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MUSICIANS
BARNETT & COMPANY MASTERWORKS SERIES
VIOLIN IJoshua Holritz, Associate Concertmaster Nicholas
Naegele, Assistant ConcertmasterMark ReneauCalvin LewisJeanne
JohnsonDavid Katz Kyra DaviesChristian ZamoraNicholas Pappone Wendy
Case Nathan Banks J.P. Brien-Slack VIOLIN IISheri Peck,
PrincipalJennifer Whittle Rebecca JamesLee Smith Bryony Stroud
WatsonMary Benno Anna GibbonsPaula PasquaMary Margaret NeelJosué
Loyola Roncal VIOLAMegan Chisom, PrincipalTamara Hobbs Metiney
SuwanawongseCasie RunkleMichael Holub Carl LarsonGabriel Schlaffer
Susan Kemp
CELLOEric Reed, PrincipalSuzanne Sims Spencer BrewerSharon Reed
David Peyton Lindsey Smith-Trostle Benjamin Van Winkle Hannah
Kuhn
DOUBLE BASSTaylor Brown, Principal Dexter BellAdam
BernsteinGiven Arnold Sarah Ransom J. Bret Alford
FLUTEKristen Holritz, PrincipalLisa MeyerhoferAmelia Dicks
Principal Piccolo/Utility Flute John L. & Norma B. Anderson
Chair
OBOEJessica Smithorn, PrincipalTeresa Spilko Carey Shinbaum
CLARINETEmily Bowland Steven Tonkinson
BASSOONEric Anderson, Principal Shelby Jones G. Eddie McCrary
Jr
BEETHOVEN’S FIFTH
FRENCH HORNJeffrey Whaley Kelsey Bentley Richard Williams Joseph
Demko Julie Gerhardt TRUMPETDavid Hobbs, Principal Clayton Chastain
Jonathan Swygert
TROMBONE Douglas Warner, PricipalWilliam Mann Jeff Koonce
TUBAKenyon Wilson
TIMPANIAlex Wadner, Principal
PERCUSSIONChad Crummel, Principal David Pedigo
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GUEST ARTIST - ALEXANDER SITKOVETSKYAlexander Sitkovetsky was
born in Moscow into a family with a well-established musical
tradition.
His concerto debut came at the age of eight, and in the same
year he moved to the UK to study at the Menuhin School. Lord
Menuhin was his inspiration throughout his school years and they
performed together on several occasions.
Highlights of his recent concerto performances include
appearances with the Yomiuri Nippon Symphony Orchestra, Royal
Philharmonic Orchestra, Munich Chamber Orchestra, Konzerthaus
Orchester Berlin, Royal Northern Sinfonia, BBC Scottish Symphony
Orchestra, Sinfonietta Rīga, Lithuanian National Symphony
Orchestra, Netherlands Philharmonic Orchestra, Tokyo Symphony
Orchestra, European Union Chamber Orchestra, Halle Orchestra,
Academy of St. Martin’s in the Fields, Moscow Symphony Orchestra,
St Petersburg Symphony Orchestra, Orquesta Filarmónica de Bolivia,
National Polish Radio Symphony Orchestra, Russian State
Philharmonic Orchestra, Residentie Orkest The Hague, Aarhus
Symphony Orchestra, Welsh National Opera Orchestra, BBC National
Orchestra of Wales, London Philharmonic Orchestra, Novosibirsk
Symphony Orchestra, Philharmonia Orchestra, Arctic Philharmonic
Chamber Orchestra and the Anhaltische Philharmonie Dessau.
He is also much in demand as a director and has directed and
performed as a soloist regularly with the Australian Chamber
Orchestra, Norwegian Chamber Orchestra, Amsterdam Sinfonietta,
London Mozart Players, Lithuanian Chamber Orchestra, New York
Chamber Players, Camerata Zurich and the Arctic Philharmonic
Chamber Orchestra.
He is also regularly invited as guest soloist with orchestras
touring the UK and these have recently included the Russian
Philharmonic Novosibirsk, Brussels Philharmonic, St Petersburg
Symphony Orchestra, and the Tonkünstler Orchester.
