The Long and Winding Road back to the Warner Theatre

ERIE PHILHARMONIC WELCOMES GUEST ‘BATON’ CONDUCTOR TO TAKE THE STAGE DURING SOLD-OUT PERFORMANCE

December 20, 2021 – The Erie Philharmonic continues its decades-long tradition of passing the ‘Baton’ with guest conductor Mike Batchelor taking the stage during the SOLD-OUT Music of the Knights performance on January 29, 2022.

Once a year, a community member is selected to take the helm of the Philharmonic as a fundraiser for the orchestra’s life-changing educational outreach activities, including youth concerts, instrumental petting zoos, virtual reality experiences and more.

Originally scheduled for 2020, this concert was postponed and later canceled due to the onset of the COVID-19 pandemic.  In what can only be described as a storybook ending to this journey back to the Warner Theatre, Batchelor will now lead the Philharmonic in a performance of The Beatles’ song “The Long and Winding Road” during the orchestra’s second performance in the newly renovated Warner Theatre. “I am honored to help our Philharmonic celebrate their return to the renovated Warner Theatre,” said Batchelor.  “As Tammy and I review our long history in Erie, some of our fondest memories are associated with the Erie Philharmonic and the Warner.  I know that funds raised will help the Phil continue their community outreach and to build audiences that will secure their future for generations to come,” he said.

Batchelor, who recently retired after more than 30 years at the Erie Community Foundation, leaves behind an impressive legacy of fundraising and community support.  Between the creation of Erie Gives Day to the expansion of Community Foundation assets from $20 million to $350 million, he has set the gold standard in creating public awareness for the true power of philanthropy.

Friends, colleagues and community members can make donations in Batchelor’s honor to support the Philharmonic’s educational outreach opportunities at https://eriephil.org/baton or by clicking below.

Since 1969, the orchestra has been led by more than 45 individuals from across the region.  This list includes Noel Burgoyne, Chuck Furr, Mili Hanes, Linda Stevenson, Katie Denlinger, Lou Baxter, Wally Faas, Charlie Ingram, John Vanco, Christie Ferrier, Marlene Mosco, Don Baxter, Chuck Harris, Bruce Kern, John Baldwin, Pauline Scott, Peggy Richardson, Tom Vicary, Wally Knox, Al Renkis, Sandra Jarecki, James McKibben, Brady Louis, Robert Ferrier, Bob Merwin and many more.

The Philharmonic has reserved a block of tickets for this SOLD OUT performance set aside for donors in Batchelor’s honor.

Please contact Elizabeth Valkanas at 814.455.1375, ext. 114 or elizabeth@eriephil.org to make a donation.

Concert Details

Saturday, January 29, 2022 @ 8pm - SOLD OUT

• Music of the Knights

• Warner Theatre, 811 State Street

• More info: https://eriephil.org/calendar/knights

• Erie Philharmonic Box Office - 814.455.1375 (available Monday-Friday, 9am-5pm)                               

Please note - the box office will be closed from December 20-January 2. If you have any immediate questions please email info@eriephil.org.

Links for Additional Media Content:

• 2021-22 Season: https://eriephil.org/21-22

• 2021-22 COVID policy: https://eriephil.org/safetyplan

Patrons will be required to show proof of COVID-19 vaccination or negative test upon arrival (PCR within 72 hours, antigen within 24 hours). All patrons must wear their mask when inside a concert venue. Visit eriephil.org/safetyplan for full details.

PHILHARMONIC CHORUS TO PRESENT HANDEL'S MESSIAH

THE ERIE PHILHARMONIC BRINGS A HOLIDAY CONCERT YOU WON’T WANT TO ‘MESSIAH’ OUT ON!

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December 8, 2021 – Handel’s Messiah Returns! After a pandemic instilled hiatus in 2020, George Frideric Handel’s Messiah is back with two performances for what is promised to be a powerful and moving production at the First Presbyterian Church of the Covenant on Saturday, December 11 at 3pm and 8pm.

Handel’s Messiah, thrilling audiences every time it’s performed, is the most performed and perhaps most beloved of all the great choral masterworks.  You may have heard bits of Messiah ringing out from churches, concert halls or radios around Easter and Christmas, particularly the ‘Hallelujah’ chorus and ‘For Unto Us A Child Is Born’.  Performing the piece around Yuletide became a national obsession in Britain in the Victorian era –– and that obsession has never quite abated.

Legend has it that Handel composed Messiah in just 24 days without getting much sleep or food. While writing the ‘Hallelujah’ chorus Handel’s servant discovered him with tears in his eyes and he exclaimed, “I did think I did see all Heaven before me, and the great God Himself seated on His throne, with his company of Angels.”  Messiah, in short, tells a story of humanity’s redemption, a pointed and appropriate message for yet another holiday season in the midst of a pandemic.

Patrons will be required to show proof of COVID-19 vaccination or negative test upon arrival (PCR within 72 hours, antigen within 24 hours including at-home tests). All patrons must wear their mask when inside a concert venue.

The concert will be led by Erie Philharmonic Chorus Director Thomas Brooks, and soloists will include soprano Elizabeth Baldwin, mezzo soprano Joan Marie Peitscher, baritone Eddie Pleasant and tenor Wesley Lawrence.

Elizabeth Baldwin

Joan Peitscher

Wesley Lawrence

Eddie Pleasant

Baldwin has been called "ferociously talented" by the San Francisco Examiner and "mesmerizingly vulnerable" by the New York Times. Peitscher is known for her "rich sound and moving performances," and Edward Pleasant is considered "one of the most versatile performers of his generation." Wesley Lawrence has appeared in shows across America and Europe. His accomplishments include performing as Rodolfo in Puccini's La Bohème in Italy and the solos in Dubois' Seven Last Words of Christ.

Join the Erie Philharmonic and the Philharmonic Chorus to revel in history, beauty and significance this holiday season with the return of Handel’s Messiah!

Messiah Events:

Thursday, December 9, 2021 @ 6:30pm

• Erie Philharmonic Chorus’s Holiday Soiree Fundraiser

• Ambassador Conference Center

• More info: https://eriephil.org/calendar/holidaysoiree

Friday, December 10, 2021 @ 12pm

• Live from Studio Q with Messiah soloists

• WQLN 91.3 FM

• More info: https://www.facebook.com/events/673756090700696

Saturday, December 11, 2021 @ 3pm & 8pm

• Handel’s Messiah

• First Presbyterian Church of the Covenant (250 W 7th Street, Downtown Erie)

• More info: https://eriephil.org/messiah

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ERIE PHILHARMONIC RETURNS

ERIE PHILHARMONIC RETURNS TO THE STAGE AFTER NEARLY TWO YEARS WITH COME HOME FOR THE HOLIDAYS

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November 29, 2021 – For the Erie Philharmonic, the music has finally returned. After the closing notes sounded on March 7, 2020, at the Warner Theatre, the future of the orchestra was unknown. With the onset of the COVID-19 lockdown over those next few weeks, arts organizations across the country closed up shop, in some cases for good.

Not your Erie Philharmonic.

17 television broadcasts and 16 free summer concerts later, the orchestra is back, thanks to the heroic generosity and dedication of countless individuals across the region. The orchestra not only survived; they thrived, adapted and pivoted, and are ready for a comeback concert for the ages.

This comeback launches on December 4 with two performances of the beloved Come Home for the Holidays concert (3pm & 8pm). Showing resilience yet again, the orchestra was forced to pivot last minute by switching venues to the Erie Insurance Arena. A move, described by Executive Director Steve Weiser, not as disruptive as it may seem. “Lost in the chaos of 2020 was the concept that our pre-COVID 2020-21 season was planned entirely with the Erie Insurance Arena in mind. Between ornate curtaining and lighting to an upgraded sound system, 99% of the work was already done in terms of concert planning. Once we knew for sure the concert needed to be moved to the arena, our team worked around the clock to facilitate the change and to start preparing for this memorable concert.”

