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“Fate, that fatal force” is the driving theme of Tchaikovsky’s Fourth Symphony, with one of the most brilliant and virtuosic finales in all of music; Music Director Emeritus Michael Christie returns to conduct this mighty symphony. 2022 Sphinx Medal of Excellence recipient Michelle Cann performs Ravel’s glittering Piano Concerto in G as well as Florence Price’s Piano Concerto in One Movement; The Philadelphia Inquirer declared Cann’s recent performance “exquisite in both the Liszt-like technical sparkle and probing humanity of Price’s writing.”

“Fate, that fatal force” is the driving theme of Tchaikovsky’s Fourth Symphony, with one of the most brilliant and virtuosic finales in all of music; Music Director Emeritus Michael Christie returns to conduct this mighty symphony. 2022 Sphinx Medal of Excellence recipient Michelle Cann performs Ravel’s glittering Piano Concerto in G as well as Florence Price’s Piano Concerto in One Movement; The Philadelphia Inquirer declared Cann’s recent performance “exquisite in both the Liszt-like technical sparkle and probing humanity of Price’s writing.”

Despite the distant threat of rain – “the necessary shadow,” as the composer called it – Brahms’ Second Symphony is a sunny and idyllic work beloved for its rambunctious joy and its balance with that hint of cloud. Eun Sun Kim, a conductor of “assured technical command, subtlety and imagination” (New York Times), leads this program, which opens memorably with the “electro-acoustic soundworld” of Mason Bates’ Rhapsody of Steve Jobs. Gramophone calls Johannes Moser “one of the finest among the astonishing gallery of young virtuoso cellists,” and there is no finer showcase of Moser’s musical prowess than Shostakovich’s boisterous and demanding First Cello Concerto.

Despite the distant threat of rain – “the necessary shadow,” as the composer called it – Brahms’ Second Symphony is a sunny and idyllic work beloved for its rambunctious joy and its balance with that hint of cloud. Eun Sun Kim, a conductor of “assured technical command, subtlety and imagination” (New York Times), leads this program, which opens memorably with the “electro-acoustic soundworld” of Mason Bates’ Rhapsody of Steve Jobs. Gramophone calls Johannes Moser “one of the finest among the astonishing gallery of young virtuoso cellists,” and there is no finer showcase of Moser’s musical prowess than Shostakovich’s boisterous and demanding First Cello Concerto.

The 2024 Festival season opens with the much-anticipated return of Alisa Weilerstein, whose music “emerges with sunlit clarity” (The Guardian); here Weilerstein performs one of the most breathtaking works for cello. Later: Mendelssohn could not shake the “festive air” of Italy while composing his Fourth Symphony, which he called “ the happiest piece I have ever done.” The program begins with a brief and evocative Masquerade; composer Anna Clyne drew inspiration from promenade concerts held in London’s pleasure gardens and their “exotic street entertainers, dancers, fireworks,” and of course, masquerades.

The 2024 Festival season opens with the much-anticipated return of Alisa Weilerstein, whose music “emerges with sunlit clarity” (The Guardian); here Weilerstein performs one of the most breathtaking works for cello. Later: Mendelssohn could not shake the “festive air” of Italy while composing his Fourth Symphony, which he called “ the happiest piece I have ever done.” The program begins with a brief and evocative Masquerade; composer Anna Clyne drew inspiration from promenade concerts held in London’s pleasure gardens and their “exotic street entertainers, dancers, fireworks,” and of course, masquerades.

Famous for inciting a riot at its 1913 premiere due to its cutting-edge compositional techniques, Stravinsky’s Rite represents “the mystery and great surge of creative power of Spring.” BBC Music Magazine has praised violinist Vadim Gluzman’s performance of Prokofiev’s acerbic Second Violin Concerto as “a thing of great beauty.” This exuberant program opens with a spirited Short Ride in a Fast Machine, of which composer John Adams asks, “You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t?”

Famous for inciting a riot at its 1913 premiere due to its cutting-edge compositional techniques, Stravinsky’s Rite represents “the mystery and great surge of creative power of Spring.” BBC Music Magazine has praised violinist Vadim Gluzman’s performance of Prokofiev’s acerbic Second Violin Concerto as “a thing of great beauty.” This exuberant program opens with a spirited Short Ride in a Fast Machine, of which composer John Adams asks, “You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t?”

“Look, how brightly the universe shines! Splendour falls on everything around…” Schoenberg’s chromatic and stunningly beautiful Transfigured Night draws inspiration from a poem about a woman harboring a dark secret and the man who loves her enough to forgive her. 2024 marks Schoenberg’s 150th birthday, as well as Bruckner’s 200th; this program continues the anniversary celebrations with some of the best-loved of Bruckner’s music, his Fourth Symphony. The hunt is on in this “Romantic” Symphony, which begins with daybreak and puts the horn section to work during its lively “Hunting of the Hare.” Music Director Peter Oundjian calls this inspired concert “the most beautiful program of the summer.”

Augustin Hadelich, one of the greatest violinists of all time, returns to perform Tchaikovsky’s unparalleled Violin Concerto. The deeply patriotic Dvořák wished to use his music to recognize the struggle and oppression of his fellow Czechs; he wrote of this urgent Seventh Symphony, “What is in my mind is Love, God, and my Fatherland." Kevin Puts’ Two Mountain Scenes, composed “with the impressive backdrop of the Rocky Mountains in mind” and beginning with “the sonic illusion of a single trumpet reverberating across the valley,” opens this wondrous program.

Augustin Hadelich, one of the greatest violinists of all time, returns to perform Tchaikovsky’s unparalleled Violin Concerto. The deeply patriotic Dvořák wished to use his music to recognize the struggle and oppression of his fellow Czechs; he wrote of this urgent Seventh Symphony, “What is in my mind is Love, God, and my Fatherland." Kevin Puts’ Two Mountain Scenes, composed “with the impressive backdrop of the Rocky Mountains in mind” and beginning with “the sonic illusion of a single trumpet reverberating across the valley,” opens this wondrous program.