The current season will see his debuts with the Chattanooga
Symphony & Opera and Romanian Sinfonietta, as well as return
visits to the Royal Philharmonic Orchestra, English Symphony
Orchestra, Sinfonietta Rīga, Aarhus Symphony Orchestra, Netherlands
Youth Orchestra, and Camerata Salzburg. Further highlights will be
appearances at various chamber music festivals and venues, tours
with the Julia Fischer Quartet and the Sitkovetsky Trio and
extensive periods of chamber music in Australia and the USA.
His critically acclaimed CPO recording of Andrzej Panufnik’s
Violin Concerto with the Konzerthaus Orchester Berlin commemorating
the composer’s 100th birthday won an ICMA Special Achievement
Award. His most recent recording with the English Symphony
Orchestra of the Philip Sawyers’s Violin Concerto was released to
great critical acclaim.
Alexander was awarded 1st prize at the Trio di Trieste Duo
Competition alongside pianist Wu Qian. He is an alumnus of the
prestigious ‘Chamber Music Society Two’ programme at the Lincoln
Center, and in 2016 received the Lincoln Center Emerging Artist
Award.
Alexander is a founding member of the Sitkovetsky Piano Trio,
with whom he has won various prizes including the
Mecklenburg-Vorpommern Kammermusik Prize. The trio has performed
all over the UK and Europe including Alte Oper Frankfurt,
Concertgebouw Amsterdam and Wigmore Hall, and toured Asia
recently.
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THOMAS LANDSCHOOT
BEETHOVEN’S FIFTHKayoko Dan, conductorAlexander Sitkovetsky,
violin
BARNETT & COMPANY MASTERWORKS SERIES
CSO is an ArtsBuild community arts partner. Additional funding
is provided by the Tennessee Arts Commission.
Intermission
Photography and video/audio recording are prohibited. Please
remember to turn cell phones off.
This performance will be re-broadcast on Classical 90.5 WSMC on
February 2 at 4:00 pm.
Flowers by Gil & Curt.
Join us immediately after the concert for Postlude, our
post-concert Meet and Greet with Music Director Kayoko Dan, guest
artist, and select musicians.
January 23, 2020 7:30PM
Tivoli Theatre
BEETHOVEN Symphony No.5 in C minor, op.67
I. Allegro con brio
II. Andante con moto
III. Allegro
IV. Allegro
BARBER Second Essay for Orchesta, op. 17
BRAHMS Concerto in D major for Violin and Orchestra, op.77
I. Allegro non troppo
II. Adagio
III. Allegro giocoso; ma non troppo vivace
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PROGRAM NOTES
Samuel Barber(b. March 9, 1910 in West Chester, PA;
d. January 23, 1981 in New York)
Second Essay for Orchestra (10 minutes)
Samuel Osborne Barber II was a neoro-mantic composer who had
some success-es before graduating the Curtis Institute of Music in
1934, but his biggest break came thanks to Arturo Toscanini. As
Toscanini planned the inaugural season of the NBC Symphony (created
expressly to lure him to America), he wanted to include something
by an American composer. He commissioned a piece by Barber that
be-came his (first) Essay for Orchestra. For good measure Barber
also sent him Ada-gio for Strings. Toscanini conducted both pieces
in a nationwide radio broadcast on November 5, 1938. That fixed the
Adagio in the public mind as America’s mourning music and, because
Toscanini was enthu-siastic about the Essay, Barber went on to
write two more essays for orchestra.
Barber’s sketchbooks show he was work-ing on the Violin Concerto
and Second Essay at the same time. Since the con-certo was a
commission, it was unsurpris-ingly finished first (1940). When the
US entered WWII Barber said of that time, “I have been composing
very hard […] But I’ve taken the attitude that it is better to
continue one’s job tutta forza until one’s draft board decides
otherwise.” He was drafted in the Army Air Corps on Septem-ber 16,
1942 but he needn’t have worried. Aside from some clerical duties
he was given much freedom to continue compos-ing.”
He finished Second Essay on March 15, 1942 and showed it to
Bruno Walter the next day. One month later Walter and the New York
Philharmonic premiered it in Carnegie Hall.
The piece was dedicated to poet Robert Horan who, along with the
young bohe-mian Pauline Kael (later film critic for The New Yorker)
he lived with, socialized regularly with Barber and his life
partner Gian Carlo Menotti.
