The Arts, Etc.


Hartford Symphony Orchestra

Masterworks Series
2010 - 2011

Program No. 7

Thursday, April 14, 2011 / 7:30 PM

Friday, April 15, 2011/ 8:00 PM

Saturday, April 16, 2011/8:00 PM

Sunday, April 17, 2011/3:00 PM

Edward Cumming, music director

Matei Varga, piano




During his pre-concert talk, Music Director Edward Cumming described the three works making up the program as “German, German, and really German.” Candor ruled. He said at the previous three performances, the audience’s reaction to the first piece, Paul Hindemith’s Konzertmusik for Strings and Brass indicated “they were not overly thrilled.” He added, “ You may be of the same ilk.” Preparing us for the worst, he continued, “The two movements sound like a piece on steroids. To play this is an Olympic achievement.”

His psychology worked. My curiosity whetted, I listened intently. The first clash of textures – brass and strings – warranted a catatonic diagnosis. But wait: there were symbiotic moments when as incongruous as it may seem, during split seconds of real music, a mating of sounds latched together before they ruptured to continue their contest of musical wills, of oneupsmanship. As solace for the ear, the first movement closed with a major chord.

The opening of the second movement suggested a mellowing, even a rapprochement, or if that would be too much to hope for, perhaps a disciplined contest. Mini brass solos – trombone, trumpet – jubilation material suitable, perhaps, as background music for a hot-under-the-collar political debate? To my ears, the applause seemed positive, spirited, because surely I could not have been listening only to myself?

Beethoven’s Leonore Overture No. 3 (one of four he wrote for the opera) has become, based upon technical issues and popular acclaim, the most appropriate opening for the Fidelio opera. The emotional shadings, the dramatic use of tempos, and ultimately from a position away from the orchestra, a trumpet signaled the triumphant reuniting of Florestan with his wife, Leonore, whose persistent activism helped secure her husband’s freedom. Beethoven’s single note, the descending scale, the golden trumpet, jogged my reverie. The two curtain calls served as the audience’s strong signal: their clapping hands broadcast their preference for Beethoven’s music over the prevailing cacophony of the opening selection.

Following intermission, the Sunday afternoon audience settled in for the “really German” Brahms Concerto No. 1 in D minor. During his preconcert talk, Cummins spoke of Brahms taking 20 years to write his first concerto and only three months to complete the second. He also confessed, “Nothing takes more out of me than this Brahms concerto. It’s the hardest composition to figure out; that guy is so hard to know.” After listening to the fine performance by the soloist, Matei Varga, and the HSO, I think I get what Cumming was talking about. This was my first exposure to the concerto, and try as I did, I wasn’t able to make a sustained emotional connection with the piece. In spite of a rousing start, new energy, interesting combinations of melodies and mathematical conundrums, unlike Rachmaninoff or Tchaikovsky whose sacred thoughts are not shrouded in so much mystery (angst?), becoming comfortable with this Brahms concerto will take at least a few exposures. However, soloist Matei Varga performed the concerto as if he owned it. His manual dexterity seemed effortless; he easily modulated various tones. In spite of his proficiency, the construction of the concerto claimed most of my attention. Originally, when Brahms began composing the concerto, was it to be his youthful paean to angst but the 20 years of off-and-on writing muddied the focus? I hate it when I ask impossible questions.



Hartford Symphony Orchestra

Masterworks Series
2010 - 2011

Edward Cumming, music director

Mihaela Vesa-Goje, guest assistant conductor

Wendy Warner, cello soloist


Debussy, Elgar, Sibelius

February 10, 11, 12, 13 , 2011

Belding Theater

The Bushnell Center for the Performing Arts



Symphonic concerts don’t come much more satisfying than Program No. 5 of this season’s Masterworks Series..At Thursday evening’s performance, everyone was on – Music Director Edward Cumming, guest soloist Wendy Warner, cellist, and guest Assistant Conductor Mihaela Cesa-Goje. The musical selections built naturally from Debussy through Elgar to Sibelius.

