Tune in to BPR Classic Tuesday, October 17 at 7 PM and Thursday, October 19 at 9 AM to hear a broadcast of this concert. Find details on the season's broadcasts on BPR here.
It’s a new Masterworks season for the Asheville Symphony Orchestra, which means a fresh lineup of compositions and captivating performances for the orchestra’s audience.
For their concert in September at First Baptist Church of Asheville, the orchestra delivered three pieces from some of the most influential composers in classical music: Ludwig van Beethoven, Edward Elgar, and Johannes Brahms.
“The intention was to open the season with something significant and meaningful and to give the orchestra to challenge musically,” Music Director Darko Butorac said. “Then after we programmed that we found ourselves in this new space at First Baptist Church of Asheville and it all kind of came together.”
The orchestra opened the concert with a rousing performance of Beethoven’s Leonore Overture No. 3. The piece is a unique work in the legendary composer’s repertoire because it is from the only opera Beethoven ever wrote. But Butorac said Leonore Overture No. 3 still carries the same energy we expect from Beethoven.
“It's all the best parts of Beethoven. It's dramatic. It's dark and stormy. It's heroic. All the things we associate with Beethoven, especially his middle style, are present in this overture,“ he said. “So a great piece to play, a great way to open the season, and for the listeners, as you're listening, I would pay particular attention to the contrast of mood in the overture. It’s also a beautiful opportunity for our principal flute, Lissie Shanahan. She did a beautiful job — there’s a major flute excerpt in the middle of the overture."
During the midpoint of the concert, cellist Sterling Elliot helped the orchestra amplify Elgar’s Cello Concerto. Following an exceptional performance of the concerto from Elliot, the audience requested more from the soloist, and Elliot delivered with a delightful rendition of “Julie-O” by Mark Summer.
For the concert’s grand conclusion, Butorac aimed to bring a “big” experience to the audience with Brahms’ powerful Symphony No. 4.
“When we look at the symphony, orchestras and musicians don't look at it as being a big symphony. It doesn't require many musicians; you could do it with a small orchestra; it's not that long. However, the content of the piece is massive. It feels like a cathedral,” he said.