MasterWorks VI: For The Family

side by side with the
Canton Youth Symphony Advanced Orchestra


Saturday, April 13th, 2024 | 3:00pm

Umstattd Hall | Zimmermann Symphony Center
2331 17th St. NW
Canton, OH 44708

A graphic depicting an average family's photo wall, complete with frames including various types of families. Mixed race, nontraditional, and the featured composers' families are all featured. The graphic is titled "For the Family: Side by side with the Canton Youth Symphony Advanced Orchestra."

TICKETS

All Adult Tickets $15

Student Tickets (18+ with ID): FREE
Children 17 and under: FREE

Box Office: 330-452-2094
boxoffice@cantonsymphony.org

DESCRIPTION

Conducted by CSO Music Director Designate, Matthew Jenkins Jaroszewicz.

This concert invites families to experience the full power of the Canton Symphony Orchestra at an affordable price and a sensible time of day for children. Spend your afternoon sharing music with the next generation of concertgoers, musicians, and composers. The program features shorter pieces and movements that are easy to enjoy. Included on the menu is Ravel’s “Mother Goose Suite,” featuring movements inspired by Sleeping Beauty, Tom Thumb, and Beauty and the Beast. Also featured is Grieg’s “Peer Gynt Suite No. 1,” which brings the concert to a thunderous close with the famous “In the Hall of the Mountain King.”

Performing with the CSO on the first half is the Canton Youth Symphony Advanced Orchestra, our premiere youth ensemble made up of students from six surrounding counties. All adult tickets to this concert are $15. Children, youth, and college students attend at no cost.

PROGRAM

Colonial Dance…………………………………………………………….Florence Price
Somerset Rhapsody………………………………………………………Gustav Holst
Overture for Orchestra………………………………………………….Ina Boyle
Spanish Dance No. 1…………………………………………………..Manuel de Falla
Intermission
Overture to The Magic Flute…………Wolfgang Amadeus Mozart
Mother Goose Suite…………………………………………………….Maurice Ravel
Peer Gynt Suite No. 1………………………………………………………Edvard Grieg

Pre-Concert Lecture

Join us for a pre-concert lecture before the performance at 2:00pm in Foundation Hall, where we will feature  several musicians from the Canton Youth Symphony Advanced Orchestra.

ARTIST SPOTLIGHT

FLORENCE PRICE

Florence Beatrice Price was born in Little Rock, Arkansas, on 9 April 1887. She began learning music from her mother at an early age and gave her first piano performance at age four, reportedly publishing a composition (now lost) at age eleven. She graduated high school at the age of sixteen and in that same year was accepted into the New England Conservatory (Boston), then as now one of the most prestigious musical academies in the U.S.

Although the premiere of her First Symphony brought instant recognition and fame to Florence Beatrice Price, success as a composer was not to be hers. She would “continue to wage an uphill battle – a battle much larger than any war that pure talent and musical skill could win. It was a battle in which the nation was embroiled – a dangerous mélange of segregation, Jim Crow laws, entrenched racism, and sexism.” (Women’s Voices for Change, March 8, 2013). The same fate would also befall fellow Arkansan William Grant Still, the “Dean of Black Composers” (whose Afro-American Symphony was performed by the Rochester Philharmonic Symphony under Howard Hanson, the first time in history that a major American orchestra had played a symphonic work by a black composer) and many others due to rampant endemic and systemic racism.

INA BOYLE

Ina Boyle was a pupil of the British composer, Ralph Vaughan Williams (1872-1958). She lived quietly with her family in Co. Wicklow and would travel regularly to London for lessons with Vaughan Williams, who thought highly of his Irish student. Despite his encouragement, Boyle would not relocate to London and instead lived all of her life in the family home caring for her parents and sister who needed her, while still composing every day, drawing inspiration from the beautiful countryside around the family home. As a result of her isolation from musical life in London, early success was not followed through and performances of her music dwindled. Her huge body of work including, symphonies, choral, vocal and chamber music, in addition to an opera and various stage works, remain largely unperformed and are preserved in manuscript form in the Library of Trinity College Dublin awaiting rediscovery. It is particularly poignant that Ina Boyle heard so little of her music performed in her lifetime. Modern audiences now have the opportunity of hearing and enjoying her music being performed for the first time.

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