Tchaikovsky Symphony No. 4
A journey into the heart of Russian repertoire begins with Mussorgsky’s evocation of dawn on the Moscow River. Prokofiev’s popular concerto abounds in rhythmic vitality and Slavic lyricism. With the Tchaikovsky Fourth Symphony—in the hands of Maestro Zander—you can expect an utterly fresh reading of a well-loved masterwork.
Benjamin Zander, guest conductor
Alexander Korsantia, piano
Mussorgsky Kovantschina Introduction: “Dawn on the Moscow River”
Prokofiev Piano Concerto No. 3 in C major, op. 26
Tchaikovsky Symphony No. 4
Did you know?
Modest Mussorgsky only completed a small handful of his compositions before his death at the age of 42. His repertoire includes several posthumous editions of his work finished by Nikolay Rimsky-Korsakov, including the version of Kovantschina that we will perform. (Source: The NPR Listener’s Encyclopedia of Classical Music)
Sergey Prokofiev was the last great composer to grow up in tsarist Russia and one of the first artists to leave the Soviet Union after the Communist revolution. He eventually returned as he found his homeland more in tune with his style and was filled with artists who shared a similar view of the world. (Source: The NPR Listener’s Encyclopedia of Classical Music)
It was not until his fourth symphony that composer Pyotr Tchaikovsky discovered the key to both melodic inspiration and mastery of form, allowing him to discover his voice as a symphonic composer. (Source: The NPR Listener’s Encyclopedia of Classical Music)
About Benjamin Zander
Music was Benjamin Zander’s life at a very early age. When Benjamin was nine he was already composing and by 12 he was studying under Benjamin Britten and Imogen Holst. He left home at the age of 15 to study for five years with the great Spanish cellist Gaspar Cassado in Florence and at the State Academy in Cologne. After completing his degree at London University, he went to the United States on a Harkness Fellowship and has made his home in Boston ever since.
There, as conductor of the Boston Philharmonic since its formation in 1978, and a guest conductor of numerous orchestras, he has become the center of an intense following of some of the most well-informed musical intellectuals in America. For nearly 30 years, beginning with Michael Steinberg’s passionate advocacy on his behalf in the pages of The Boston Globe, critics and public have been united in their praise of Benjamin's interpretations of the central repertory.
For 45 years he was on the faculty of the New England Conservatory of Music, where his class on interpretation attracted students from all over the world, and he travels extensively giving masterclasses, conducting guest performances, and touring with his own recently formed Boston Philharmonic Youth Orchestra.
He has established an international reputation as a guest conductor and has conducted the Israel Philharmonic for three consecutive years, and conducted orchestras as diverse as the Bournemouth Symphony, the Scottish and Irish National Orchestras, the St Petersburg Philharmonic, the Malaysian Symphony, the St Louis Symphony Orchestra, the Indianapolis Symphony, the Youth Orchestra of the Americas, the Tulsa Symphony Orchestra, the Toronto Symphony Orchestra, and has appeared with the National Youth Orchestras of New Zealand, Australia and Venezuela.
About Alexander Korsantia
Pianist Alexander Korsantia has won great critical acclaim for his versatility, power and the unique sincerity of his playing. He can be heard performing in many of the world's foremost concert halls collaborating with renowned artists such as Valery Gergiev, Christoph Eschenbach, Paavo Jarvi, Gianandrea Noseda, Yuri Bashmet, Yuri Temirkanov, Vadim Repin, the Jerusalem Quartet and Sakari Oramo, among others.
Korsantia has performed as soloist with orchestras throughout the Americas, Europe and Asia. Recent engagements have included a televised performance of Rachmaninov’s Piano Concerto No. 3 at the White Nights Festival in St. Petersburg; performances at the Stresa Festival in Italy under the baton of Yuri Bashmet; in the Newport, Tanglewood, Vancouver, Gilmore festivals; with the symphony orchestras of Louisville, Brazil, Bogota, Jerusalem and the City of Birmingham, the Georgian State Orchestra, the Kirov Orchestra, the Israel Chamber Orchestra and others. He has also participated in a United States recital tour with renowned violinist Vadim Repin.
