan immediately better serves our membership and better connects our association with our larger community.  The plan also enables all ORCMA concerts to include music by underrepresented composers and arrangers, specifically women and people of color who have been marginalized in our industry.

 

“Mother and Child” for String Orchestra from Suite for Violin (1943)    William Grant Still (1895–1978)

 

“Fugue” from String Quartet No. 1 (1896)                                             Charles Ives (1874–1954)

 

“Gabriel’s Oboe” from The Mission (1986)                                            Ennio Morricone (1928–2020) 
Deniz Yayman, oboe

 

“Larghetto” from Four Novelettes, Op. 52 (1903)                                 Samuel Coleridge-Taylor (1875–1912)

 

“Quiet City” (1941)                                                                                 Aaron Copland (1900–1990)
Lydia Schoen, English horn
Joel Tillman, Trumpet


Serenata Notturna in D Major, K. 239                                                   Wolfgang Amadeus Mozart (1756–1791)
I.   Marcia. Maestoso
II.  Menuetto - Trio
III. Rondo. Allegretto

 

This performance is made possible with generous support from UT-Battelle/Oak Ridge National Laboratory, Spectra Tech, Inc., the Tennessee Arts Commission, TN Specialty License Plates, the National Endowment for the Arts, Holiday Inn Express & Suites, James Rome, and numerous individual donors.
 

 

About the Artists

Deniz Yayman

Yayman headshot Deniz Yayman is Principal Oboist of the Oak Ridge Symphony and Symphony of the Mountains, and 2nd Oboist in the Knoxville Symphony.  She also plays with Symphony Orchestra Augusta and Brevard Philharmonic, and has substituted with the Nashville Symphony, Alabama Symphony, and Huntsville Symphony.  Yayman also plays oboe and sings lead vocals in jazz, blues, rock, pop and musical theater, and was a featured vocal soloist in Symphony of the Mountains’ 2018 Christmas concert.  During the 2019–2020 season, she hosted and performed on the Knoxville Symphony’s Elegant Dining Series.  With her husband Matthew L. Bolt, Yayman owns the Victorian farmhouse, Corryton’s Good Life Farm, where they have a market garden and host weddings, murder mystery dinner parties, house concerts and movie screenings.  They raise free-range chickens for eggs, and will add goats for milk and cheese!

 

Lydia Schoen

Schoen headshot A native of Maryville, TN, Lydia Schoen is a freelance oboist and English horn player.  She has played with orchestras such as the Knoxville Symphony, Roanoke Symphony, Asheville Symphony and Kingsport Symphony of the Mountains, where she served as Principal English Horn for 20 years.  She attended the University of Cincinnati, College-Conservatory of Music and the University of Tennessee. She has been guest soloist with the Orchestra at Maryville College with whom she performed Jennifer Higdon’s Soliloquy for English horn and Strings, with the composer in attendance. She currently serves as Principal Oboe with the Marble City Opera and as Principal English horn with Oak Ridge Symphony.

 

Joel Tillman

Tillman headshot Joel Tillman attended Tennessee Tech University and the University of Wisconsin-Whitewater where he was graduate assistant in trumpet and band. He performed with the Whitewater Brass Quintet, a finalist in the International Fischoff Chamber Music Competition, the Wisconsin Chamber Orchestra, for 10 seasons with the Chattanooga Symphony and Opera, the Chattanooga Concert Band, the Oak Ridge Symphony, the former Knoxville Wind Symphony, the Knoxville BrassWorX Company, and the Southern Stars Symphonic Brass Band. He has been a freelance musician around the Knoxville and Oak Ridge vicinity for over 20 years.  He also performs regularly with his church orchestra.  He lives in Farragut, TN, and has two great sons, Brandon and Garrit.