As conducted by Romanian-born Ms Cesa-Goje, the Prelude to The Afternoon of a Faun by Claude Debussy (1862-1918) was aglow with enchantment. Her minimalist direction was sensitive and precise. Her appreciation of and respect for the score were evident and tenderly directed.

When I owned my first record player (about age19), one of the first LPs I bought was La Mer that on the reverse side featured The Afternoon of the Faun and something else by Debussy I can’t remember. I chose the record because as a piano student, I was familiar with Debussy (e.g., Children’s Suite). I played the LP over and over. I had no idea until I read the program notes that a sensuous poem by Stephane Mallarme inspired Debussy’s composition. To me a faun was a graceful young deer. I now know, thanks to Dr. Richard E. Rodda’s notes that as “the inherent eroticism of the plot suggests, the Debussy/Mallarme faun is no Bambi-like creature, but rather a mythological half-man, half-beast with cloven hooves, horns, tail and furry coat, a being that walks upright and whose chief characteristic is its highly developed libido.”

Also featured on the same page, set off within a box, was this bon mot: “Did you know...that Michael Jackson said this was his favorite piece of music?”

Fortunately, neither the Jackson trivia nor the disclosure about the erotic poem behind the music sullied my savoring the lovely, sophisticated elegy, whose deceptively simplistic construction soothes and subtly tweaks notice of a chord or phrase or tempo.

(I wondered how the piece would sound if instead of clouds of strings some passages were played by Leonid Sigal, HSO’s gifted Concertmaster. The odds are that although such an alteration would demonstrate how easy it is to change the effect of a piece, the reconstruction would deepen the appreciation of Debussy’s exquisite scoring. )

Guest soloist Wendy Warner wearing a magenta gown, walked onto the stage carrying her cello, bowed deeply to welcoming applause, double checked the accuracy of the cello’s pitch, seated herself, and within seconds nodded to conductor Cumming that she was ready to play Edward Elgar’s Cello Concerto in E minor. (1857-1934)

This was the first time I was hearing this deeply personal, intriguing concerto that could be subtitled, “The Musical Vagaries of Depression.” At times, the composer’s exploration of his sadness was fearless, burrowing into dark passages or even a bottomless pit. Sometimes the impression was he found illumination and could drift away into a natural sequence of notes, momentarily calmed. But when agitation returned, Ms. Warner’s bow resembled a Devil’s Darning Needle as it repeatedly pierced and slashed, venting the composer’s frustration. I was impressed by Ms. Warner’s sympatico with the score, suggesting she had explored the music in much the same way an actor becomes intimately familiar with what makes a character tick. Elgar’s composition is a perfect match with the distinctive resonance of a cello. The accomplished Mz. Warner’s performance complemented the composer’s troubled moods, whether playing with steely passion, sweet encouragement, or the ever-hovering heartache.

There is nothing shy about Jean Sibelius (1865-1957). His music is bold, rich and colorful, and commanding. His Symphony No. 1 in E minor as performed by the HSO under the baton of Edward Cumming, matched the composer’s ferocity, high drama, and romantic interludes.

This seductive symphony opens with a clarinet solo. The first five notes reminded me of the opening notes of the Godfather theme but that association evaporated quickly as Sibelius’ personality asserted itself, stamping all four movements with his signature style. The clarinet suggested lonely rumination or a bleak landscape but as more instruments fleshed out the music, the score morphed into shimmering strings, the grounding of kettle drums followed by a majestic crescendo, thunderous drums, and into an ultra light shimmer of a lighthearted interlude. All that within the first five minutes.

Sibelius’ masculinity rules. His physical power permeated the rich chords and under tones in a dance-like interlude that brought expressive body language from the Maestro as he cajoled the orchestra with a torso wiggle. One exaltation followed another. The first movement, “Andante, ma non troppo – Allegro energico” was a rowser-dowser .During the second, Sibelius’ distinctive sound prevailed, rich and anchored, with delicate asides, creating a fascinating juxtaposition of moods and melodies. Pride of his country, acceptance of melancholy moments, weaves through his work.