Memorable certainly seems correct. The Philharmonic has assembled a cast of hundreds for these two exciting, identical holiday performances (in previous years, the afternoon performance was shortened). Alongside the return of Maestro Daniel Meyer, Concertmaster Ken Johnston, the Erie Philharmonic, the Philharmonic Chorus and Junior Philharmonic Chorus, this concert will also feature the grand debut of the orchestra’s newly formed Youth Chorale, under the direction of Sharon Downey.

Patrons will be required to show proof of COVID-19 vaccination or negative test upon arrival (PCR within 72 hours, antigen within 24 hours). All patrons must wear their mask when inside a concert venue.

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Highlighting the program is another memorable star – renowned Broadway singer Ashley Brown (pictured above). Ms. Brown originated the title role in Mary Poppins on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she was awarded a 2010 Garland award for “Best Performance in a Musical.” Ms. Brown’s other Broadway credits include Belle in The Beauty and The Beast and she has starred in the national tour of Disney's On The Record. 

With selections from O Holy Night and White Christmas to Chanukah Lights and the crowd-favorite sing-along, the Philharmonic is indeed coming home for the holidays. Maybe not the home the orchestra was expecting, at least not yet anyway, but the home that Erie needs right now.

A home (read: hockey arena) full of singing, laughter, joy and, finally, music.

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Erie Philharmonic Announces Venue Change and the Return of Emanuel Ax

As we’ve expressed before, we are extremely grateful to you, our dedicated audience. The support you have shown us over the past 21 months is inspirational, and we cannot wait to show our gratitude when we take the stage together in the coming months at the newly-renovated Warner Theatre.

I’m here today with three important announcements regarding our historic 2021-22 season. While we are all bursting with excitement to take the stage at the Warner Theatre this December, it looks as if we’ll have to take one more detour before finally coming home.

Today, I am announcing that our 2021 Come Home for the Holidays concerts will be presented at the Erie Insurance Arena on December 4. They will remain at the same times – 3pm and 8pm and the same date as originally planned.

“With the combined forces of the Erie Philharmonic, the Philharmonic Chorus, the Junior Philharmonic Chorus, our brand-new Youth Chorale and Broadway Star Ashley Brown (Mary Poppins, Beauty and the Beast), this program will fill you with holiday spirit as we perform our first full orchestra performance in almost two years.”

— Maestro Meyer

If you have already purchased tickets for either concert, we will reseat you with similar seats in the Arena.  No need to contact us – we will simply print your new tickets and mail them to you.

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Ashley Brown originated the award-winning role of Mary Poppins on Broadway!

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The Come Home for the Holidays concert will now take place at the Erie Insurance Arena, with concerts scheduled for 3pm and 8pm. Ticket sales for these concerts will be suspended from October 29 to November 8 to give Philharmonic staff time to reseat the audience.

Sales will reopen on Monday, November 8.

Current ticket-holders will be placed in correlating seats in the Arena and new tickets will be mailed. Please do not call the box office to move your tickets to allow for staff to quickly make this change.

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We are now also able to release our plan to keep audiences safe this season. The health of our musicians, patrons, volunteers and staff is paramount. By committing to a safe environment for all, the Erie Philharmonic has joined a growing coalition of performing arts organizations across the country in adopting safety protocols to ensure your visit to the Philharmonic is safe and sound. Patrons will be required to show proof of COVID-19 vaccination or a negative test upon arrival, and we ask that all patrons wear their mask when inside a concert venue. Please visit eriephil.org/safetyplan for more information as we look to do our part in keeping the concert hall a safe place this season.

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Finally, we have one more exciting update to share with you, and we’re asking you to pivot with us one more time. Our opening night Symphonic celebration in the Warner Theatre will now take place two weeks later than originally planned, on Sunday, January 23 at 3pm. 

Emanuel Ax performed for a SOLD OUT crowd back in 2017!

In what can only be described as a storybook ending to this long journey away from the Warner Theatre, legendary pianist Emanuel Ax will return to Erie to help us christen our renovated home and our brand-new Steinway piano. Additionally, we are happy to announce internationally-renowned violinist Midori will be returning as part of our 2022-23 season.

The box office is working around the clock to facilitate these changes – if you have already have tickets to this performance, please check your mail for forthcoming communications and newly-printed tickets.

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All ticket-holders for the originally scheduled January 8 concert will be mailed new tickets for the concert on Sunday, January 23. The Erie Philharmonic box office requests patrons refrain from calling the office with ticketing questions until new tickets are distributed.

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The biggest thing we need to remember today is that on December 4, the music will return.

“The Erie Philharmonic thrives on not where we perform, rather, through the gathering and sharing of our love for music. As we have proven over the last 21 months, the orchestra is alive and well outside the walls of our venues. We are in your parks, your bandshells, your living rooms and your television screens…anywhere music can exist, so can the Erie Philharmonic. ”

— Maestro Meyer

Thank you for your patience and understanding.  Together we will be able to celebrate the return of live music, and we appreciate your willingness to help us reach that triumphant moment.

Daniel Meyer
Music Director, Erie Philharmonic

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ERIE PHILHARMONIC CHORUS RESUMES REHEARSALS AND CONTINUES TO GROW

Founded in 1951, the Erie Philharmonic Chorus has a storied history of providing high-quality choral music opportunities to singers around the Erie region. From collaborative performances with the Erie Philharmonic to independent concerts, the Chorus has become a part of many family traditions – from multiple generations of membership to yearly performances of Handel’s Messiah.

This past year has challenged the Chorus to stay engaged through an 18-month pause of rehearsals. However, after virtual happy hours, educational videos and virtual lectures covering topics from Harry Burleigh to Arthurian legends, rehearsals have officially resumed. The ninety singers, all distanced and masked, were excited to jump in to the repertoire that lays ahead this season, including Mahler’s Symphony No. 2, Handel’s Messiah, the well-loved show tunes of Rodgers & Hammerstein and more.

“We’ve been waiting for this moment for quite a while. It certainly has been a challenge getting everyone back together, but we’ve had great help from the Erie Philharmonic and the medical professionals in the Chorus. We finally get to do what we do best – make music together!”

— Tom Brooks, Chorus Director

Rehearsals aren’t just starting up for the Erie Philharmonic Chorus; weekly practices have also begun for the Junior Philharmonic Chorus and newly formed Youth Chorale. These ensembles, in partnership with the Episcopal Cathedral of St. Paul in downtown Erie, have drawn students from across the region and will include choral rehearsals and group piano lessons in a state-of-the-art Roland piano lab.

“Our students have a great opportunity to expand their horizons and become leaders in their own school ensembles. We’re finally establishing something that we’ve wanted for a while: ensemble opportunities for singers of all ages. It’s an exciting time.”

— Brooks

The Erie Philharmonic Youth Chorale, designed for students in second through eighth grade and conducted by Cathedral of St. Paul Music Director Sharon Downey, has wait-list spots available. The Erie Junior Philharmonic Chorus, made up of high school singers, still has spots available. To sign up for an audition, please click below:

The first performance for these three ensembles will take place at the Erie Philharmonic’s Come Home for the Holidays concert on Saturday, December 4.

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Musical Maverick

Guest Artist Profile: Cameron Carpenter

With his exceptional musicality, sheer endless technical ability and pioneering spirit, the extraordinary organist Cameron Carpenter is already leaving his mark on recent music history.

Since the completion of his own instrument, the International Touring Organ (ITO) in 2014, Cameron defies initial skepticism towards this digital instrument and established the ITO on the world’s most prestigious stages.

By now, he almost exclusively performs on the ITO, be it in recital or concerto appearances. This tailor-made instrument, based on Carpenter’s own plans, allows him to perform at almost any location worldwide.

Thus far, he has taken it on tour to Australia, New Zealand, Russia and Asia in addition to numerous appearances around Europe and the US.

