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What about the music?

An inside look with the Virginia Symphony Orchestra

Appalachian Spring

Friday, November 15, 2024 7:30PM | Ferguson Center

Eric Jacobsen, conductor
Aoife O’Donovan, vocalist

Aaron Copland: Fanfare for the Common Man
Aoife O’Donovan: America, Come
Aaron Copland: Appalachian Spring

By Stella Feliberti

Eric Jacobsen, Virginia Symphony Orchestra Music Director

The Performers

Eric Jacobsen

Conductor

Eric Jacobsen

Hailed by the New York Times as “an interpretive dynamo,” conductor and cellist Eric Jacobsen has built a reputation for engaging audiences with innovative and collaborative programming.  He is the newly-named Music Director of the Virginia Symphony, becoming the 12th music director in the orchestra’s 100-year history.

 

Jacobsen is Artistic Director and conductor of The Knights, and serves as the Music Director for the Orlando Philharmonic Orchestra. Jacobsen founded the adventurous orchestra The Knights with his brother, violinist Colin Jacobsen, to foster the intimacy and camaraderie of chamber music on the orchestral stage.  Eric splits his time between New York and Orlando with his wife, singer-songwriter Aoife O’Donovan, and their daughter.

More about Jacobsen
Aoife O'Donovan

Vocals

Aoife O’Donovan

Aoife O’Donovan (pronounced EE-fuh) is an American singer and songwriter originally from Massachusetts. She is the lead singer for the string band Crooked Still, and she also co-founded the Grammy Award-winning female folk trio I’m with Her. Aoife has performed with the Boston Pops Orchestra, the Kansas City Symphony, the National Symphony Orchestra, and more, and was a long-time contributor to the radio variety shows Live from Here and A Prairie Home Companion.

More about O'Donovan

The Creators

Aaron Copland

Aaron Copland

Fast Facts:
  • Copland was born in 1900 in Brooklyn, NY. As a child, he wanted piano lessons but could only get them from his sisters. It wasn’t until graduating high school that Copland began to seriously engage in music and decided to do music as a career.
  • He studied with famous music composition teacher Nadia Boulanger in Paris. Here, he had afternoon tea with other infamous composers such as Stravinsky, Poulenc, Ravel, Villa-Lobos, and Saint-Saëns.
  • Copland was known for his ability to capture the Americana culture in many of his works. His pieces such as Rodeo, Appalachian Spring, and his ballet Billy the Kid all exemplify this quality.
  • He was a notorious night owl as he mainly composed in the evening after dinner, working until midnight or later.
  • Copland was good friends with conductor and composer Leonard Bernstein. They maintained correspondence through their lives. Bernstein revered Copland’s music and Copland helped mentor Bernstein, hence their close relationship.
Aoife O'Donovan

Aoife O’Donovan

Fast Facts:
  • O’Donovan was born in 1982 in Massachusetts. Growing up, she often spent summers in Ireland singing with her extended family, which sparked her interest in folk music.
  • She studied contemporary improvisation at the New England Conservatory in Boston. Here, she found the members of her band Crooked Still. The band stayed together until 2011.
  • O’Donovan is currently in a folk-rock trio called I’m With Her. Their song “Call My Name” won Best American Roots Song at the 62nd GRAMMY Awards.
  • In addition to being a part of various bands, O’Donovan also enjoys a plentiful solo career. She has recorded with artists such as Yo-Yo Ma, Chris Thile, and Stuart Duncan on the 2013 GRAMMY winning album The Goat Rodeo Sessions.

Copland

Fanfare for the
Common Man

Enjoy Copland’s Fanfare for the Common Man by the National Symphony Orchestra

Click Here to listen

Copland’s Fanfare for the Common Man gloriously illustrates the honor and sacrifice of common men on the battlefield. Written in 1942, Copland used Vice President Henry Wallace’s 1942 speech as inspiration as it proclaims the dawning the “Century of the Common Man.” This composition embodies this idea as Copland once wrote that “it seemed to me that if the fighting French got a fanfare, so should the common man, since, after all, it was he who was doing the dirty work in the war.” Like many of Copland’s compositions, this fanfare captures the American patriotism and loyalty, especially during wartime.