In his essays Barber mimicked the literary form, something not
unduly long focusing on a main point. The second essay starts with
the theme, gently stated, by the solo flute. It is not a catchy
tune and extends a full four measures without repeating any-thing
directly. Thus when Barber works this melody through dramatic and
intense sections it may have to be a subliminal recognition of its
ongoing presence. A quirky fugal section is also based unobvi-ously
on the first theme. The final section is a dramatic chorale and
ends with a harmonically embellished “amen” (plagal) cadence.
Johannes Brahms(b. May 7, 1833 in Hamburg; d. April 3, 1897 in
Vienna)
Violin Concerto in D Major, Op. 77
(38 minutes) In 1853 Brahms toured for two months accompanying
Hungarian violinist Eduard Reményi. Reményi introduced him to the
well-established Franz Liszt and to the up-and-coming violinist
Joseph Joachim. Brahms may have impressed Liszt, but—exhausted from
touring—fell asleep as Liszt performed for him. Reményi was so
offended that he immediately ended their relationship. Fortunately
Brahms already had in hand a letter of introduction from Joachim to
Robert and Clara Schumann whom Brahms already revered from
afar.
The relationship Brahms had with the Schumanns got his career
jumpstarted and he relied on the support and friend-ship he
received from Clara until her death in 1896.
PROGRAM NOTES (con’t)
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PROGRAM NOTES (con’t)
Yet Brahms would have never written a violin concerto if, over
the more than twenty years since meeting Joseph Joachim, they had
not formed an endur-ing friendship.
Brahms, a pianist first, after some false starts, finished his
Piano Concerto, No. 1 in 1858, but he clearly felt he would only
live up to the high expectations of his peers when he had composed
a sym-phony. It cost him at least fourteen years of difficult labor
and he felt keenly the stakes involved.
Of Brahms Symphony No. 1 conductor Hans von Bülow, a mighty
figure in his own right, dubbed it Beethoven’s Tenth: high praise,
saying in essence it was the obvious heir to Beethoven’s Ninth that
had premiered more than fifty years before.
Brahms’ muse had been liberated. He composed his D-Major
Symphony in just four months the next year. As he thought of more
worlds to conquer, he thought of a violin concerto and immediately
turned to Joachim.
While they spent some time together working out details, much of
the collabo-ration took place by post. Suggestions flew back and
forth. Joachim offered ideas that Brahms thanked him for but then
ignored. Nevertheless Brahms took a lot of advice and the concerto
has Joachim’s fingerprints everywhere, not just the amazing cadenza
Joachim wrote for the first movement.
Brahms conducted the premiere with Joachim as soloist in
Leipzig, January 1, 1879.
Originally Brahms imagined his concerto with four movements; he
was already thinking symphonically. The first move-ment shows the
symphonic thinking,
making the violin a full partner with the orchestra. The
orchestra has an un-usually long opening, laying out a lot of
musical material. More than once it seems that the soloist must be
about to enter, but we are kept waiting. The violin enters with a
showy flourish and, in a nod to Beethoven’s Violin Concerto (also
in D Major), timpani accompany.
The second movement that replaced two others Brahms inexplicably
called a “feeble adagio.” Solo oboe introduces the main melody; the
violin’s primary role is beautiful embellishments.
The finale is a rondo, a joyous romp with a hint of gypsy. Of
all the movements it plays to Joachim’s virtuoso strengths,
especially double-stops (playing two strings together).
Ludwig van Beethoven
(b. December 16, 1770 in Bonn; d. March 26, 1827 in Vienna
Symphony No. 5 in C Minor, Op. 67
(31 minutes)
In 1805 Beethoven had reached full mu-sical maturity, but other
aspects of his life were problematic. Although it had not yet
curtailed his ability to perform, his grow-ing deafness complicated
life for a man with little instinct for social graces. That, in
particular, made the love and marriage that a successful man in his
thirties might aspire to, elusive and finally unattain-able. Still,
he heartfully pursued several women—including the “Immortal
Beloved” referenced in an unsent letter found after his death. Her
identity has been the cen-ter of much speculation.
Beethoven apparently had hopes of mar-rying a student, the young
widow Jose-phine Deym, but her parents made clear she would lose
support for her children if she married Beethoven. Josephine’s
sister, Theresa Brunswick, somewhat
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older and unencumbered, seems to have attracted Beethoven’s
romantic atten-tions in turn. She adored his music and remained his
friend the rest of his life. Either woman might have been the
ad-dressee of the unsent letter.