While he is in Erie, though, Cameron will be performing on our recently-donated organ from Dennis and Margaret Unks, a 1500-piece Wurlitzer Theatre Organ that is currently being refurbished and outfitted for the Warner Theatre during renovations. This will truly be a concert for the ages. Mark your calendars now for February 26, 2022.

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Local Talent

Born in 1981 in Titusville, Pennsylvania, Carpenter had his first piano and organ lessons starting in 1986 with Dr. Beth Etter, who still performs with the Erie Philharmonic frequently. Besides this mentorship, Cameron also studied with John Bertalot and James Litton. Additionally, at the North Carolina School of Arts, he studied composition and organ with John E. Mitchener.

Local teacher recalls teaching virtuoso Carpenter

Of course, I went. I sat in the first row, the middle rows — left, right and center, as far back as I could go and more in order to assess his sound in the spectacular, circular hall. I watched and marveled at the maniacal yet methodical, intensely focused, organized rehearsal which didn’t end until he was satisfied with nuances often hard to detect. What do you expect from a young talent whose ambition is to change the position of the organ in the entire world — forever?

- Dr. Beth Etter

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How do I see Cameron live?!

Due to extremely high demand for subscriptions for next season, the best way to guarantee a seat is currently with a subscription. New subscribers save 10% - call to redeem this offer.

If you would like individual tickets, those will go on sale October 12.

Subscriptions such as a Full, Symphonic, Compose Your Own, or Flex 4 could all include our February 26 concert featuring Cameron and the debut of the Unks organ.

The Erie Philharmonic remote box office is currently open 9am-5pm Monday through Thursday. You can call (814) 455-1375 for more information.

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A matching gift, broadcast concert and actor Harry Lennix

A special message from Music Director Daniel Meyer

Thank you for standing by us this past year, as we ventured both into your home and in your hometown.  Between 16 televised broadcasts on WQLN PBS and 16 concerts in parks, tents and pavilions across the region, the Philharmonic has reached more people with the gift of music than ever before.

Now, as we prepare for the grand reopening of the Warner Theatre this December, I have three special announcements to share with you, so let’s get started!

“We have amazing news to share - we have secured an anonymous matching gift for Erie Gives Day this August 10th.  Simply put – every dollar you donate to the Erie Philharmonic will be matched dollar for dollar, doubling your gift.”

— Daniel Meyer, Music Director

Whether you’ve enjoyed our free concerts over the last 12 months, or are anxiously awaiting opening night in the Warner Theatre, this Erie Gives Day is the best way for you to show your support for the Philharmonic.  Donations can be made between 8am and 8pm on Tuesday, August 10th.  Please visit eriegives.org to learn more.

Next, we are delighted to announce that the Erie Philharmonic will be returning to your TV screens this fall.  We are launching an innovative new concert series, where we will present a free performance in venues across the city, highlighting music, stories, architecture and more from our neighborhoods.  This concert will also be recorded and presented a few weeks later as an hour-long TV special on WQLN PBS.  Please stay tuned for more specific details on the first concert in this series, coming up on Friday, October 15th, featuring the stunning St. Patrick’s Cathedral.

Finally, we have a little bit of celebrity news to share.  Renowned actor Harry Lennix will make a trip to Erie this spring to perform as part of a brand-new piece of music we have commissioned about the Underground Railroad and Harriet Tubman by composer Timothy Adams.  From NBC’s The Blacklist to the action-packed Justice League, we are honored to welcome Mr. Lennix to Erie for this landmark event in May, 2022.

So there you have it…a famous actor makes his way to Erie, the Philharmonic returns to television this November, and all donations to the orchestra will be matched dollar for dollar on Erie Gives Day, coming up on Tuesday, August 10th. 

Thank you for your ongoing support and dedication to the Philharmonic!  We can’t wait to see you back at the Warner Theatre.

Daniel Meyer
Music Director, Erie Philharmonic

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Child prodigy. Cultural icon. Violin virtuoso.

Guest Artist Profile: Midori Goto aka "Midori"

There are a few celebrities who go by just one name - Oprah, Madonna, Beyoncé, Rihanna - but Midori is the classical music world's own one-moniker celebrity. From her debut with the Boston Symphony at just 14 with the legendary Leonard Bernstein, to her 2021 Kennedy Center Honor, she's been a star of the orchestra world for generations.

Scroll down to read and view some of the incredible work she's done but don't forget - she'll be in Erie January 8, 2022! Learn how you can guarantee a seat below.

Girl, 14, Conquers Tanglewood with 3 Violins

Published in The New York Times, July 28, 1986

"... in the heat of the long and complex fifth and final movement, Miss Dori broke her E string. She quickly turned to Malcolm Lowe, the concertmaster, who looked nonplussed but finally handed over his Stradivarius. There was a moment's pause while Miss Dori fitted her chin rest onto the new violin. But then she proceeded absolutely unfazed.

Then it happened again - another snapped E string. By this time Mr. Lowe was playing the Guadagnini of the acting associate concertmaster, Max Hobart, and Mr. Hobart had retuned Miss Dori's violin and was playing it, ''faking'' his way around the missing E string."

Kennedy Center Honoree

“The Kennedy Center Honors serves as a moment to celebrate the remarkable artists who have spent their lives elevating the cultural history of our nation and world,” said Kennedy Center Chairman David M. Rubenstein. “With an international presence for over 35 years, violinist Midori combines graceful precision and expression for performances building connections between art and the human experience”

2021 Kennedy Center honorees. Front row: Debbie Allen, Dick Van Dyke, Midori. Back row: Joan Baez, Garth Brooks.

Philanthropy

Midori is deeply committed to furthering humanitarian and educational goals. She has founded and manages several non-profit organizations, including Midori & Friends, which provides music programs for New York City youth and communities, and MUSIC SHARING, a Japan-based foundation that brings both western classical and Japanese music traditions into young lives by presenting programs in schools, institutions, and hospitals. In recognition of such commitments, she serves as a United Nations Messenger of Peace.

Midori reflects on her quintessential prodigy story and what it means to be a performer

Midori plays Bach - Chaconne, Partita No. 2

How do I see Midori live?!

Due to extremely high demand for subscriptions for next season, the best way to guarantee a seat is currently with a subscription. New subscribers save 10% - call to redeem this offer.

If you would like individual tickets, those will go on sale in the fall. Subscriptions such as a Full, Symphonic, Compose Your Own, or Flex 4 could all include our January 8 concert featuring Midori.

The Erie Philharmonic remote box office is currently open 9am-5pm Monday through Thursday. You can call (814) 455-1375 for more information.

If you opted to push your subscription forward from our canceled 2020-21 season, you may have a credit on your account. In order to finalize your subscription, you must confirm that you plan to attend and use your subscription seats. Please call the box office for more information.

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Erie Philharmonic June Recap

After a series of five June concerts, the Erie Philharmonic is back with more free In Your Hometown summer concerts. Each June performance featured a “local celebrity” narrator from long-time educator Armendia Dixon of Meadville to Erie News Now anchor and Erie Philharmonic board president Lisa Adams. The concerts saw an average of 600 attendees for a total of almost 3,000 people. Narrators received standing ovations and engaged kids from all across the Northwest PA region.

In Meadville, one family was so grateful to bring their granddaughter to see Peter and the Wolf that they sent a very touching, handwritten note:

Dear Erie Philharmonic,

Thank you for all you have done to keep the music alive this past year and a half – and for bringing it to Meadville and Crawford County last Friday.

And especially thank you for introducing our 5 year old granddaughter to Peter and the Wolf.  She is our only grandchild so far.  She lives in Bridgeville.  It has long been our dream of taking her to hear Peter and the Wolf (we both loved it as children and we played it for our sons on an LP – Peter Ustinov narrated it – often).  We had no idea when or where.  Then, lo and behold, you brought it to Meadville!

It was an occasion we will never forget – including, we think, our granddaughter.  At 5 years old, she was not clinging to every word or note, but she really felt the music and the characters and understood the story.