Unlike most fanfare that have militaristic attitudes with quick tempos and marching rhythms, Copland’s Fanfare for the Common Man exhibits nobility from the start. The piece opens with a deliberate percussion introducing a solemn tone, establishing this pretext of wartime sacrifice. However, a chorus of trumpets enter gloriously to respond to this solemn suffering with honor and regality. Copland calls for the entrances to be played “very deliberately” to truly commemorate the sacrifice of the Common Man. With open harmonies of fifths and majestic percussion, this fanfare is a celebration of the power, loyalty, and pure virtue of the Common Man, commemorating the American people for their perseverance in times of trouble.

O’Donovan

America, Come

Enjoy O’Donovan’s America, Come

Click Here to listen

Inspired by the work of Carrie Chapman Catt, O’Donovan captures the perseverance and fervor of women fighting for suffrage in the 19th century. Like most of O’Donovan’s works, this song explores the continuous struggle for women’s rights and equality, focusing specifically on the experiences of the female suffragists of the late 19th century. Through a blend of folk and classical orchestra, O’Donovan creates this homage to the battle for equality that women are still fighting today. Her masterful composition and lyrics illustrate the power of music in aiding in social issues that still plague our society today.

All throughout America, Come, O’Donovan includes a steady bass line, emulating the manpowered machines of the industrial revolution that helped further the suffragist movement. Lyrics such as “manpower, womanpower, money power, our all?” echo this idea. It is through this first catalyst of the machine power of women that not only increased the movement for women’s rights but also sparked inspiration for O’Donovan lyrics. She blends her own experiences with speeches of famous suffragist Carrie Chapman Catt to question of the purpose and efficacy of our democracy when women still struggle to have equal rights, even in the 21th century. This powerful message coupled with sonorous harmonies with sparkling interludes of strings, chorus lines, and steady bass line envelops listeners into the female experience of suffragist movement and today. America, Come is truly a piece about humanity, thanks to O’Donovan’s artful composition and lyricism.

Copland

Appalachian Spring

Enjoy Copeland’s Appalachian Spring performed by the Atlanta Symphony Orchestra

Click Here to listen

Capturing the spirit and beauty of the American Western Frontier, Copland’s Appalachian Spring highlight’s not only his “American sound” but imagery of the environment of Appalachia. The piece was written between 1943 and 1944 as a collaboration with infamous choreographer Martha Graham. Appalachian Spring was premiered at the Library of Congress as a chamber piece (smaller orchestral ensemble) with ballet. This choreographed version took inspiration from the gentle spirit of Wilder’s 1938 play Our Town. The piece and choreography aim to illustrate the celebration of spring by a man and woman who are building their house in Appalachia, surrounded by the beauty and lively energy of spring in the countryside. Copland uses a unique blend of “American” harmonies mixed with folk tunes to vividly depict the scenery of the Promised Lands of the American West.

                Appalachian Spring opens with an image of daybreak on the American West; simple harmonies with calm yet sonorous melodies first from the clarinet then by solo violin and flute to showcase the flowering light as the sunrises. While these wide, disjunct, yet comforting harmonies and intervals are classic for Copland there is still an irresistible sense of American music and gravitas just from this simple opening. As more voices layer on top of each other, Copland leaves the clarinet melody unfinished before the strings renter in a flurry, emulating the hope, excitement, and unknown of the Western Frontier. Yet this exhilaration dissipates into a calmer theme that speaks to anxiety of the unknown and future with this new journey westward. But the anxieties are pushed away with cheery winds that imitate spring birds that help welcome spring and the joy of the season. Here, Copland begins to introduce more folk-style songs that underscore the American gung-ho nature. Copland further blends this sense of American gravitas and the brightness of spring as he intertwines jovial themes, folksongs, and previous motifs from earlier in the piece. However, the most powerful moment of the piece is the seamless introduction of the Shaker tune “Simple Gifts” that develops into a joyous expression of American culture. With a glorious and harmonious flow of American folksongs and melodies that illustrate the beauty of spring on the Western Frontier, Appalachian Spring is a vivid story that immerses listeners not only into the American sound but the American experience.

Emmanual Losa

Emmanuel Losa

Cello

Born in 1998, Emmanuel Losa grew up in Marietta, Georgia to a Nigerian father and Jamaican mother. Starting his cello studies at the age of 12, he began to have an affinity for the orchestral world and later studying with the esteemed cellists of the Atlanta Symphony Orchestra, his primary instructor was Joel Dallow; in addition, studying with Dona Vellek (Assistant Principal Cello Emeritus) and Karen Freer (Assistant Principal Cello).