These matters of the heart, as well as financial considerations
that almost drove him from Vienna, were all playing out in 1804-08
when Beethoven composed the Symphony No. 5.
The symphony premiered December 22, 1808, at a four-hour concert
exclusively made up of Beethoven premieres, allconducted and/or
played by Beethoven himself. The humongous undertaking was plagued
by a frigid hall, scant rehearsal time, and some ill-will among
singers and musicians who had previously felt slighted while
dealing with Beethoven. Later performances of the symphony,
however, were received rapturously. Its overwhelming popularity has
continued unabated ever since.
Dit-dit-dit-DAH, the arresting open-ing of the first movement,
derived from Beethoven hearing the call of a yel-lowhammer while
walking in the Wiener Prater, a large public park still in Vienna
today. Its call is suggested by saying, “A little bit of bread and
no cheese.” Beethoven often started from a small suggestion. His
notebooks show endless working out of details for most of his
compositions. The yellowhammer’s many fast notes, Beethoven
condensed to just three and he had himself a motif to state
fiercely and to repeat incessantly, embla-zoning it into the
listener’s mind. “Such is the blow of Fate on the door.,” said
Beethoven.
The emotional stress in his life pours out in obsessive
repetition. Even the lyri-cal second theme is still undergirded by
the knocks of fate. A surprise oboe solo
interrupts the recapitulation—perhaps a vain plea for respite.
The coda brings an aggressive new theme. Fateful knocking comes
again. Could it be another reca-pitulation? It was only a feint and
seven bars of firm chords bring us to the end.
The placid second movement is a theme with three variations.
Halfway through the first variation, the mood becomes hushed. In
the lower strings we hear fate knocking once again.
The opening of the scherzo, outline the C-minor chord upwards,
is a quotation from Mozart’s Symphony No. 40. Yes, it’s so simple
it might be coincidence, but Beethoven copied the bars from Mozart
verbatim into his notebook. Brass blare repeated notes,
short-short-short-long: We hear fate knocking once more. The fugal
trio section shows off Beethoven’s mastery of an older style. The
scherzo returns, almost inaudibly, with pizzicato strings, creating
a perfect setup for the magical bridge section that follows. The
timpanist quietly thumps a C—a pedal point all through the build-up
directly into the radiant finale.
The effect is all catharsis. We hear again the fate-knocking
rhythm, first in quick note values, then longer, more obviously,
quoting from the scherzo. In music if not in love the soul
triumphs.
(c) 2011, 2018, 2020 by Steven Hollingsworth,Creative Commons
Public Attribution 3.0
United States License.Contact [email protected]
PROGRAM NOTES (con’t)
Matching Gift ProgramsExxon Mobil Foundation • GE Foundation
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ThompsonAndrea TierneyJanet TilleyColleen M. TobinMr. Robert
ToddJohn TolsonMs. Therese TuleyDr. and Mrs. Richard UrbanRobin
VasaMaryAnn VillegasCarlton VollbergAnthony WalkerYiwen WangMr. and
Mrs. Therald WardCarla WareChristopher WareWilliam Waters Jr.Carol
WatsonRobert WeberJane WelchBarry WellsJohn WestRobert WestMary
WestbrookPhil WesthoffSteve WiertelMr. Kirk WilcoxMs. Linda F.
WillettElliot WilliamsThomas and Joy WilliamsMs. Lillie M.
WillsCharisse WineckiJames WinsettCarolyn WoodenShawn WoodyRobin
WrightSharon WyattAlexander YoungRandy & Denise YoungTodd
YoungMr. Uwe Zitzow
In-Kind DonorsAlimentariArea 61 GalleryBantam + BiddyWarren
BarnettBruce Baird ClothierChattanooga Football ClubChattanooga
Theatre CentreMr. and Mrs. George S. ClintonCoca-Cola Bottling
CompanyKimberly ConnorKayoko Dan and Andrew TempleDish
T’PassElder’s Ace HardwareEmbellishHart GalleryJessica Klaaren
JewelryBryan and Mindy KellyLarimar MedSpaMs. Rebecca MillerPeace
CommunicationsBrent SandersMr. Mark Siedlecki and The Rev. Erik
BroerenBill & Carolyn SilzlePat Starke The Tivoli Theatre
FoundationTupelo HoneyRobert WestHarriett & Berton Whitaker
Ms. Jenny EwingRosella Ewing-TerryMs. Ellen FarrowMegan
FergusonAlyssa FinlayMr. David FishmanLucy FittsChris FlansburgDrs.