Also it was the occasion to have her come and spend the night (two of them) with us without her parents – for the first time. 

Thank you for the event of a lifetime – from all of us, for all of us.

More music will continue through Monday, July 12 at the Ed Myer Complex in Titusville, with a 16-person brass ensemble playing patriotic and pops favorites. August will feature a light-classical chamber concert with nine musicians performing selections from Carmen, Rossini, Prokofiev and more.

If inclement weather occurs, concerts will not be rescheduled and guests are encouraged to attend the next scheduled performance. Please check social media and email for all concert updates.

Daniel & Lisa Adams

Opening night June 23 in North East

Armendia Dixon & Daniel

Daniel & Rick Scaletta

Eddie Ocasio

Rev. Shawn Clerkin

A 16-person brass ensemble performing everything from Sousa and patriotic favorites to music from Henry Mancini and Scott Joplin 

• July 9 - WQLN, Erie

• July 12 - Ed Myer Complex, Titusville (6pm) 

A light-classical chamber concert with nine musicians guaranteed to have you dancing in the park, including selections from Carmen, Rossini, Bolero and more 

• August 10 - Edinboro University, Edinboro 

• August 11 - Gibson Park, North East 

• August 15 - Perry Square, Erie (12pm) 

• August 17 - Asbury Woods, Erie 

• August 18 - Lake Erie Community Park, Girard 

An encore performance from the Erie Phil Strings! 

• September 8 - Gibson Park, North East (6:30pm)

Erie Philharmonic Box Office · 814.455.1375 · info@eriephil.org

Available Monday - Thursday 9am-5pm 

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Erie Philharmonic Summer Concerts

Bring your lawn chair or blanket, and get ready for a summer of live music! The Erie Philharmonic is proud to announce its schedule for an unprecedented, free 17-concert tour titled In Your Hometown. From Meadville to North East, and everywhere in between, the music is heading directly to your hometown. Beginning on June 23 and running through September 8, different ensembles, such as a full orchestra family-style concert or a large brass choir, will perform concerts in parks and outdoor venues all free of charge. 

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“If you enjoyed our free televised season of music this past year, we sincerely hope you’ll come out and join us in your hometown this summer. We’re only able to do these concerts because of the heroic generosity shown by our patrons, sponsors, volunteers and advertisers. These concerts are our thank you to the region for supporting us over the last year and a half.”

— Executive Director Steve Weiser

The concerts begin at Gibson Park in North East, PA, a special and recurring location throughout this summer. During the summer of 2019, the Philharmonic visited North East for multiple summer concerts, in partnership with Red Letter Hospitality, the North East Community Foundation, and the support of many businesses. These concerts laid the groundwork for the return of four concerts in North East this year, with the summer tour in opening and closing in beautiful Gibson Park. 

The Erie Philharmonic created a voting website in the spring where community members could vote and leave suggestions for locations for summer concerts. The locations selected via this voting process include downtown Erie, Fairview, Titusville, Edinboro, Meadville, and more. We are grateful for the community’s help in selecting the myriad of venues we’ll be visiting this summer, many for the first time! 

Concerts will be free and open to the public. The safety of musicians and attendees is the orchestra’s biggest priority, so all mandated COVID-safety policies will be in place. 

Please see below for concert schedule. All concerts begin at 7pm unless noted. 

The perfect family concert with a full orchestra performing the beloved tale of Peter and the Wolf and more, including pre-concert activities from the Erie Playhouse and the expERIEnce Children’s Museum one hour prior to concert. 

• June 23 - Gibson Park, North East, Lisa Adams, narrator 

• June 24 - Goodell Gardens, Edinboro, Richard Scaletta, narrator 

• June 25 - Diamond Park, Meadville, Armendia Dixon, narrator 

• June 26 - Horan Garden Apartments, Erie, TBD, narrator 

• June 27 - Gridley Park, Erie (3pm), Shawn Clerkin, narrator 

A 16-person brass ensemble performing everything from Sousa and patriotic favorites to music from Henry Mancini and Scott Joplin 

• July 5 - Pleasant Ridge Park, Fairview 

• July 7 - Gibson Park, North East 

• July 8 - Perry Square, Erie 

• July 9 - WQLN, Erie (televised on WQLN PBS)

• July 12 - Ed Myer Complex, Titusville (6pm) 

A light-classical chamber concert with nine musicians guaranteed to have you dancing in the park, including selections from Carmen, Rossini, Bolero and more 

• August 10 - Edinboro University, Edinboro 

• August 11 - Gibson Park, North East 

• August 15 - Perry Square, Erie (12PM) 

• August 17 - Asbury Woods, Erie 

• August 18 - Lake Erie Community Park, Girard 

An encore performance from the Erie Phil Strings! 

• September 8 - Gibson Park, North East 

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Erie Philharmonic Box Office · 814.455.1375 · info@eriephil.org

Available Monday-Friday 9am-5pm 

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Erie Philharmonic Announces Triumphant Return to the Warner Theatre

The Erie Philharmonic announced its concert lineup for the 2021-22 season on Thursday, April 15, at the conclusion of their season finale concert, broadcasted on WQLN PBS and streamed online. The orchestra will begin a historic season in December 2021 with its annual Come Home for the Holidays concert, following the completion of long-awaited Warner Theatre stage renovations. 

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“I cannot wait to return to the Warner stage and share the sheer sonic and visual force of the entire Erie Philharmonic playing together again. I don’t think I am exaggerating to say that we will be playing on the edge of our seat, thrilled to be back making the music we love so dearly in our home, the beautifully-renovated Warner Theatre.”

— Music Director Daniel Meyer

It has been over a year since the Philharmonic last graced the Warner Theatre stage to perform a live concert with an in-person audience. Since that time, the orchestra has recorded eight television concerts, free for the community, that have reached audiences from across the country. 

“While these televised concerts on WQLN PBS have been one of the most uplifting experiences in my tenure here with the orchestra, we are beyond excited to get back on stage at the Warner Theatre to show off just how amazing this new stage is going to be,” said Executive Director Steve Weiser. “The stage is going to be bigger, the lights are going to be brighter, and the sound is going to be vastly improved…every aspect of the performance side of the Philharmonic will be enhanced. And, we’ll be debuting a newly-installed 1,500-piece pipe organ and a brand-new Steinway piano.” 

In the meantime, the orchestra is planning an expansive outdoor free summer concert series titled In Your Hometown. While the COVID-19 pandemic shut down events in the summer of 2020, the orchestra is prepared to bring the music directly to audiences with numerous concerts planned from June - August. A full listing of events will be announced in the coming weeks on the orchestra’s website and social media pages. 

Even with this busy summer schedule, the Philharmonic remains committed to completing the journey home, back to the Warner Theatre. 

“It feels good to know we can finally showcase the blockbuster film concerts and award-winning artists from the canceled season. We only get the chance to open a newly-renovated stage once in a lifetime, and we’re ready to present a season for the record books. But, we’re also going to have increased safety measures in partnership with Erie Events to ensure everyone can come back safely for this season full of amazing, live music.”

— Executive Director Steve Weiser

Subscription packages for the upcoming season will be available mid-May, with single tickets going on sale for the general public in the fall. For the latest updates and season information, people are encouraged to sign up for Erie Philharmonic emails here.

See below for the 2021-22 season and website information. All concerts will take place at the Warner Theatre, located at 811 State Street in downtown Erie, PA. 

