Select Page

What about the music?

An inside look with the Virginia Symphony Orchestra

Beethoven Celebration with Eric & Colin Jacobsen

Friday, September 20, 2024 7:30PM | Chrysler Hall
Saturday, September 21, 2024 7:30PM | Ferguson Center

Ludwig van Beethoven: Coriolan Overture
Ludwig van Beethoven: Symphony No. 4
Ludwig van Beethoven: Violin Concerto

By Stella Feliberti

Eric Jacobsen, Virginia Symphony Orchestra Music Director

The Performers

Eric Jacobsen

Meet our 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 Eric Jacobsen
Colin Jacobsen

Violin

Colin Jacobsen

Violinist and composer Colin Jacobsen is “one of the most interesting figures on the classical music scene” (Washington Post). Since the early 2000’s, Jacobsen has forged an intriguing path in the cultural landscape of our time, collaborating with an astonishingly wide range of artists across diverse traditions and disciplines while constantly looking for news to connect with audiences.  For his work as a founding member of two game-changing, audience-expanding ensembles – the string quartet Brooklyn Rider and orchestra The Knights – Jacobsen was  selected from among the nation’s top visual, performing, media, and literary artists to receive a prestigious and substantial United States Artists Fellowship. He is also active as an Avery Fisher Career Grant-winning soloist and has toured with Silkroad since its founding by cellist Yo-Yo Ma in 2000 at Tanglewood. Starting in the 2022/23 season, Jacobsen assumes the position of Artistic Director of Santa Fe Pro Musica, an organization with which he has had a fruitful long term association as a guest soloist and leader.

A graduate of the Juilliard School and the Royal Conservatory of the Hague, Jacobsen’s principal teachers have included Doris Rothenberg, Louise Behrend, Robert Mann and Vera Beths.

Colin Jacobsen plays a Joseph Guarneri filius Andreae violin dating back from 1696 and a Samuel Zygmuntowicz violin made in 2008.

More about Colin Jacobsen

The Creator

Beethoven

Ludwig von Beethoven

Pronounced LOOD- VIG VAN BAIT- OH-VEN

Fast Facts:
  • Beethoven started composing around age 9 and published his first compositions in 1783.
  • Beethoven started to study under Franz Joseph Haydn in 1792 where he took counterpoint lessons and studied violin.
  • Beethoven only wrote 9 symphonies, starting a ‘curse’ for Romantic Era composers. Like Beethoven, composers like Schubert, Mahler, Bruckner, and Dvořák all died leaving exactly 9 symphonies in their repertoire.
  • Beethoven is known for leading the transition from the Classical Era into the Romantic Period, leading to his high regard as one of the most famous composers of all time.
  • While most consider Beethoven to be completely deaf by his later symphonies, including the 7th Symphony played on this concert, he did not lose his hearing completely until 1826 when his String Quartet in B-flat Op.130 premiered.

Coriolan Overture

Listen to the Coriolan Overture by the Frankfurt Radio Symphony

Click here to listen

Vocab Terms:

  • Overture: an orchestral introduction to a larger work. Usually occurs in operas, suites, or plays
  • Programmatic music: a piece of music that tries to musically render a narrative or image

Fast Facts:

  • Beethoven’s Coriolan Overture was written in 1807 for Heinrich Joseph von Collin’s tragedy Coriolan. Coriolan is a play based on Shakespeare’s text Coriolanus. It was premiered at a private concert at the home of Prince Lobkowicz.
  • This overture is considered programmatic as the melodies represent the characters and storyline of Coriolan.

Originally composed for Heinrich von Collin’s unsuccessful play Coriolan, Beethoven’s more successful Coriolan Overture is a lively depiction of Shakespeare’s tragedy, Coriolanus. In the Shakespearean tragedy, the Roman General, Coriolanus, is banished from Rome and joins the enemy to defeat Rome, only to be betrayed by his new allies. Beethoven illustrates the strife of Coriolanus as he struggles with the corruption of Rome and his exile, to his turn to the enemy for solace only to be betrayed. Thus, with this musical depiction of the work, the Coriolan Overture is “programmatic,” meaning the music encompasses a scenic description or literary idea.

The overture opens with a dark and turbulent melody, showing Coriolanus’ rebellious nature. The second theme the enters more gently and compassionately, imitating the nature of Volumnia, Coriolanus’ mother. As Volumnia’s theme develops, it seems as if Volumnia wins Coriolanus over to make peace with Romans. However, the stormy opening theme returns, and the music falls apart, exemplifying the betrayal of Coriolanus’s new allies to him. The overture fades away as Coriolanus dies after falling on his sword. The Coriolanus Overture is an engaging and vibrant is a whirlwind of a piece, making it a great example of programmatic musical literature.