Cristina and Radian FloreaKen and Jennifer FlynnRebecca FowlerMr.
I. FranciscoEllen FreibergKathryn FreundHans J. FuhrimannBrenda
GallagherSylvia GardenhireMr. and Mrs. Larry GarnerJames
GaskinJanet GeerlingsCharles GeterMr. Roger GishCaroline
GoldschmittMrs. Ruth GonterPamela GordonMr. Andy GrahamKris
GrahamApril GranbergBrian GreenMargaret GreesonMr. and Mrs. Charles
F. GrovesSarah HaaseLarry and Judy HaightErika HalterIrene
HamiltonMalu HammansDr. Melissa HampSherrye HamptonMr. Steve
HankinsShiley HarperBrittany HarrisJohn & Anne RankinConnie
HartKimberly M. HayenMike and Natasha HaynesCandice and Robert
HaysJeanne HelmsPaul K. HesselinkHeather HicksGreg HighwoodRandy
HillAlice Faye HitchcockMs. Carol HobbsMs. Mary HollandJohn HornMs.
Linda HostetlerMr. Vincent HottonMr. and Mrs. Donald P. HoustonJohn
HowardGregory HughesKarl HuntTom HusbandLori IvyMrs. Lisl
JacksonWill JacksonMs. Janet JobeMs. Caroline JohnsonJody
JohnsonMr. Matt JohnsonNancy JohnsonDarlene & Hailey
JohnstonCarla and Chuck JonesKris C. JonesLogan JonesDr. Natasha
JonesElisabeth JordanFrank & Dorothy JumpEunjoo KalJennifer
KaleBerneet KaurKelli Kaylor
Tiffany KeenerAdam KellerMr. Ray KellumEarl KendallMr. &
Mrs. Wilson von KesslerMary and Burrell David KetchersidElizabeth
& John KillianJason KilmerYeji KimLori KingDrs. Matt and Angela
KodsiDr. & Mrs. Alan KohrtMr. Stephen KolderupSteven KrugDonna
KubergMr. Phil LambertDavid LanamanNatalie LandauTiffany
LangleyWillie LassetterSusan LaughreySusan LeeAndrew B.
LeftonRebecca LeVallyMr. Robert L. LewisErin LindleyKathleen
LockerWilliam LoweryMr. Kendall LowreyJoseph & Anne
LubinskiMissy LucePia MacDonaldDavid MannoDiane MarbleRebekah L.
MarrDendy MarshallDarry MartinSamuel MassengaleMr. and Mrs. Thomas
MayMatt MaynorCoreena MaytonDr. Michael MazzoliniJames McCoyMr.
Eddie McCraryAndrea McCurdySteve and Linda McGannOlivia and Geoff
McGowenStella McHughLynn McKeeBetsy McLeanNancy McLodaSusan I.
McRaeScarlett MeadowsAlix MichelJanet MiddlebrooksLindsey
MiddletonBrian MillerTammi MillerTroy MinchewCatherine MiskellyMr.
and Mrs. Marshal MizeRaquel MondidoMs. Claire MooneyFloyd &
Lynn MooreO. James Morgan and R. Anne BarronMarian MoselRobin
MossEmma MullinsMr. William MullinsHeather MyersDr. and Mrs. David
NeallGeorge NelsonSusan NewmanJennifer NicelyMs. Samantha
NiemeyerKimberly NydickAngela NyeJoy OdomPaula OffuttPam and
Richard ParkTimothy Pascarella
James PassmoreKen & Debby PatricJennifer PattersonJohn
PayneMs. Claire PeacockAustin & Haley PedigoBillie PelhamVince
& Sheila PereskiMr. and Mrs. Mark PetersonJennifer PettitMr.