• Come Home for the Holidays

  • Saturday, December 4, 2021 @ 3PM 

  • Saturday, December 4, 2021 @ 8PM 

• Midori

  • Saturday, January 8, 2022 @ 8PM 

• Music of the Knights

  • Saturday, January 29, 2022 @ 8PM 

• Cameron Carpenter

  • Saturday, February 26, 2022 @ 8PM 

• Rachmaninoff

  • Saturday, March 19, 2022 @ 8PM 

• Mary Poppins film with live orchestra

  • Saturday, April 9, 2022 @ 8PM 

  • Sunday, April 10, 2022 @ 3PM 

• Star Wars: A New Hope film with live orchestra

  • Saturday, April 30, 2022 @ 8PM 

  • Sunday, May 1, 2022 @ 3PM 

• Beethoven 7

  • Saturday, May 14, 2022 @ 8PM 

• Rodgers & Hammerstein in concert

  • Sunday, June 12, 2022 @ 3PM 

• Mahler’s Resurrection

  • Sunday, June 26, 2022 @ 3PM 

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Erie Philharmonic Remote Box Office · 814.455.1375 · info@eriephil.org

Available Monday-Friday 9am-5pm 

Links for Media Content:

Erie Philharmonic's Season Finale Renews Restaurant Partnership and Announces 2021-22 Season

The Erie Philharmonic will end its In Your Home broadcasted concert series on Thursday, April 15 at 8:00pm with pianist-composer Michael Brown and cellist Nicholas Canellakis. The broadcast will end with a preview video of the lineup for the 2021-22 concert season back in the Warner Theater. Additionally, the orchestra is encouraging local viewers to support restaurants again and order takeout for that evening. 

Patrons interested in supporting restaurants in Erie or Crawford County are encouraged to order food ahead of time and coordinate pickup from restaurants the same day as the concert before the broadcast at 8pm. Featured restaurants and concert information can be found at eriephil.org/tango. The list includes everything from barbeque to Syrian cuisine. 

The broadcasts on April 15, 2021 and April 18, 2021 mark the Philharmonic’s eighth broadcast performance in partnership with WQLN PBS as well as the season finale before the orchestra transitions to small, outdoor summer concerts. The concert will feature music from Bach, Tchaikovsky, Elgar and contemporary composer George Walker. 

“We are beyond grateful to have thousands of people watching our concerts from home. Our partnership with WQLN PBS and Edinboro University made this season possible and accessible to so many. Much of what we’ve been able to initiate and accomplish this year will pop up again in future seasons.”

— Executive Director Steve Weiser

See below for concert and website information. 

• Thursday, April 15, 2021 

  • 8pm It Takes Two to Tango: Episode 2 Broadcast 

  • WQLN PBS | wqln.org/eriephil 

  • World-renowned cellist Nicholas Canellakis and pianist Michael Brown join the string section of the Philharmonic again for music of Bach, Tchaikovsky, Walker and more. 

  • This concert will be re-broadcast on Sunday, April 18 at 2pm. 

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Erie Philharmonic Remote Box Office · 814.455.1375 · info@eriephil.org

Available Monday-Thursday 9am-5pm 

Links for Media Content: 

Michael Brown website: michaelbrownmusic.com 

Nicholas Canellakis website: nicholascanellakis.com 

Conversations with Nicholas Canellakis: youtube.com/watch?v=QKCpCzntriE 

April 15 concert and restaurant information: eriephil.org/tango 

Livestream link for concerts: wqln.org/eriephil 

Archive of FREE 2020-21 Season: eriephil.org/videovault 

Renowned Artists Return to Erie for Free Concert

The Erie Philharmonic is delighted to welcome back world-renowned pianist-composer Michael Brown and cellist Nicholas Canellakis for its penultimate broadcast concert this Thursday, March 25, 2021 at 8:00pm. 

This episode, titled It Takes Two to Tango, will also re-broadcast on Sunday, March 28, 2021 at 2:00pm. All concerts are accessible for free on WQLN PBS as well as online through the Erie Philharmonic and WQLN social media channels and websites. 

The first episode featuring the duo will include music from Handel, Beethoven, Cindy McTee and more. Canellakis and Brown will each perform solos with the Philharmonic string section in addition to a combined performance of the third movement of Beethoven’s Cello Sonata in A Major. 

The second episode, also with guest soloists, will be on April 15, 2021 and April 18, 2021, and marks the Philharmonic’s eighth broadcast performance in partnership with WQLN PBS as well as the season finale before the orchestra transitions to small, outdoor summer concerts. 

For those unfamiliar with Canellakis and Brown, the duo has worked with some of the largest names in the orchestral world and have been featured on stages from coast to coast. If you'd like a preview of their lighthearted and charming personalities, look at the YouTube series, Conversations with Nick Canellakis, featuring Michael Brown as they interview and host discussions with guests such as Ithzak Perlman, Emanuel Ax, and other talented musicians from around the globe. Their parody approach is not seen often in most classical musicians but celebrated and appreciated by many. 

With thousands of people watching from home each concert, the Philharmonic is grateful and proud to partner with WQLN PBS to record and broadcast these concerts as well as Edinboro University for serving as host for the recording sessions and rehearsals.

“Erie is a special community, and our concerts are not easily reproduced across the country. After only a few discussions with other orchestras, we quickly realized our community works together and supports one another in an extremely unique and important way. These partnerships are even stronger than a year ago and will make each organization better as we take the next steps forward beyond this pandemic. Much of what we’ve been able to initiate and accomplish this year will pop up again in future seasons.”

— Executive Director Steve Weiser

See below for concert and website information. 

• Thursday, March 25, 2021 

  • 8pm It Takes Two to Tango: Episode 1 Broadcast 

  • WQLN PBS | wqln.org/eriephil 

  • World-renowned cellist Nicholas Canellakis and pianist Michael Brown join the string section of the Philharmonic for two concerts that will simply blow you away. 

  • This concert will be re-broadcast on Sunday, March 28 at 2pm. 

# # 

Erie Philharmonic Remote Box Office · 814.455.1375 · info@eriephil.org

Available Monday-Thursday 9am-5pm 

Links for Media Content: 

Michael Brown website: michaelbrownmusic.com 

Nicholas Canellakis website: nicholascanellakis.com 

Conversations with Nicholas Canellakis: youtube.com/watch?v=QKCpCzntriE 

March 25 Concert information: eriephil.org/calendar/tvmarch25 

Livestream link for concerts: wqln.org/eriephil 

Website for FREE 2020-21 Season: eriephil.org/inyourhome 

From the Composer: Cindy McTee

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Composer Cindy McTee says hello!

We’ll be performing her Adagio for String Orchestra on our March 25 & 28 televised concerts on WQLN PBS.

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Cindy McTee

Greetings from St. Louis where I remain at home with my husband, looking forward to the day when we can all experience live performances, without restrictions, in a concert hall. In the meantime, forward-thinking musicians, board members, and administrators continue to find creative ways to present music, and I would like to thank the Erie Philharmonic for doing just that.

I thought I would begin with a few comments about my creative process. Where does music come from? What provides the initial inspiration? Does a lightning bolt strike? For me, ideas generally come gradually. Sometimes I begin by conceptualizing the larger aspects of form and content. Then I work in layers to create the infrastructure. But most often I compose more organically, starting with what I call germ seeds or sound objects—a single sonority or a sequence of short melodic/rhythmic events. And then I “encourage” the larger gestures and textures to evolve out of these materials.

I should also say that the impulse to compose often begins as a rhythmical stirring and leads to a physical response—tensing muscles, gesturing with hands and arms, or quite literally, dancing. It might have been Stravinsky who said that “music either sings or dances.” Some of my pieces (for example, my Adagio) focus on singing lyricism and free, elongated melodic lines, while others rely more heavily on pulse and shorter, tightly controlled rhythmic ideas often closely associated with jazz.

We all relate to music in various ways—intellectually, emotionally, spiritually, and physically—mind, heart, soul, and body. About seven years of ballroom dance lessons in the ’90s helped me to get in touch with the physical aspects of music—breath, tension, and release—and “tap” into my intuition to connect musical time and space in ways I could not have imagined otherwise.

Although I have never made a conscious attempt to create “American” music, I would have to agree with those who have said that my music generally reflects my American roots more than my European-based training. Charles Ward of the Houston Chronicle helped me to understand this in a review of my Circuits:

Circuits . . . was a charging, churning celebration of the musical and cultural energy of modern-day America. From repetitive ideas reminiscent of Steve Reich to walking bass lines straight from jazz, Circuits refracted important American musical styles of this century. Similarly, the kaleidoscope of melodies, musical “licks” and fragmented form aptly illustrated the electric, almost convulsive nature of American society near the start of the 21st century.