 

Program Notes by Mike Cates

 

A Musical Mélange

By now we've all been reminded many times that the last year has been for us, and for most others around the world, like no other rotation of our planet around the sun in our memories. As vaccination brings relief and the promise of the return of something like normalcy we begin to shake off the dust, look around, and start plodding along again, probably on a trek in life that will look and feel different from any path we've been on before. As well it should. This is a time for a New Era Resolution, to redirect ourselves hopefully in a better, or at least better-thought-out, direction. We have the opportunity to fine tune our priorities, our preferences, and our pursuits. Which brings us to music: we need it more than ever. Where else can we reach into a wisdom that is not bound by reason, or find a truth that does not require facts; yet helps, in some ineffable way, to add quality to our lives? And quality is probably what we need most right now. And to help us get to our feet emotionally and step forward with added confidence, what better thing than live music performed  by our friends and neighbors and enjoyed together in a grand totality that is greater than the sum of its human parts. Thus this musical melange, a mix in style and feeling that is something we really need right now!

 

Ennio Morricone (1928–2020) Gabriel's Oboe from The Mission

Morricone was another of those fabulous composers who few in the general public knew of, yet were among the finest and most creative musicians of our, or any other, times. This wonderful Italian maestro lived to be 91, produced about 400 film scores and 100 classical works. He lived in Italy all his life but his music reached out across the the globe.

Gabriel’s Oboe is a composition, written in 1986, that served as the main theme for the film, “The Mission,” which is a powerful story that will haunt you (and bring you to tears unless you are a sociopath) if you see it, adding more beauty and sadness to the oboe solo. Morricone captures the mood of the drama and enhances it – as music tends to do – featuring the instrument whose sound is both lyrical and poignant. (Why do certain sounds affect us in certain ways?) The musical structure builds with time to capture you, like the Pied Piper, and lead you into a more introspective place.

 

Aaron Copland (1900–1990) Quiet City (trumpet & English horn solo)

Because of his long life and productive career, Aaron Copland is often consid­ered the dean of 20th century American composers.  He is best known for his ballet scores for Billy the Kid, Appalachian Spring, and Rodeo, but he wrote in most genres of what we usually call classical music.  He was also a conductor and wrote extensively about music.  It was Copland’s assessment, for example, that what is called “modern music” began with the work of Modest Moussorgsky (1839–1881).   In this concert we hear Copland’s Quiet City, a work for trumpet and English horn that was arranged from incidental music he had written for a play of the same name written by Irwin Shaw (1913–1984). The play has long ceased to be known or much performed but the music endures as a popular piece, as is illustrated in this concert. It was first performed in 1941.

The composer said that the piece was "an attempt to mirror the troubled main character of Irwin Shaw's play," which was about a man of Jewish ancestry who gave up his poetic aspirations in order to be financially successful. His artistic past is constantly brought back into his mind by the sound of his brother's trumpet. This haunting music will also move us, perhaps to places we rarely go.

 

Wolfgang Mozart (1756–1791) Serenata Notturna in D Major, K. 239

Joannes Chrisostomus Wolfgang Gottlieb Mozart began calling himself Wolfgango Amadeo around 1770 and Wolfgang Amadè in 1777. There is no other figure in all of human endeavor more universally revered as a true genius. It can be fairly said that Bach laid a far more important foundation to Western music, and that Beethoven, Moussorgsky, Wagner, Debussy, Stravinski, Schoenberg, and others have moved the art into entirely new realms of endeavor – attributes never given to Mozart – yet few seriously consider Mozart to be surpassed by anyone in the ability to produce beautiful, brilliantly constructed music of virtually any kind. Perhaps it was prescient that he chose the middle name "Amadeus", since it is Latin for "beloved of God". Albert Schweitzer (18751965), the great musicologist, organist, religious philosopher and humanitarian, said, "When the angels play for God, they play Bach; when they play for themselves, they play Mozart!"

We don't know what kind of event Mozart had in mind when he wrote Serenata Notturna (a title made up by the composer's father), but it was composed to be background music. It begins with a stately march that is expansive, with a symphonic feel. The middle movement is a charming minuet, including a contrasting trio, illustrating the master's graceful ability to make even the simplest passages special. The finale is a jaunty dance, punctuated by a sadder passage to liven it up more at the end. What background music!