George PiperMs. Andrea PitkowRandal PlattsAlison PostonMr. Brian
PoteetNorman & Gloria PoynterJohn & Janie PrescottSusan
Colville PrudowskyJerry & Katherine RagonKendall RayMr. Clayton
RhodesLeah RhodesMr. & Mrs. Joel W. Richardson, Jr.Joel
RiddleBrett RobinsonMary RochelleRonald RogersTimothy RogersJeffrey
RoseMr. and Mrs. Barry RossRobert RothMr. Thomas RowanPat
RozaAndrea RussoDavid & Judith SachsmanShelly SackAileen San
LuisLara SandersBob & Marlene SauerAlan SchideMr. Larry
SchlabachCynthia SchmidlinMr. and Mrs. Tom SchowJacob SchwartzChip
PerlewitzWilliam ScottDavid SeabergMary SegarsChristina
SeminarioRay SextonMontana ShadrickKristin SharpDr. C. Wayne
ShearerDiane ShellyMr. Jack ShepardTravis ShortMr. Mark Siedlecki
and The Rev. Erik BroerenMs. June SilverMr. Russell SimmsRebecca
SinclairDana SmithDeborah SmithEdwin SmithLee SmithTammy SmithMs.
Judith SongyDaniel SperawAlan SpringDanielle & James
SpringerKidambi SreenivasGerald StaffordEmily StephensonRonald
StephensonMs. Michele StevesChris StitzleinRobert and Mary
StoetznerHarry StoneMs. Vicki StoneRobert StreetmanVirginia
StromDylan Suehiro
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In Tribute Mr. Carey Shinbaum In memory of Robert BurksTri-State
Musicians’ Union Local 80, AFM In memory of Robert BurksMr. Taylor
Brown, Local 80 President In memory of Robert Burks, past Local 80
PresidentAnonymous In honor of Kathy AllisonRobert and Lisa Lee In
memory of Mary BarkerMr. Leonard Murray and Ms. Jacqueline Marschak
In memory of Robert BurksHelen Pregulman In honor of Kim
GavinHelena Binder & Jim Zien In honor of Bob Bernhardt
Eric Herbst In memory of Douglas HerbstAnonymous In honor of
Mark and Jenni SmithMr. Thomas Royer In honor of William
RoyerPatricia Daniel In honor of Martha Mackey
This list reflects tribute gifts made from July
2019-present.
CONCERT ETIQUETTEWe want everyone to have a great concert
experience! Please take a minute to review these symphony etiquette
tips to make the show comfortable and enjoyable for yourself and
others. If you want to learn more, visit our website at
chattanoogasymphony.org/experience/faq.
CLAPPING: CSO musicians love to hear people applauding, but
there are times when you normally don’t applaud at a classical
concert. For our Barnett & Company Masterworks concerts, people
generally clap after the entire piece is done. There may be three
or four “parts” or movements in each piece, but it’s best to wait
until after the entire piece is performed and the conductor has
dropped the baton. If in doubt, watch for the conductor to
completely lower their arms and begin to acknowledge the orchestra.
If you’re still unsure, wait until others begin clapping and follow
their lead! That being said, don’t feel embarrassed if you do clap.
We appreciate it!
HALL/INTERMISSION: Guests are welcome to leave their seats and
move about the venue during intermission, but we ask that you wait
until the lights have been turned on before attempting to exit.
Please refrain from entering or exiting the hall during a piece, or
wait until in between movements.
THINGS TO AVOID: Even the smallest sounds are amplified in a
performance hall. Before the performance begins, please unwrap
candy, turn down hearing aids and turn off all pagers, cell phones,
beepers, and watch alarms. While we hope you are excited to discuss
the performance post-concert, we ask that you please refrain from
holding conversations while a piece is being performed. Photography
and sound recordings are not permitted. Avoiding these and other
distractions helps create an environment in which the music can be
heard and enjoyed by all. If you are a student and would like to
take notes for your paper, please ask the box office or an usher to
seat you close to the stage or towards the back of the hall so you
can have some light to write.
Thank you for your consideration. Enjoy the show!
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VALENTINE’S WEEKEND • FEBRUARY 14 &15 TIVOLI THEATRE •
7:30PM • VALERIE DUKE, VOCALIST
FREE SWING DANCE INSTRUCTION!
NEW THIS YEAR! BIG BAND FEVER DANCE COMPETITION Dance the salsa
with your partner for the chance
to win CSO tickets, cash prizes, and more! For full details or
to register for the competition, visit
chattanoogasymphony.org/dance.
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Get your tickets at 423.267.8583 or chattanoogasymphony.org