My Adagio, however, represents another “Americanism” having to do with the presentation of diverse, even conflicting, musical materials in the same piece—something I attribute to Charles Ives. For example, in the opening of this work, one hears a dissonant, atonal, tension-filled counterpoint of melodies that eventually give way later on in the piece to harmonic consonance.

As a composer, I came of age in the ’70s, a time of turning on both political and artistic fronts. I experienced crossing the Berlin Wall and living behind it as a student in Poland. Soon after, I broke away from my modernist training to a place somewhere in between it and the world I had known as a kid—jazz, Gershwin, and (from my dad's collection of recordings) turn-of-the-century romantic composers like Respighi, Rachmaninoff, and Sibelius.

I consider myself lucky to have composed during a time when anything is possible and composers can speak in multiple languages if they want to, sometimes in the same piece. I would like my music to communicate an integrated and balanced approach between formalism and spontaneity, objectivity and subjectivity, brain and heart. I hope my Adagio achieves these objectives on some level for those who listen to it—and I thank you for engaging with me through music, especially during these difficult times.

 Better days are just around the corner. All the best to you. —Cindy

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Our Monthly Playlist: Guest Artist Edition

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Pianist-composer Michael Brown and cellist Nick Canellakis share what they’re listening to!

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Nick’s Playlist Picks

Nick Canellakis

Scriabin: Prometheus - Chicago Symphony

I came across this piece by accident in the car. I had never even heard of it, and it blew me away. It's probably the most out there, weird Scriabin you're going to find, and has one of the greatest final cadences I've ever heard. The final chord made my jaw drop.

Franck Symphony in D minor: Berlin Philharmonic with Lorin Mazell

I hadn't heard this piece since I played it as a student at the Curtis Institute, and for some reason I decided to revisit it recently.  I love Franck, and this is quintessentially him. Passionate, dark, and heart on the sleeve romantic. 

Mendelssohn String Quartet in A minor, Op. 13 - Guarneri Quartet

I recently played this piece for the first time, so I naturally went to the Guarneri Quartet to study up. I, along with most string players I know, grew up listening to their recordings, and they still represent the gold standard for me. First violinist Arnold Steinhardt's way of turning a melody goes straight to my heart.

(For a totally different, but equally brilliant approach, check out Quartuor Ebene)

Rachmaninoff Piano Concerto no. 2 - William Kapell and Pittsburgh Symphony with William Steinberg

My best friend and recital partner Michael Brown introduced me to this recording. I'm a sucker for this piece, and this recording is worth a listen not just for Kapell's brilliance, but the gorgeous orchestra playing of the Pittsburgh Symphony.

Last Leaf - Danish String Quartet

The Danish Quartet performs innovative programs that mix classics by composers like Beethoven and Mozart with traditional Danish folk music. This is a CD of all folk music, and it's incredibly fun to listen to.

Michael’s Playlist Picks

Michael Brown

Nikolai Medtner: Piano Concerto No. 2, 

Geoffrey Tozer, Piano, Neeme Järvi, Conductor, London Philharmonic Orchestra. Medtner was a brilliant Russian composer-pianist and close friend of Sergei Rachmaninoff. I'm obsessed with the alluring freshness and vitality of his music and this Concerto is a riveting experience from start to finish. For another spellbinding recording of the work, check out Medtner's own performance: https://www.youtube.com/watch?v=D2p-PUA0fGs&t=656s

Strauss/arr. Schulz-Evler: The Blue Danube

Josef Lhévinne, piano. This is one of my desert island recordings--it knocks my socks off every time. To think it was only one take!.

Solo Monk

Thelonius Monk, piano. This entire album is worth checking out--its brilliance has kept me company on many nights during the pandemic.

Anton Arensky: Waltz from Suite No. 1 for Two Pianos, Op. 15

Harold Bauer/Ossip Gabrilowitsch, pianists. These two "golden age" pianists from the turn of the 20th century had fascinating lives, knew everybody, and left rich musical legacies. They play this delightful waltz as one, with a lightness and spirit that is unparalleled. 

Beethoven: Piano Concerto No. 1

Leonard Bernstein: Piano and Conductor. New York Philharmonic, 1960. Leonard Bernstein play/conducting Beethoven's First Piano Concerto with the New York Philharmonic takes my breath away. The performance fearlessly embraces humor, tenderness, and drama and he makes me feel that I’m hearing this work for the very first time.

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Interview with Dr. Jean Snyder, Harry T. Burleigh Historian

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Dr. Jean Snyder is the author of the book Harry T. Burleigh: From the Spiritual to the Harlem Renaissance.

Below is our interview with her about Harry T. Burleigh and how she came to study the Erie native’s history.

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Can you explain for people who don’t know him already, who was Harry Burleigh?

Dr. Jean Snyder

Burleigh was famous as a fine baritone, first in Erie, where he was born and spent his first 25 years. In the several years before he left for New York City, he was known as one of the best singers in Erie. When he went to New York City to study at the National Conservatory of Music, he was immediately welcomed in the black music community as “the celebrated Western baritone.” He was the first African American composer to publish a significant catalog of secular art songs; many famous American and European opera and recital singers such as Irish tenor John McCormack sang his songs. McCormack performed at last 27 of his songs, and was a good friend. Burleigh was a music editor at the New York office of the Ricordi Music Publishing Company based in Milan, Italy. As an editor there, he had extraordinary access to the publication of his art songs. He was a pioneer in arranging spirituals for concert use, and many of the singers who had been singing his art songs immediately added his spiritual arrangements to their repertoire. He was also a mentor to younger singers and composer who are better known today, such as tenor Roland Hayes, contralto Marian Anderson, and bass-baritone Paul Robeson, as well as composers William Grant Still, Jester Hairston, Florence Price, and others.

Can you talk about his journey to New York and his relationship with Dvorak?

Burleigh took the train to New York City in January of 1892 to audition for a scholarship for the Artist’s Course at the National Conservatory of Music. There were 200 applicants for the four scholarships, and Burleigh was awarded one of them. Antonin Dvorak came to be the director of the conservatory in September of 1892, as Burleigh was beginning his second semester. When Dvorak heard him sing, he invited him to come to the apartment where he lived with his family to sing the songs he’d learned from his grandfather, who’d been a slave. Burleigh described how he’d sit down at the piano (loaned to Dvorak by William Steinway) and accompany himself while he sang. Dvorak would stop him and demand, “Is that really the way the slaves sang it?” He listened so carefully that he was able to write a melody for his New World Symphony, the Largo theme of the second movement that was so much like a spiritual that many people think he copied a spiritual. But it was his own melody. Twenty minutes after he’d written it, he played it for one of his composition students, saying, “Is it not beautiful music? It is for my symphony--but it is not symphonic music.” Burleigh played double bass and timpani in the orchestra under Dvorak’s direction and was orchestra librarian. He often accompanied Dvorak on his walks through the city, and his beautiful penmanship and music manuscript writing made him an ideal assistant; he helped prepare the parts for the first performance of the New World Symphony, as it had not yet been published.

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Watch Dr. Snyder and baritone Eddie Pleasant discuss the legacy of Harry Burleigh on Facebook LIVE on Tuesday, November 17 @ 7pm!

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What’s your favorite Burleigh piece?