Recent performance highlights include Prokofiev’s Third Concerto and Mozart’s B-Flat Major Concerto with Israel Philharmonic Orchestra and with Boston Pro Arte Orchestra, Rachmaninoff’s Third Concerto with RAI Orchestra, Turin, Dvořák's Concerto with Jerusalem Symphony and Oslo Philharmonic and Stravinsky Concerto with UK Youth Orchestra, as well as Israel Chamber Orchestra, Vancouver Symphony, Omaha Symphony, Oregon Symphony, Pacific Symphony Orchestra in LA, Elgin Symphony in Chicago, and Louisville Symphony Orchestras, giving performances in such a concert halls as Verdi Auditorium in Milan, and Santa Cecilia Auditorium in Rome.
Step 1: Select Your Tickets
Frequently Asked Questions
Every Akron Symphony concert experience is unique. Attending any concert can be an entertaining and enlightening experience, especially if you know what to expect.
Frequently Asked Questions Details
I’ve never been to an orchestra concert before. What should I expect?
Expect to enjoy yourself! This is the time to let go of any preconceptions you may have about classical music or the concert experience. If you feel a litle nervous, that’s OK. Some things about the concert may seem strange because they’re new to you, but if you just focus on the music, you’ll have a great time. Open yourself up to the music. Let it trigger your emotions and memories. Feel the rhythms; follow the tunes. Watch the musicians and the conductor, and see how they interact with each other. Notice how the music ebbs and flows — surging and powerful at some times, delicate and ephemeral at others, and everything in between.
What if I don’t know anything about classical music? Do I need to study beforehand?
There’s no need to study. The music will speak for itself. Just come and enjoy! Over time, many frequent concertgoers do find their enjoyment is deeper if they prepare for a concert. This can be simple, like reading the program notes beforehand; or it can be more involved, like listening to recordings of the music to be performed in the days before they attend a concert. You know yourself best, so if research interests you, go ahead and follow your curiousity. But if studying isn’t your thing, there’s no need to be concerned about it. Just listen with an open mind.
Will I recognize any of the music?
You might. Classical music is all around us: in commercials, movies, TV themes, cartoons, stores, and even some elevators! Popular music often quotes classical melodies, too. While you’re listening in the concert to a piece you think you’ve never heard before, a tune you’ve heard a hundred times may jump out at you.
Whether or not you’ve heard the music before the concert, as you listen, you’ll notice that each classical piece uses its own group of several tunes over and over, in different ways. You’ll start to “recognize” these melodies as a work progresses. Listen for the ways a melody is repeated: Is it exactly the same as the first time, or with a different character? Is it played by the same instruments, or different ones? Does it start the same as before, but go off in a different direction? Or start differently and surprise you by developing into the tune you recognize from earlier in the piece?
What should I wear?
There is no dress code! Anything that makes you feel comfortable is fine. Most people will be wearing business clothes or slightly dressy casual clothes, but you’ll see everything from khakis to cocktail dresses. Some people enjoy dressing up and making a special night of it, and you can, too. Still, evening gowns and tuxedos are pretty rare unless you’ve bought tickets for a fancy gala — and if you have, you’ll know! If you do decide to dress up, though, go easy on the cologne, which can distract others near you and even prompt them to sneeze (which may distract you)!
Should I arrive early?
Absolutely! Plan to arrive 20 minutes before concert time, so you can find your seat, take a look at your surroundings, absorb the atmosphere, and have time to glance through the program book. You won’t be alone. Most concertgoers make a point of coming early to read the program notes, or just watch the orchestra warm up.
Rushing to your seat at the last minute doesn’t really give you enough time to get settled, so you may not fully enjoy the first piece on the program. And there’s another good reason to come early: Most concerts start on time. If you’re late, you may end up listening from the lobby! If that happens, the usher will allow you inside during a suitable pause in the program, so your arrival won’t disturb other concertgoers.