Early in the third movement, the music suggested horses galloping through forests, sending birds fluttering to tree limbs and small ground animals scattering for cover. Such a meaty score gave Cumming and his musicians plenty to chew on. The orchestra was in good form, with frequent conversations among string sections. Within the fourth movement, the minor key was more visible and a loving melody embraced a myriad of emotions. Sinatra could have made a ballad out of it. A mighty crescendo created a platform for a lilting theme – so romantic - what a Tchaikovskyesq melody! The music built to a startling conclusion – chords, percussion, and following a drum roll, the final note was a muffled, little pop.

While the enthusiastic applause continued, the HSO began a short Sibelius piece, a courteous consideration to help bring the dramatic emotions unleashed by the symphony into a quiet zone.

This program, The Alexander Campbell McNally Memorial Concert, is one to cherish.


More about Wendy Warner and Mihaela Cesa-Goje

WENDY WARNER has become one of the leading cellists in the world, garnering international attention winning first-prize at the 1990 International Rostropovich Competition, and going on to perform at many of the world’s distinguished concert halls, including Carnegie Hall, Walt Disney Hall, Paris’ Salle Pleyel, and Berlin’s Philharmonie. Ms. Warner has performed with the Chicago, Boston, Dallas, San Francisco, London, Berlin, and Iceland Symphonies, the Minnesota and Philadelphia Orchestras, the St. Petersburg, Calgary and Hong Kong Philharmonics, Orchestre Symphonique de Quebec, the French Radio Philharmonic Orchestra and L’Orchestre du Capitole de Toulouse.

Here is background information about Ms. Warner cello as described in the program. “The outstanding cello bow used by Wendy Warner is by Francoix Xavier Tourte of Paris, c. 1815, the “De Lamare” on extended loan through the generous efforts of the Stradivari Society of Chicago. The Stradivari Society is a unique organization that supports the very highest level of string playing by assisting Patrons who won the most precious antique Italian instruments and French bows and choose to make them available to artists of exceptional talent and ability.”

Born in 1979 in Satu Mare, Romania, MIHAELA CESA-GOJE was the winner of the 2009 Taki Concordia Conducting Fellowship, the “Sandor Vegh Prize” by the Romanian Mozart Society, and the 2005 Irene Burcher Prize from the Royal Academy of Music in London. In 2009, she was selected as one of the three young Romanian conductors to debut at the Romanian Athenaeum, the most important concert hall in Romania. Ms. Cesa-Goje is currently Principal Conductor of the Targu Mures International Classical Guitar Festival and has appeared as guest conductor of the Transylvania State Philharmonic, Dinu Lipatti Philharmonic, Oradea Philharmonic and the Camerata Euroart Orchestra.




Edward Cumming, music director

Sirena Huang, violin soloist


January 6 through 9, 2011


Reviewed by Donna Bailey-Thompson

This is the third year in a row that Sirena Huang has been the guest soloist with the Hartford Symphony Orchestra – by popular demand. She is 17.

Let’s suppose that most of the people who have succumbed to her musicality, her hypnotic expertise with the violin, are not professional musicians but appreciators of music well-performed. Critics who majored in music have the credentials to write at length about her glissando, her bowing technique, her musical maturity when only 17.

While studying piano eons ago, I remember another student of the same teacher who played complicated pieces that impressed audiences, including me. She was precise, technically good. I applauded her expertise. However, she lacked a depth of feeling. Sirina does not have that problem.

Sirena’s problem, at 17, is being an accomplished musician who is blessed with a poise beyond her years. She is a slip of a girl who looks as if a gust of wind could blow her into Oz. Her commanding performance is a clue to the physical strength of her body, especially her long, slender arms. Maestro Edward Cumming said she is “a typical junior in high school” until she picks up the violin and brings it to her cheek. Her concentration is palpable. As she walked lightly, purposefully onto the stage and bowed at the audience’s applause, somewhere between leaving backstage and arriving at center stage, she had begun playing the score in her head.

She was dressed in a satiny pulled-taffy of a strapless gown, fitted bodice, and glistening full skirt that ended two inches from the floor, enough to catch a glimpse of black patent leather shallow pumps. Just the right touch of sparkle brightened her sleek ponytail. She was perfection.