That’s a difficult question: there are so many lovely songs. One of his last art songs, “Lovely Dark and Lonely One,” is a setting of a Langston Hughes poem; I also love his second song cycle, the Five Songs of Laurence Hope, as well as “The Trees Have Grown So,” “Have You Been to Lons?” and others. There are some lovely sacred choral pieces that are not well known, such as “Christ Be With Me (St. Patrick’s Breastplate),” and a beautiful setting of the Lord’s Prayer, which has only recently been published. There are some wonderful choral arrangements of spirituals: “I’ve Been in the Storm So Long,” “You Hear the Lambs A-Cryin’,” “There Is a Balm in Gilead,” “Wade in the Water.” Then there’s the delightful “Mister Banjo.” I could go on. Many people know his spiritual arrangements, but there are a couple that aren’t in the anthology that many singers know, such as his arrangement of “Dry Bones,” which he wrote for Paul Robeson. I’m pleased that many singers are discovering his art songs, and you can find more and more of them on YouTube as well as on fine recordings.

Did Burleigh ever return to Erie?

Burleigh returned to Erie quite often to sing, especially in the early years. I’m still working on documenting every return to Erie, but he spent time in Erie in 1893, and he came numerous times to sing in the early 1900s—at least seven times between 1900 and 1909 (1900, 1903, 1904, 1905, 1906, 1908, 1909); then in 1914, twice in the 1920s, once in the 1930s, and in 1944 and in 1946. From the 19-teens on he was very busy with his work in New York City; he was much in demand as a soloist, singing recitals, singing at St. George’s Episcopal Church and Temple Emanu-El, composing his art songs, working as music editor at Ricordi. When he began publishing his spiritual arrangements in the 1916-1917 recital season, he started giving lecture-recitals on the spirituals, and he sang spirituals and spoke about them on the radio.

How did you begin studying his life and how did you first hear of him?

I taught in Kenya from 1966 to 1969, and I sang in the choir at the Nairobi Baptist Church with Catherine MBathi, who was a fine contralto. Several years later when I took my mother to see her first grandchild in Zambia, where my brother and his wife were teaching, I asked Catherine what I should bring her. She said, “I need some spirituals. I don’t care what they are, just so they are arranged by H. T. Burleigh.” I thought, “Who’s H. T. Burleigh? I’m a singer, I should know who he is.” So when I went up to the opera in Chicago, I went to one of the music stores on Wabash Avenue, and I found  a small anthology of Burleigh spirituals. I bought one for Catherine and one for myself, gave Catherine hers and forgot about it. When I taught in at a Teacher’s Training College in Zambia, I discovered ethnomusicology. I came to the University of Pittsburgh to do my doctorate in ethnomusicology, and one of my first seminars was in African American Music with Dr. Nathan Davis. Burleigh’s name was on the list of composers we could study, so I chose him for my project. I found so much in the Carnegie Library, including two 78 rpm recordings of his music: Nellie Melba singing “Swing Low, Sweet Chariot,” and an English soprano, Maggie Teyte, singing “Just You,” one of his art songs. I was delighted to discover that he had written many lovely art songs as well as spiritual arrangements, and I was hooked!

Burleigh’s grandson, Dr. Harry T. Burleigh II, was a veterinarian in Clarksburg, West Virginia, but I knew no one had gotten help from the family. Rollo Turner, one of my mentors in the Black Studies Department, said, “That doesn’t mean you can’t!” So I wrote to Dr. Burleigh. One Sunday afternoon the phone rang, and a voice said, “This is Harry Burleigh!” Dr. Burleigh and his wife were very helpful to me, and that made a big difference. I also had a great deal of help from Burleigh’s niece, Grace Blackwell, who lived in East Orange, New Jersey. She was very close to him in the last years of his life, and she told me wonderful stories that helped make him more human, not just the famous man, the public figure.

Since writing your book, have you discovered anything new about him or his music?

There’s always more to learn. I didn’t know that Burleigh write orchestrations of any of his songs, though some orchestrations of his art songs and spiritual arrangements were written by others. But in fact, he wrote orchestrations of several of his spiritual arrangements, and Lynne Foote, the co-founder and president of the Harry T. Burleigh Society in New York City, who is working on her doctorate at Oxford University in England, has just discovered an unfinished orchestration of “Oh, Didn’t It Rain” that we knew nothing about. We had a great Zooming time on Sunday talking about this and what else we might discover.

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Protest Music

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From Erie Philharmonic Marketing Manager Brigit Stack

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Dmitri Shostakovich (1906-1975)

The term “protest music” typically conjures images and sounds of the 60’s folk and rock music that we come to associate with counter-culture and social movements of that era. But to anyone who’s ever listened to Dmitri Shostakovich’s music, the term applies to many pieces of orchestral music as well. In the orchestral world, in fact, there’s many instances of radical music – oftentimes without words – that spoke to political movements, uprisings, tragedies and more. Sometimes the music was composed posthumously, but it was nevertheless revolutionary and sometimes dangerous to publish or perform.

Throughout the history of classical music, there is no better example of this than composer Dmitri Shostakovich. So much of what he wrote spoke to Joseph Stalin’s regime in what we now know as Russia and criticized it, even when the focus of his music was not outwardly named to be referencing that environment. Below I want to recommend some of what I believe to be the most powerful and daring music Shostakovich composed to protest the morally corrupt and apprehensible things he lived through. Much of Shostakovich’s music becomes clearly more relevant today and underscores how some of Russia’s history is playing out again in our current moment, standing as “protest music.” His music showcases that in times of strife and despair at a larger, governmental level, there are two types of this protest music: covert themes and musical styles and overt protest through topics and dedications.

Shostakovich: Symphony No. 5

When Joseph Stalin was still reigning over the Soviet Union, Shostakovich often tried to hide his protests as hidden “covert” messages and themes in his music. One of the pieces that illustrated this was his Symphony No. 5. The piece was written after a newspaper article condemned his opera, Lady Macbeth of the Mtsensk District. His opera was denounced in the newspaper Pravda, in an article titled “Muddle Instead of Music.” Solomon Volkov wrote, “the Party newspaper…carried out a sentence that was to be final (and not subject to appeal): ‘This is music intentionally made inside out…This is leftist muddle.’ As will be shown, these angry opinions belonged personally to Stalin, the country’s main cultural arbiter” (34). Shostakovich immediately began to fear for his life and his family’s safety, sleeping in the stairwell in case Stalin’s police came to take him away in the middle of the night. To illustrate the fear of dying in Stalin’s Soviet Union, “Someone said then ‘it used to be a lottery now it’s a queue’” (Volkov 213). Before his composition of the 5th Symphony, his older sister had been arrested and his mother-in-law sent to a concentration camp. His music was too vulgar and dark and Stalin wanted the Soviet Union and its history to remain in a positive light – whether it meant glorifying its heroes or more “optimistic” sounding music. Although the music has its darker moments, it ends with a triumphant and more positive tone/major key (the same key as Beethoven’s “Ode to Joy”), keeping the overall message of the symphony tongue in cheek. This interpretation is depicted especially in the audience’s response to its premiere. “By the end of the symphony, the entire audience was standing, applauding wildly through their tears” (Volkov 150). The standing ovation was said to last for more than 30 minutes. The apparent “joyful” final movement of the piece turns around, however, and mocks the very thing Shostakovich was trying to save himself from. The terror felt by many under Stalin was so profound that even the joy and appreciation felt towards their leaders and country was often forced out of necessity and not true patriotism. Shostakovich later said, “I think it is clear to everyone what happens in the Fifth [Symphony]. The rejoicing is forced, created under threat, as in Boris Gudunov. It’s as if someone were beating you with a stick and saying. ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering. ‘Our business is rejoicing, our business is rejoicing.’” (qtd. in Volkov 183). News had also reached Stalin that Shostakovich was depressed and contemplating suicide after the Pravda article, which made him consider taking further action against him. Volkov wrote, “Shostakovich’s suicide could turn into an international scandal with unpredictable ramifications” (117). Shostakovich’s new symphony gave Stalin the chance to keep the composer around and still maintain his cultural authority – to praise the piece and set all back to normal, however terrifying that might still be for Shostakovich.