How long will the concert be?
It varies, but most orchestra concerts are about 90 minutes to two hours long, with an intermission at the halfway point. Very often there will be several pieces on the concert; but sometimes there is one single work played straight through. It’s a good idea to take a look at the program before the concert to get an idea of what to expect.
When should I clap?
This is the number-one scary question! No one wants to clap in the “wrong” place. But it’s simpler than you may think.
At the beginning of the concert, the concertmaster will come onstage. The audience claps as a welcome, and as a sign of appreciation to all the musicians.
After the orchestra tunes, the conductor (and possibly a soloist) will come onstage. Everyone claps to welcome them, too. This is also a good moment to make sure your program is open, so you can see the names of the pieces that will be played and their order.
Then everything settles down and the music begins. Just listen and enjoy! The audience doesn’t usually applaud again until the end of the piece. That said, if you do applaud between movements, don’t worry about it, and disregard anyone who “shushes” you for doing so. It’s only in the last 50 years or so that audiences stopped applauding between movements, so you have music history on your side!
In most classical concerts the audience never applauds during the music. They wait until the end of each piece, then let loose with their applause. But this can be a little tricky, because many pieces seem to end several times—in other words, they have several parts, or “movements.” These are listed in your program.
In general, musicians and your fellow listeners prefer not to hear applause during the pauses between these movements, so they can concentrate on the progress from one movement to the next. Symphonies and concertos have a momentum that builds from the beginning to the end, through all their movements, and applause can “break the mood,” especially when a movement ends quietly. Sometimes, though, the audience just can’t restrain itself, and you’ll hear a smattering of applause — or a lot of it — during the pause before the next movement. It’s perfectly OK to join in if you enjoyed the music, too.
What if you lose track, and aren’t sure whether the piece is truly over? One clue is to watch the conductor. Usually, s/he won’t relax between movements, but keep hands raised; the attention of the musicians will remain on the conductor. If in any doubt, it’s always safe to wait and follow what the rest of the audience does!
At the end of the piece, it’s time to let yourself go and let the musicians know how you felt about their playing. Many pieces end “big” — and you won’t have any doubt of what to do when! Some end very quietly, and then you’ll see the conductor keep hands raised for a few seconds at the end, to “hold the mood.” Then the hands will drop, someone will clap or yell “Bravo!” — and that’s your cue. There’s no need to restrain yourself. If you enjoyed what you heard, you can yell “Bravo!” too.
What if I need to cough during the music?
Everyone gets the urge to cough now and then. Worrying about disturbing your fellow listeners is a laudable impulse, but don’t let it ruin your enjoyment of the concert. There’s a funny thing about coughing — the less worried you are about it, the less likely you are to feel the urge! So chances are you’ll feel less need to cough if you’re prepared.
Be sure to visit the water fountain in the lobby before the concert, and at intermission. If you have a cold, take some cough medicine in advance and bring wax paper-wrapped—or unwrapped—lozenges with you. (At some concerts, you’ll even see cough drops free for the taking in the lobby.) Have a few out and ready when the music begins. Allow yourself to become involved in listening to the music and in watching the performers. The more you are absorbed in what’s going on, the less likely you are to cough. If you absolutely can’t restrain yourself, try to wait for the end of a movement. Or “bury” your cough in a loud passage of music. If this is impossible, and you feel a coughing fit coming on, it’s perfectly acceptable to quietly exit the concert hall. Don’t be embarrassed—your fellow listeners will probably appreciate your concern for their listening experience.
What should I do with my cell phone during the concert?
Turn it off! The same goes for pagers and alarm watches. It’s a good idea to double-check in the few minutes before the concert begins, and again as intermission draws to a close. Better still, leave them at home if you can. Doctors and emergency workers who are “on call” can give their pagers to an usher, who will summon them quietly if they are paged.
Can I take pictures?
Cameras, video recorders, and tape recorders aren’t permitted in concerts. If you happen to have one with you, be sure to stop at the coat-check and check it in before entering the auditorium. If you have a camera and want a souvenir of a special evening at the symphony, it can be fun to ask someone to take your picture outside the concert hall before you go in.