To super-trained ears, her playing was not perfection, only because perfection is neither expected nor recognized when it happens. I thought she was fabulous. At an Artur Rubinstein concert (Worcester MA, early 1970s), his mis-notes endowed any piece with appreciative humanness.

Sirena’s teachers have respected her natural gifts. At age 4, her teacher was Linda Fiore at the Hartt School. Now she studies at Juilliard School PreCollege division with Sylvia Rosenberg and Stephen Clapp. Cumming referred to her choice of music, Mendelssohn’s Violin Concerto in E minor as “probably the Lord’s Prayer for violinists.” She writes: “This concerto is probably one of my favorite pieces to play. It’s really hard to say what part is my favorite because I love every part of it, but if I had to choose, the beginning would be my favorite. Although it may not sound as technically challenging as other parts, in fact, I feel that it is one of the most difficult parts to play in all of violin repertoire. However, the moment that the violin part comes in, the clarity of the melody line is just amazing and it no longer becomes about the technique but about something much more.”

Indeed, as does the aura Sirena generates..

Bela Bartok’s Divertimento for String Orchestra opened the evening. The warmth of the applause welcoming Music Director Cumming had a subtext: “We like you. We miss you.” I liked the Bartok so much that I assumed most everyone else did too. My notes are sound inspired. At the beginning, the repetition of two notes seemed ominous, stealthy, shhh. I found this Bartok could be enjoyed at different levels – easy listening plus a surprising thought that takes listeners in another direction. Yet, early on, nothing disturbs a reverie – until slashing strings are as strident as sounds of knives being sharpened. Pensive, ascending, leading to what? Easy to imagine the accelerating World War II in Europe, invading Bartok’s mind during composing this piece while safe in Switzerland’s Gruyere, the tragedies that fade into acceptance because what would a different choice accomplish? The occasional abrasive chord followed by single notes played against a whirring wind; low notes sustained. With the third movement’s assertive opening, hopeful notes (surely the orchestra enjoys playing this piece) the combination of serenity interrupted by new ideas, challenges. Bartok does not bore. Gypsy-like violin; the evening’s soloist waits in the wings. The pace quickens – a zillion bees – plucking of strings.

At intermission I chose to take home the coughing dregs of The Cold (any survivors know whereof I speak), to bypass one of my favorites, Haydn’s Symphony No. 94 in G Major (the “Surprise”). Cumming ranks Haydn as one of “the greatest composers, the most underrated, creator of 104 symphonies.”


The courtesy of the HSO staff, to foster the ability of an attendee to enjoy 2/3 of the concert, is a backstage story that probably will end up being told one day.



Carolyn Kuan

guest conductor & music director candidate

Alexander Beyer, piano soloist


December 3 through 5, 2010


Reviewed by Donna Bailey-Thompson

The guest conductor and music director candidate, Carolyn Kuan, extracted respect from an audience engaged in the excitement building to the selection of the HSO’s next conductor. Her organizational skills were evident in her pre-concert talk. She intimated she is as comfortable with the classics as she is with today’s kidnapping of Beethoven’s Fifth for personal ringtones. Her silent communication with the orchestra made it possible for both the opening selection, Samuel Barber’s Medea to be appreciated for its musicality without becoming mired in its horrific drama; and the evening’s closing contribution, Mozart’s Symphony No. 40 in G minor, Kuan interpreted as less an assemblage of a zillion notes but more as a flowing of intricate musical sounds.

An amalgamation of practice, self-discipline, dedication, determination, talent, built upon either a gift or that all of the above effort has honed into a rare echelon, is contained within the body and mind of young Alexander Beyer, the featured pianist of the HSO's Masterworks Series, Program No. 3.

As is the custom of the soloist, Beyer preceded guest conductor,Kuan onto the stage. My first thought was of Tom Hanks in Big after he had resumed his younger chronological age but his grownup clothes had not. Beyer is tall, slim, with the easy gait of an athlete. For years he’s played soccer at a premier level and ranked in the top 10 of Northern California division of USTA. He runs every day.

