STRAVINSKY & PROKOFIEV WITH HEYWARD piano and orchestra. A slower, lyrical central section approaches the kind of emotional expressiveness that we more strongly associate with Rachmaninoff, but Prokofiev’ s brilliantly inventive virtuosity comes to the fore in the concerto’ s conclusion.
Jonathan Leshnoff
Born September 8, 1973 in New Brunswick, NJ Resides in Baltimore, MD
RUSH [ 2008 ]
Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, snare drum, vibraphone, crotales, suspended cymbal, harp, and strings.
Rush is the earliest of Leshnoff’ s series of celebratory concert openers— a list that, in addition to Starburst and Dancing Blue Crabs!, includes Rogue Sparks and Score. Written just four years after the composer’ s First Symphony, Rush is a notable early example of Leshnoff’ s mature, personal voice, and thus it provides a useful introduction to his characteristic soundworld ahead of this season’ s upcoming premieres.
The expressive character of Rush is made evident by its title. A scalar, stepwise motive emerges first in the orchestra’ s lower register and quickly climbs through the entire ensemble. This upwelling ignites a rhythm of continuous eighth notes that persist almost without interruption through the fast sections of the piece. Frequent meter changes heighten the intensity of the music’ s kinetic, forward drive. Yet despite the onrushing insistence of the principal material, Leshnoff finds several opportunities to suspend the music’ s momentum in midair, as it were. Elongated melodies above sustained string harmonies provide welcome moments of contrast, most notably in two cadenza-like passages for solo clarinet and harp, respectively. Inevitably, the music’ s energy erupts anew, and in one final dash, the piece arrives at its sudden conclusion.
Igor Stravinsky
Born June 17, 1882 in Oranienbaum, Russia Died April 6, 1971 in New York City, NY
THE FIREBIRD: SUITE [ 1919 VERSION ]
Instrumentation: Two flutes( second doubling piccolo), two oboes( second doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, tambourine, bass drum, xylophone, triangle, cymbal, harp, piano celesta, and strings.
Sergei Diaghilev, impresario of the Parisbased Ballets Russes, seems to have become aware of the hitherto little-known music of Stravinsky sometime in early 1909, when he was captivated by Stravinsky’ s own piano rendition of Fireworks played at a St. Petersburg Conservatory concert. Diaghilev reportedly observed that the music of Fireworks was“ new and original, with a tonal quality that should surprise the public.” Ever seeking to promote new musical talents, Diaghilev initially had Stravinsky orchestrate some piano pieces by Chopin for a revival of the ballet Chopiniana before commissioning him in the fall of 1909 to write music for a ballet enacting a familiar Russian fairy tale. The plot centers around Prince Ivan, who, with the aid of the magical Firebird, defeats the fearsome sorcerer Kastchei the Immortal. He frees the captive Princesses and wins the hand of his beloved. Stravinsky completed the score in just under six months, with The Firebird’ s triumphant premiere given in Paris on June 25, 1910.
The 1919 suite( one of three different suites published by Stravinsky) whittles down the 45-minute ballet into a concise concert work of memorable highlights. The suite begins with an“ Introduction” that establishes the fairytale setting of Kastchei’ s enchanted garden, in which his enemies have been imprisoned as stone statues. The“ Dance” and“ Variation” of The Firebird are closely related to the musical idiom of Fireworks, heard earlier in today’ s concert. Next, the expressive“ Round Dance”( khorovod), quoting a folk song also used by Stravinsky’ s late mentor, Rimsky-Korsakov, presents music for the 13 Princesses held captive by Kastchei; Prince Ivan, of course, falls in love with the most beautiful one. Kastchei’ s“ Infernal Dance” unfolds as the Firebird causes Kastchei and his minions to furiously dance themselves into exhaustion. The“ Berceuse” provides a moment of stillness as the Firebird lulls Kastchei to sleep, while the“ Finale,” again borrowing a folk melody found in Rimsky-Korsakov’ s music, brings the ballet to a triumphant conclusion.
AARON ZIEGEL is Associate Professor of Music History & Culture and Assistant Chairperson of the Department of Music at Towson University. He is also the Scholar in Residence at Opera Baltimore, where his“ Opera Insights” series explores each of the operas in the company’ s repertoire. He is a regular collaborator with composer Jonathan Leshnoff, providing background research and program note writing for many of his recent compositions.
IN MEMORIAM
WILLIAM A. NERENBERG August 29, 1939 – April 16, 2026
We celebrate the life of Bill Nerenberg- friend, champion, and change maker for the BSO. A“ recovering saxophone player,” Bill’ s passions for music lead him to serve the Baltimore community in many ways, first as the Managing Director of the Shriver Hall Concert Series, and more recently as a host of at-home chamber music concerts with his wife, Dotty Rosenthal. Bill also created a very successful course, The Business of Music, at Peabody Conservatory, where he was Distinguished Visiting Professor for a decade. Bill’ s desire for the BSO to thrive on and off the stage had great influence on the institution’ s growth since 2019, a legacy that continues today and tomorrow including future generations supported by the family’ s endowed scholarship fund for the Baltimore Symphony Youth Orchestras. With Dotty, Bill was a longtime Governing Member, and generously sponsored Principal Tuba, Aubrey Foard, in the 2024-25 and 2025-26 seasons.
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