 

Charles Ives (1874–1954) Fugue from String Quartet No. 1 "From the Salvation Army," adapted for String Orchestra by Robert Longfield

There is much to be said about Charles Ives but perhaps he can be summed up well by a comment made by Arnold Schoenberg (1874–1951) after he had moved from Europe to the United States: “There is a great Man living in this Country – a composer. He has solved the problem how to preserve one's self-esteem and to learn. He responds to negligence by contempt. He is not forced to accept praise or blame. His name is Ives.” Ives grew up in a privileged family, was always well to do and composed as a kind of advanced hobby. His works were often unnoticed and his innovations often were well ahead of their time. Ives took Virgil Thomson's comment to heart: “The way to write American music is simple. All you have to do is be an American and then write any kind of music you wish."

When in his early twenties Ives wrote his first string quartet, illustrating both his quirky style and mastery of technique. In it he sampled, sliced and diced about a dozen popular hymns. The fugue from the piece was arranged by Robert Longfield, currently the director of the Greater Miami Symphonic Band. This gives the listener a special taste of Ive's genius, not to mention it's a lot of fun.

 

Samuel Coleridge Taylor (18751912) Larghetto from Four Novelettes, op. 52

Samuel Coleridge Taylor was a musician of significant note during the early days of the twentieth century. He was an Englishman whose father was a physician from Sierra Leone in Africa. Coleridge Taylor worked hard to promote African music and integrate it into the well-established classical tradition. In 1904, on his first tour to the United States, Coleridge-Taylor was received by President Theodore Roosevelt at the White House, and his music was widely performed. His work, Hiawatha's Wedding Feast (performed in America well before his first American visit), was one of England's three most popular choral works, alongside two of the towering greats: Mendelssohn's Elijah and Handel's Messiah. Coleridge Taylor had about 85 completed publications during his too-short life, involving every combination of instrument and voice.

The Four Novelettes is beautiful classical work, with a delicate touch. The second "novelette" labeled larghetto has an engaging repeated melodic pattern that ties it nicely together. It's a lovely tune that you could imagine being played as a child's lullaby. There is little to give it an African flavor but a lot to make it sound English. And English light music is so lovely.

 

William Grant Still (18951978) Mother & Child from Suite for Violin and Orchestra

Sometimes called "the Dean" of African-American composers, William Grant Still was the first American composer to have an opera produced by the New York City Opera. His first symphony, called the "Afro-American" is one of the best known American symphonies. Still received three Guggenheim Fellowships in music composition (1934, 1935, 1938), his home in Los Angeles was designated a Historic-Cultural Monument, he received nine honorary doctorate degrees, along with many other awards and accolades. He published about 40 works, including three symphonies, and many with an emphasis on the African American culture embedded in American history and tradition.

Completed in 1943 his Suite for Violin and Piano, later extended to orchestral accompaniment, was inspired by three sculptures: African Dancer by Richmond Barthé (1901–1989), Mother and Child by Sargent Johnson (1888–1967), and Gamin by Augusta Savage (1892–1962). The music unfolds in a variety of tempos, all dance-like, all with a blues twist to the melody, very much in the African American style that has transformed music around the world. Mother and Child is a plaintive expression of that possibly strongest link of love in the human experience.

 

Oak Ridge Symphony Orchestra
Dan Allcott, Music Director & Conductor

Violin I
Karen Kartal, Concertmaster
   Charles Klabunde Chair
Sarah Ringer
Jeffrey Brannen
Kari Lapins

Violin II
Sara Lee-Cho, Principal
   Richard Ward, Susan Sharp, and Lois McKeever Chair in Memory of John McKeever
Kimberly Simpkins
Susan Gunning

Viola
Christy Graffeo, Principal
   Adolf & Carol King Chair in Memory of Soren King
Shelley Armer

Cello
Theodore Kartal, Principal
   John H. Allcott Memorial Chair
Jeanine Wilkinson

Bass
David Odegaard, Principal

Percussion
Wes Palmer, Principal

Personnel Manager & Librarian
Christy Graffeo

Stage Manager
Ken Hurst

Videography
Ken Hurst Media

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This concert took place on April 17, 2021.  Tickets are no longer available.

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