When he played the opening octave chords of Tchaikovsky’s Piano Concerto No. 1 in B-flat minor, that stirring sequence that even a mediocre pianist can play somewhat convincingly, what struck me was the acute delineation of sound, as if each of the individual notes comprising the chords could be heard. I marveled at the piano’s sharp tone. My misplaced admiration elided into an aha moment: the biting chords were struck not by an above-average piano student on an instrument with enhanced capabilities, but by an assured developing artist blessed with a musical maturity beyond his years.

He is the only pianist who within one minute of playing, had me swallowing hard, fighting to keep sobs suppressed in my throat.. Within those first revealing moments, his comfort level with the piano was evident, and within a few seconds more, his sensitive phrasing was manifested. Tchaikovsky’s beloved scores, his beautiful melodies, the juxtaposition of serenity and strife, the emotions he transferred onto paper, Beyer presented as his own. His performance was consistently excellent. More than once, a roaring arpeggio slowed to a delicate pianissimo punctuated, ultimately, by the clarity of a mere drop from a Tinklebell fly-by.

From beginning to end, Beyer captivated the audience, and their appreciation exploded with three curtain calls. Is this young man (he’s 16, not 17: source, his mother), with the well-grounded personality to be to the piano what Joshua Bell is to the violin? A union between dexterity and sensitivity nurtured by communion with one’s soul? Ahhh.






Opening Concert



Brahms - Beethoven - Shostakovich


Anticipation, Excitement, Triumph

Reviewed by Donna Bailey-Thompson

Anticipation preceded the evening. Excitement became part of a program that culminated in triumph.

Maybe Guest Conductor and Music Director Candidate Kevin Rhodes intrigued the audience assembled for the pre-concert talk when he walked purposefully onto the stage and introduced himself with a genuine midwestern smile. He proceeded to dazzle an attentive audience with his “inside information” of the evening’s program and its composers, extra nuggets not captured in print.

For example, Brahms. Contrary to expectations, “This work is neither academic nor a festival; they are drinking songs given Brahms’ full orchestral treatment.” As comprehensive as the program notes are, even alliteration samples are included (“precarious pecuniary predicament”), Rhodes’ thumbnail insights reflected his engaging personality, his body of knowledge that, obviously, he loves to share, framed by his outgoing nature that is impregnated by his all-encompassing love of music.

He spoke about Beethoven’s varied openings, illustrating them at the piano, pointing out the “tremendously different ways” he opened his pieces, including “expositions.” “The Emperor opens with a cadenza – shocking!” he mocked, but he declared that Beethoven “was blessed by the heavens; [his musicianship] is greater than all of us” implying that Beethoven can do no wrong.

Regarding Shostakovich’s Symphony No. 5, he spoke of the “pain, anguish, torture” that was transferred from the composer into the music composed when Stalin was at the height of his power and the Russian citizenry were in despair. At some point, “a typo speeded up a march” giving it, literally, an upbeat feel. Whereas, when played “at the slower tempo Shostakovich intended, it’s saying: “You Must Be Happy, You Must Be Happy.”

In response to questions from the audience, he spoke of how pleased he was with the HSO musicians’ “responsiveness to what I wanted to accomplish.” To the question would he be interested in being music director of both the Hartford and Springfield symphonies, he said he was glad the question was out in the open. His answer was a resounding, unequivocal, “Yes!”

At 7:30, the engaging Executive Director Kristen Phillips introduced the principals behind matching fund gifts followed by giving an abbreviated resume of Kevin Rhodes – presented without notes. The shortened version is punchier, but the full curriculum vitae is truly impressive. (

The 2010-2011 Masterworks Series began with Kevin Rhodes conducting the HSO’s opening of the Star Spangled Banner and then turning to sing with the audience. At its rousing conclusion, without wasting a moment, he pivoted toward the orchestra, signaling the opening of this four-concert audition.
Although all three selections lived up to his advance descriptions, there is no language to describe the feelings generated by music. A reviewer can only hint.