Emmanuel heavily enjoys studying various pieces of solo, chamber, and orchestral music, spending his summers at various festivals such as Bowdoin International Music Festival, Spoleto Festival USA, and Aspen Music Festival to name a few.

A student of Alan Stepansky at the Peabody Institute of the Johns Hopkins University, Emmanuel is pursuing an undergraduate cello performance degree in orchestral performance. He continues his studies with a focus on winning a position with a major orchestra.

Zacherie Small

Zacherie Small

Double Bass

After migrating from his native island of Barbados, Zacherie Small began his Double Bass studies the age of 19 with Jonathan Dadurka at Miami-Dade College where he graduated with a Associate of Arts in Music. Afterwards, he went on to study with Luis Gomez-Imbert at Florida International University where he now holds a Bachelor of Music in Double Bass Performance; Cum Laude, and a Masters of Music in Double Bass Performance. Also, recently graduated with his second Masters from Temple University studying with members of the Philadelphia Orchestra such as Nathaniel West, Joseph Conyers, and Robert Kesselman.

Small has performed with various orchestras. He is a member of the Miami Symphony Orchestra under the direction of Eduardo Marturet. He was also the Principal Double Bass of the Miami Chamber Orchestra under the direction of Jorge Vazquez. Small periodically performs with the Colour of Music Festival Orchestra.

Small has attended the Miami Summer Music Festival at Barry University for 3 years. During the festival, he has performed in many concerts with various conductors like Michael Rossi, Yuriy Bekker, Joel Smirnoff, David Efron, Stephanie Rhodes, and Steve Gruman. Also, participated in the Philadelphia International Music Festival to study with Nathaniel West and under the baton of Kensho Watanabe.

As well as being a performer, Small is the secondary music director South-Dade Middle School and does masterclasses at various schools in Miami, FL. He is also a teacher for the Artist of the Miami Music Project where he guides children in troubled neighborhoods to bring about social change, cultivate lessons, and run ensembles.

Tyler McKisson

Tyler McKisson

viola

Tyler McKisson is a 26-year-oldorchestral and freelance violist originally from Arvada, Colorado. He has recently received an Artist Diploma from The University of Cincinnati College-Conservatory of Music as a Diversity Fellow where he regularly performed with the Cincinnati Symphony Orchestra. McKisson received a Master’s degree in viola performance at the University of Colorado Boulder and a Bachelor’s degree in Viola Performance at the University of Northern Colorado with honors. McKisson’s musical career started at age ten when he joined his school’s string orchestra program and at age fourteen, he began his studies under his first private instructor, Brian Cook. McKisson has also studied under Christopher Luther, Anne Leilehua Lanzilotti, Erika Eckert, and Catharine Carroll Lees. He has played with several American orchestras including the Cheyenne Symphony with tenure, Atlanta Symphony, Kentucky Symphony, National Repertory Orchestra, and the Aspen Conducting Academy.

Camille Jones

Camille Jones

violin

A passionate collaborator and advocate for diversity in the arts, Camille has worked with various festival orchestras and chamber groups, including the National Orchestral Institute and Festival (NOI + F), Bowdoin International Music Festival, and Next Festival of Emerging Artists.

As a 2019 Sphinx Orchestral Futurist Fellow, she has helped commission works and curate a professional development workshop for K-12 students in Prince George’s County, Maryland.This project piloted what is now the K12 New Music Initiative, a commissioning project to expand the repertoire of K12 orchestras with music by BIPOC composers. In the Fall of 2018, she curated Voices Unheard, a concert series at UMD that celebrated works by women composers and composers of color. In addition, she had the opportunity to collaborate with esteemed cello professor Anthony Elliott for a concert series at the Kerrytown Concerthouse titled Passing the Torch in 2021 and 2022. Camille is establishing herself as a freelance artist in the Michigan area as well, having performed for singer Michael Bublé, rapper Big Sean and Darren Criss. She has also served as a teaching artist for the Detroit Symphony Orchestra’s Civic Youth Ensembles as well as the Sphinx Overture program in Detroit.