Shostakovich plays a fragment of Symphony No. 7 on piano

Another composition of Shostakovich’s that illustrates his covert protests of his government is Symphony No. 7, dubbed “Leningrad” and linked with the Siege of Leningrad by Hitler’s forces. Although the piece was mobilized as propaganda to bolster the war effort, it was composed under different intentions and still qualifies as protest music. The onset of the siege of Leningrad allowed him to hide his intentions even more, and Shostakovich also smuggled the piece outside of the country to be performed in the United States and England. Arturo Toscanini – an anti-fascist himself – premiered the piece with the NBC Radio Orchestra. The enemy within their own country was disguised as the enemy outside – the Axis powers now invading and terrorizing the Soviet Union. Due to Shostakovich’s son’s confirmation of events and the practice of “glasnost” (openness about Russia’s history) under Mikhail Gorbachev, much was revealed about the motives and messages behind Symphony No. 7. Testimony by Solomon Volkov was a contested source on so much of Shostakovich’s intentions behind his works, disputed by some to be Volkov’s words more than the late composer’s. Later, however, Maxim Shostakovich (his son) confirmed that many of the political views detailed were indeed his father’s. Musicologist Ludmila Mikheyeva claimed that the themes of this symphony were played for his students before the war with Germany even began. Later, Shostakovich said, “Even before the war, there probably wasn't a single family who hadn't lost someone, a father, a brother, or if not a relative, then a close friend. Everyone had someone to cry over, but you had to cry silently, under the blanket, so no one would see. Everyone feared everyone else, and the sorrow oppressed and suffocated us. It suffocated me, too. I had to write about it, I felt it was my responsibility, my duty. I had to write a requiem for all those who died, who had suffered. I had to describe the horrible extermination machine and express protest against it” (qtd. in Volkov 172). The actual siege by outside forces simply gave the piece a disguise to wear as it expressed so much of the loss all, including Shostakovich, had felt.

Shostakovich on the cover of TIME magazine - the composer was used as wartime propaganda in Russia.

Shostakovich dressed and posed on a roof as a firefighter for after bombing raids, although he never served in the war

After Stalin’s death in 1953, Shostakovich began using more overt methods to protest the brutality and mistreatment of people under Stalin and fascism. One of the most overt representations of this was his String Quartet No. 8., written and finished in 1960 in only 3 days. The dedication made his intentions clear: it was dedicated to “the victims of fascism and war,” and composed shortly after the composer reluctantly joined the Communist Party. His son, Maxim, claims the dedication was for all victims of totalitarian, fascist regimes while his daughter Galina claims that Shostakovich meant it for himself. Both interpretations have merit; many of the melodies of the string quartet were taken from Jewish folk tradition and although we often learn of the anti-Semitism in Hitler’s Germany, it was far more rampant than we think. It permeated the United States as well as Stalin’s Soviet Union. As Shostakovich had said, “Jewish folk music has made a most powerful impression on me. I never tire of delighting in it. It can appear to be happy while it is tragic. It’s almost always laughter through tears. Jews became a symbol for me. I tried to convey that feeling in my music. It was a bad time for Jews then. In fact, it’s always a bad time for them” (qtd. in Civetta). His daughter’s interpretation carries the same merit because Shostakovich’s musical motif is repeated in every movement of this string quartet. This motif is known as the DSCH motif, standing for the notes of D, E flat, C, and B natural. In German musical notation this would be written as D, Es, C, and H, resembling D. Sch, or Dmitri Shostakovich. He often added it to his music to represent himself and it is no coincidence that he would be frequently represented in a piece dedicated to the victims of fascism and war: he himself was one. Since Stalin upheld these policies of anti-Semitism and often singled out Shostakovich’s music for its vulgar, dark nature, this composition after the ruler’s death was a breath of fresh air. It stands as a true protest against the pressures and sorrows Shostakovich had felt his whole life, feelings he often felt mutually expressed in Jewish music. The second movement especially mobilizes one to stand up for what is right, to take down that which oppresses and hurts and to perhaps understand through music other’s lived experiences. 

“Bloody Sunday” at the Winter Palace in Russia, 1905

Perhaps the most relevant and protest-oriented composition of Dmitri Shostakovich’s is his Symphony No. 11, “The Year 1905.” The historic events that inspired it conjure images of the last few weeks of protests across our country and the world. The dedication of the piece is a telling enough introduction, with movements titled after the events of the 1905 protests and rebellion against the Tsar and the Russian monarchy. These protests proceeded the 1917 Bolshevik Revolution, Lenin’s rise to power and the eventual leadership under Joseph Stalin. 1905 was a time of unrest involving everyone from the peasant to the working class, the military and more. One of the main events of this revolution was “Bloody Sunday,” where protestors led a march to the Winter Palace to deliver a petition to the Tsar. As they advanced, guards fired upon them, resulting in hundreds of deaths. Protests, strikes, and looting erupted once again in response. Tens of thousands of people would die as the government attempted to restore peace. The opening movement of Symphony No. 11 is titled “The Palace Square,” and introduces the foreboding sense of calm before the violence, which is depicted so well in the second movement, called “The 9th of January,” titled so after the event’s date. The third movement pays homage to those who perished as a result of Bloody Sunday, using the funeral march “You fell as victims,” while the final movement foreshadows that the seeds of the 1917 revolution have been sown.

The ending is both foreboding and yet triumphant – a warning and a rallying cry. Revolutionary texts were also heavily cited in the melodies of the movements, not lyrically, but the melodies were known by many as most people grew up singing or hearing those songs. One such song was the march “You fell as victims.” Another was “Rage, Tyrants,” which tolls, “Let our call thunder like a thunderbolt, […] As the sun of freedom will look from behind a cloud, - To death! To death! To your death, tyrants!” Symphony No. 11 was often called a “film score without a film,” because it so aptly and tangibly expresses through music the fear, violence, and oppression of the events on January 9. One could argue that so much of Dmitri Shostakovich’s music does. These overt protestations after Stalin’s death came as protests to his memory – to the history and glorification he wanted so much for the Soviet Union and himself. Shostakovich and his music outlived the cruel ruler, and helped to rewrite his image in the eyes of his countrymen and the world.

These symphonies and string quartets certainly connect to the many things we see protested and mourned today. Though we may not have Russia’s history, we have our own. We have the Boston Massacre, the American Revolution, the Civil War, the Montgomery Bus Boycotts, the Freedom Rides, the Farmworker’s Union strikes, the March on Washington and many other events, including today’s protests. Although most of us might not live in fear of disappearing from our homes in the night, we still find ourselves fighting for some of the same liberties, freedoms, and comforts. Stalin saw arts and culture as an integral tool in emboldening and influencing the society around him – and he was right. At the same time that a piece of music could claim to bow its head respectfully towards a leader, it could also mock and hide its meaning in subtle ways and key signatures. We can mobilize music again to share our feelings and look ahead towards a time where we no longer feel the constant barrage of these negativities.

Perhaps most important of all, we can sympathize with and try to understand the pain and oppression of others. As conductor Kurt Sanderling said, “The quartets are messages to all his friends. The symphonies are messages to mankind” (qtd. in Anderson 374). Shostakovich managed to bottle up the visceral feelings of fear, pain, injustice, anger and sorrow and express them so often wordlessly through music. Music can once again be a revolutionary act to stand up, stand out and express things we often cannot put into words or share plainly and openly.

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Erie Phil From Home, Episode 56

Associate Principal Violin Sandro Leal-Santiesteban and First Violin Josh Huang join Music Director Daniel Meyer for our latest Coffee Chat - enjoy!

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Erie Phil From Home, Episode 55

Our Tuesday night online series contiunes with a Coffee Chat hosted by Music Director Daniel Meyer. This week's program includes special guests Heather Storey, Second Oboe, and Sarah Lee, Second Bassoon.

Stay safe and healthy everyone - hope to see you soon!!

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Erie Phil From Home, Episode 54

Don't miss Music Director Daniel Meyer, Executive Director Steve Weiser and WQLN host Brian Hannah as they discuss this week's breaking news!

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