The Brahms stimulated involuntary toe-tapping. Did I detect a phrase that sounded like the opening of “The farmer in the dell” ? The HSO’s quick responsiveness to Rhodes was evident. They were alive! The Academic Festival Overture’s lovely mix of themes and moods culminated with the upbeat Gaudeamus igitur (which I first fell in love with during the 1951 Cary Grant film, People Will Talk).

Warm applause (as distinguished from perfunctory) welcomed (as opposed to greeted) piano soloist Jeffrey Biegel followed by his beaming friend, Kevin Rhodes. The musical treat exceeded my expectations, and they were already high. As woven by Maestro Rhodes, Biegel’s interpretation of Beethoven’s Piano Concerto No. 5 and the HSO were one complementary entity. The more often I hear Biegel, the more I appreciate his sensitive technique. When appropriate, he really does tickle the ivories, sounds that feather away into a gentle void. Whereas his big sounds become huge. His staccato octaves fascinated, delivered with modulated strength. I scrawled this note: “Sometimes, like now, I hear a familiar piece as if for the first time and appreciate why it is a favorite of its performers and listeners.”

The audience clapped and cheered. The third time Biegel reappeared, he clutched to his chest a battered soft green piano book, obviously a treasured resource that is well-used, and well-traveled too. I couldn’t catch what he said before beginning the encore – Bach? He played as if The Emperor had served as a warm-up. The audience was happy to applaud again as was the orchestra whose spare hands smacked their seated thighs.

All four movements of Shostakovich’s Symphony No 5 enthralled. Intense, yes, but packaged with measures that suspended fretting such as momentary diversion in a major key. Stretches of cacophony brought home today’s economic turmoil. Would this symphony make the banks nervous? Then, suddenly, a sweet passage, and the repeated pings of a triangle ended the first movement (Moderato/Allegro non troppo/Moderato).

Bam! The second movement, Allegretto, militant, challenged by woodwinds and violins. The brass horned in. Add some umpah, borderline coquettishness, pizzicato (violins and bass). Was the composer borrowing from country fairs? Was the Party edict: “Dammit, we are going to have a good time!”

In the third movement, Largo, it seemed as if the troubled composer was trying to find harmonious patterns for living. A haunting flute, simple piano notes. The music swelled, violins shimmered, and a reverie trailed off with more questions than answers.

The fourth movement, Allegro non troppo, no mistake about it. Booming kettle drums. Forte! Agitated! (This is no Swan Lake.) Cymbals heralded in a momentary major key, then more kettle drums before a major key passage as if remembering when fear did not rule. Snare drum, a major key insert, horns heralding what? The music overpowered by reality represented by thundering, roaring, ominous, purposeful pounding of kettle drums, the beating down of hope.

I haven’t contradicted myself: the evening’s program was a triumph. The audience was inspired. The musicians were smiling. Kevin Rhodes, stalwart admirer of Russian music, hugged Leonid Sigal, Russian-born Concertmaster of the HSO. In spite of the irrefutable harm inflicted by Stalin and the effects here of rampant greed, glorious music provided a welcome break from the mundane.


The HSO began its search for a new music director in the 2009-2010 season, introducing four of seven candidates to the Hartford community.  The search continues this season with the three final candidates’ guest conducting the HSO this fall.  HSO Music Director Edward Cumming will continue to lead the orchestra through the conclusion of the 2010-11 season in June of 2011.  His successor is expected to be announced by January 2011, and will lead an inaugural HSO performance March 17-20, 2011.  For more information on the music director search, including video interviews, full biographies, and audience feedback for each candidate, please visit

Conductor Kevin Rhodes’ work extends from the major opera houses of Europe to the concert stages of the U.S.  Maestro Rhodes is the Music Director of the Springfield Symphony Orchestra in Massachusetts, the Traverse Symphony Orchestra in Michigan, and the Pro Arte Chamber Orchestra in Boston.  He has collaborated with such diverse artists as Andre Watts, Nadja Solerno-Sonnenberg, Peter Serkin, Glenn Dicterow and Lorin Hollander on the concert stage as well as being a regular guest at the top European opera houses such as the Paris Opera, La Scala and the Vienna State Opera.  Highlights of the 2010-2011 season will include his debut with the Dutch National Ballet, three productions (nearly 50 performances) conducting the Paris Ballet, and a return performance at La Scala Opera House.