Camille received her B.M. in Violin Performance at the University of Maryland, College Park and a M.M. in Violin Performance from the University of Michigan, having studied under Danielle Belen.

Daphine Henderson

Daphine Henderson

bass

Daphine Henderson, a double bassist and vocalist in the DC metro area, completed her Master’s Degree in Double Bass Performance at the University of Maryland College Park in Spring 2023, where she also received two Bachelor’s Degrees in Music Performance with concentrations in Double Bass and Soprano Voice in Spring ’20. She was the first black woman to earn a Master’s Degree in Double Bass Performance at University of Maryland and the third black woman to receive a graduate degree in strings. Teaching herself the double bass at age 12, Daphine became extremely involved in music through her high school career, ranging from performing with the Maryland Senior All State Orchestra to being the drum major of her high school marching band. She is actively involved in the University of Maryland School of Music community, performing with numerous classical and wind ensembles.

Throughout her time at UMD, Daphine served as one of the ensemble assistants for the UMD Treble Choir, where she actively engaged with and lead her section. She sat as one of the student chairs and founding members of the School of Music’s IDEA Committee, which focuses on bringing diversity, accessibility, and inclusive engagement to the music community at College Park. Daphine is also a founding member of the PAGE (Project for All Gender Equality) for Bassists, where she spoke on a panel in the 2019 and 2021 International Society of Bassists conventions. Daphine teaches in Prince George’s County and Montgomery County, Maryland, and is an active strings coach for the Maryland Classic Youth Orchestra. Additionally, she teaches all string instruments, piano, and voice at Crescendo Studios in Falls Church, Virginia.

Daphine is taking steps in her musical career to create an impact and be an inspiration for younger musicians of color that would otherwise not have ample resources and opportunities to pursue their passion. Following the completion of her graduate degree, Daphine plans to continue establishing herself as an advocate through her performance and an arts administrator for underserved and minority musicians, while continuing to inspire others through her love for music.

Avery Robinson

Omari Imhotep Adbdul-Alim

Violin

Omari Imhotep Abdul-Alim is an accomplished violinist and educator with a Master of Music in Violin Performance from the Cincinnati Conservatory of Music and a Bachelor of Music from the University of Missouri-Kansas City. He is a dedicated instructor with extensive experience teaching violin to a diverse range of students, from young children to adults, in both individual and group settings.

Omari has also contributed significantly as a violin instructor and orchestral strings coach at the Academy for Discovery at Lakewood, as a member of VSO's first inaugural class of African American Fellowship.

In addition to his teaching accomplishments, Omari has an extensive performance background. He has been a substitute with VSO, New World Symphony, Chicago Civic Orchestra, and Sacramento Philharmonic & Opera. For the last year Omari has been an active performer in the San Diego area, playing with Coronado Philharmonia Orchestra, Poway Symphony Orchestra, the City Ballet of San Diego, La Jolla Symphony Orchestra and as resident violinist at First Lutheran Church of San Diego.

Omari is committed to enriching our musical education and performance landscape through his expertise and passion for music.

Avery Robinson

Avery Robinson

Cello

Avery Robinson grew up in Western Massachusetts where he was influenced by his parents’ love for jazz music. At the age of 10 he started playing piano and began learning bass when he was 12 years old. As a young musician, Avery’s passion for jazz persisted however, as he became exposed to the wonderful sounds of the symphony, his musical passion grew to include a second genre: classical music. After joining his high school orchestra, his career path was set.

Avery has studied at many top music schools such as the Eastman School of Music, The Hartt School of Music, and the Cincinnati College-Conservatory of Music and has graduated with honors. His teachers include Rachel Calin, Albert Laszlo, and Robert Black. Avery has been a member of the Kentucky Symphony, and most recently, the Tulsa Symphony Orchestra. He has also worked as a substitute for the Amarillo Symphony and the Symphony of Northwest Arkansas. In addition to his orchestral career, Avery is also an accomplished recitalist, having performed many solo and chamber recitals at various venues such as the Chautauqua Institution and at the “Classical Revolution” Series in Cincinnati. His love for performing with others shows in his expressive and sometimes fervent style of playing.

Avery has other passions in addition to music. Firstly, he is a huge art and history buff and loves to frequent museums and galleries whenever he can. He is also a lover of sports and an avid golfer.