Symphony No. 4 in B flat Major

Listen to Beethoven’s Symphony No. 4 by the Frankfurt Radio Symphony

Click Here to Listen

Fast Facts:

  • Beethoven’s Symphony No.4 was written in 1806 and premiered in 1807 in a private concert at the house of Prince Lobkowicz.
  • This symphony is often overlooked by commentators because it does not share the same musical weight as Beethoven’s 3rd or 5th Rather, this symphony is known for its warm tone.
  • Berlioz, Mendelssohn, and Schumann admired Beethoven’s 4th symphony greatly, despite audiences preferring the Beethoven’s 3rd and 5th symphony.
  • There are 4 movements in this symphony: Adagio – Allegro vivace, II. Adagio, III. Scherzo-trio: Allegro vivace, and IV. Allegro ma non troppo.    

                Though often neglected by commentators due to the acclaim of Beethoven’s 3rd and 5th symphonies, Beethoven’s Symphony No.4 is known for its candor and contained power it carries through each movement of the symphony. Composer Robert Schumann describes this work as “a slender Greek maiden between two Norse giants,” noting the 4th Symphony’s overlooked status compared to Beethoven’s 3rd and 5th symphonies. However, Schumann also recognizes the beauty of the 4th Symphony’s simple style that the Romantic period took from the Enlightenment. The more subdued orchestration and character of Beethoven’s 4th Symphony allows for the melodic charm to shine and capture audiences.

The symphony opens suspensefully as Beethoven avoids the home key of the symphony for 42 measures. Cycling through various keys, the piece slowly unfurls until the home key of B-flat is finally reached. The 2nd movement encompasses an accompaniment figure that threads through each of Beethoven’s themes throughout the movement, adding an endearing quality. Contrasting the 2nd movement, the 3rd movement’s Menuetto is full of energy while its trio is more lyrical. To close the symphony, Beethoven continues the energetic quality from the 3rd movement by creating an infectious joviality throughout the 4th. This symphony illustrates the charisma, directness, and emotional diversity of early Romantic music and the unique style of Beethoven; it is a great introduction into the compositional genius of Beethoven as this symphony wraps up his personality into a straightforward and engaging piece.

Violin Concerto in D Major

Listen to Beethoven’s Violin Concerto by the Detroit Symphony with soloist Hilary Hahn

Click Here to Listen

Vocab Terms:

  • Theme: a primary melodic idea of a composition
  • Thematic Expansion: the development of a melodic idea through variation in its harmony or rhythm
  • Concerto: a piece with one or more soloists with an orchestra. Usually ranges from 2-5 movements

Fast Facts:

  • Beethoven’s Violin Concerto was written in 1806. At this time, he also wrote some of his best-known works including the 4th Piano concerto, the “Razumovsky” string quartets, his 4th and 5th symphonies, and the “Appassionata” Piano Sonata
  • The concerto was commissioned by violinist Franz Clement. It is said that Clement received the score only two days before the premiere, which is why some speculate he sight-read some of the concerto during the performance
  • After the premiere, the concerto was neglected by performers until Joseph Joachim resurrected it under the baton of Felix Mendelssohn
  • The concerto has three movements: the first movement is a cheery yet assured Allegro. The second movement, Larghetto, is a touching set of variations. The third movement is buoyant Rondo. The entire concerto is approximately 42 minutes.

                Unlike most concertos, Beethoven’s Violin Concerto includes a expressive thematic expansion in both the orchestral and soloist part. After writing 4 symphonies, Beethoven elaborated upon his symphonic structures by combining his effortless expansion of thematic material coincided with elegant elaborations from the soloist. Beethoven dedicated this concerto to violinist Franz Clement, who commissioned the work. He premiered the work in 1806 where some speculate that Clement sight-read his part during the premiere as he only received the score two days before the premiere. After this premiere, there was limited performances of the work due to its lack of traditional violin concerto flair. It as only until violinist Joseph Joachim revived the work in 1844 with Mendelssohn conducting that it became popular once again. Now, the Beethoven’s Violin Concerto is part of the standard concerto repertoire for violinists, and one of the most adored pieces in the repertoire.

The concerto opens with a surprising four drum tamps from the timpani, creating a seemingly menacing “knocking” motif. Yet, when the oboe enters after the timpani, Beethoven introduces a cheery and singing theme. Once the soloist enters after a flourishing orchestral opening, it is revealed that the opening timpani beats are an integral part to the thematic material of the 1st movement. The 2nd movement encompasses the poetic nature of the 1st movement, except embracing simplicity and beauty with groups of themes and variations. As the final variation is hinted at by the horns, the soloist takes back over into a cadenza, a virtuosic solo passage, to end the movement. The final movement contrasts the first two movements with it energetic and tuneful melody that seamlessly flows and develops. This concerto is a whirlwind of tuneful themes and variations that highlights the interplay between soloist and orchestra.

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.