Having created a multi-faceted career as a pianist, recording artist, composer and arranger, Jeffrey Biegel’s electrifying technique and mesmerizing touch has received international critical acclaim. He has played premieres of new works and arrangements with the Boston Pops, New York Pops, the American Symphony Orchestra, and the Eastern Music Festival Orchestra, among others.  Mr. Biegel's recent recordings include solo performances with the BBC Concert Orchestra under Leonard Slatkin (Naxos) and the Florida State University Orchestra (Naxos).




with Kevin Rhodes, guest conductor and music director candidate; Jeffrey Biegel, piano

Thursday, October 14, 2010 & 7:30 p.m.  (New Thursday Time!)

Friday, October 15, 2010 & 8:00 p.m.

Saturday, October 16, 2010 & 8:00 p.m.

Sunday, October 17, 2010 & 3:00 p.m.

Belding Theater & The Bushnell Center for the Performing Arts

Kevin Rhodes will lead a pre-concert chat one hour before each performance.

Program: Ludwig Van Beethoven: Piano Concerto No. 5, “Emperor;” Johannes Brahms: Academic Festival Overture; Dmitri Shostakovich: Symphony No. 5

Ticket Information: Subscriptions to the 2010-2011 Masterworks Series range in price from $243-$520.  Single tickets range in price from $30-$65. Student tickets are $10.

To purchase tickets or for more information,

please contact HSO ticket services at (860) 244-2999

or visit


The Hartford Symphony Orchestra’s 2010-2011 season is sponsored by St. Francis Hospital and Medical Center. The 2010-2011 Masterworks Series is presented by MetLife Foundation and The Edward C. and Ann T. Roberts Foundation. The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council,

the Hartford Foundation for Public Giving, and

Hartford Symphony Orchestra Masterworks Series



Masterworks Series 2009 - 2010

Opening Concert & Celebration
September 25-26, 2009
2009 Cliburn Gold & Silver Medalists
Two Rachmaninoff Piano Concerti

Program No. 2
October 10-11, 2009
Mahler: Symphony No. 9 in D Major

Program No. 3
November 12, 14, 2009
Schumann: Overture to Lord Byron's Dramatic Poem, Manfred, Op. 115
Brahms: A German Requiem

Program No. 4
December 3, 5, 6, 2009
The Koski Memorial Concert: SMETANA - SIBELIUS - TCHAIKOVSKY

Program No. 5
Thursday, Friday, Saturday, January 7, 8, 9, 2010
8:00 PM - Belding Theater, The Bushnell Center for the Performing Arts
Concert Preview, 7:00 PM, Belding Theater
Sunday, January 10, 2010 at 3:00 PM, Belding Theater
Concert Preview, 2:00 PM, Belding Theater

Program No. 6Thursday, Friday, Saturday, Sunday, February 11-14, 2010MOZART PIANO CONCERTI

due to illness, this concert was not reviewed

Program No. 7
Thursday, Friday, Saturday, March 18, 19, 20, 2010
8:00 PM - Belding Theater, The Bushnell Center for the Performing Arts
Concert Preview, 7:00 PM, Belding Theater
Sunday, March 21, 2010 at 3:00 PM, Belding Theater
Concert Preview, 2:00 PM, Belding Theater

Program No. 8

Thursday, Friday, Saturday, April 22, 23, 24, 20108:00 PM - Belding Theater, The Bushnell Center for the Performing Arts
Concert Preview, 7:00 PM, Belding Theater

Sunday, April 25, 2010 at 3:00 PM, Belding Theater
Concert Preview, 2:00 PM, Belding Theater


Program No. 9

Thursday, May 20 - Saturday, May 22, 2010 8:00 PM - Belding Theater, The Bushnell Center for the Performing ArtsConcert Proview, 7:00 PM - Belding TheaterSunday, May 23, 20103:00 PM - Belding TheaterConcert Preview, 2:00 PM - Belding Theater




Contact Us


All rights reserved.
© The Arts, etc., Copyright 2010