Why is there an intermission, and what should I do during it?
It’s a short rest period for the musicians and conductor—once you see how much activity goes into a performance, you’ll understand why they need a break!
Listening to music is also an intense activity (even if considerably less physical), and a break in the middle helps the audience concentrate better in the second half. Some concerts, though, have no intermission because it would interrupt the flow of a long work. Check the program before the concert so you know what’s coming.
Most intermissions are fifteen to twenty minutes long, which gives you time to socialize with your companions, get a drink or a snack in the lobby, visit the facilities, or simply sit in your seat and read the program notes. Do whatever puts you in a good frame of mind to hear the second half of the concert.
Can I bring my kids?
It depends on the concert and on the age of your kids. Many standard-length classical concerts are inappropriate for small children because they require an attention span that is difficult for youngsters to maintain. Most concerts also are held at night, and stretch beyond “bedtime.”
So if your children are very young, check with your local orchestra, which may present family or child concerts on weekends; these are a great way for families to enjoy classical music together. Young children are especially intrigued by the many different instruments of the orchestra and the way they are played. Try to sit up close to the orchestra, so your kids will have a great view of everything that’s going on.
To further build your child’s interest in classical music, play classical radio or CDs around the house. When they are old enough to sit quietly for an extended period, you may wish to bring them to the first half of a standard concert. An interested preteen or teenager could also have a marvelous time at an orchestra concert, particularly if it features several different pieces.
In all cases, it’s a good idea to check with the orchestra directly about the appropriateness of the concert you plan to attend with your kids. Also ask about discounts for students and children.
How can I learn more about classical music?
Most orchestras give you several ways to learn more. You can read program notes online in advance of a concert, or in your seat before the concert begins. Many concerts are preceded by free lectures or discussions, and these can be entertaining and enlightening. Sometimes the conductor or soloist even talks about the music during the concert.
But you might not need to “know” more to have a great time at your next concert.
Most people who attend concerts frequently find that it’s like any other passionate pursuit: The more you do it, the more you enjoy it. Most of the classical works you hear repay frequent listening: The more often you hear a piece, the more wonderful layers you hear in it. If you enjoyed your first concert, plan to come again!
Check the orchestra’s web site for future concerts that are specifically designed to help you hear the many layers in the music. And if your concert hall has a gift shop, pay a visit during intermission; you may find books and recordings that will help you enjoy your next concert even more.
Here are some links to web sites where you can look up composers and their works, buy recordings, and learn more about classical music:
For a wonderful introduction to American music, visit the web site for the American Mavericks public radio series, which features the San Francisco Symphony. The site includes biographies of composers, music downloads, and interviews and features on contemporary music.
For kids who are learning to play instruments, FromTheTop.com offers a great resource, and access to public radio’s From The Top programs.
The Learning Zone of the Naxos Records web site has an introduction to classical music, biographies of composers, a glossary of musical terms, and an excellent guide to live-concert listening. You can also stream loads of classical pieces, so this is a great place to visit if you want to listen to a work a couple of times before you hear it in concert.
And if you like the very newest “classical” music, don’t miss NewMusicBox, a monthly web ‘zine about living composers and their works.
About the Orchestra
Everything from the instruments that compose the orchestra to their warmup activities.
About the Orchestra Details
What is a symphony orchestra, exactly?
A symphony orchestra is a collection of up to about 100 musicians who play instruments of four basic types:
- Strings — violins (smallest, and highest in pitch), violas, cellos, and doublebasses (largest and lowest in pitch). These players sit in a semicircle directly in front of the conductor, and make up more than half the orchestra.
- Woodwinds — flutes, oboes, clarinets, bassoons, and related instruments. These players sit a few rows back from the conductor, in the center of the orchestra.
- Brass — trumpets, horns, trombones, tubas, and similar instruments. These instruments are the loudest, so you’ll see them at the back of the orchestra.
- Percussion — the drums, bells, and other fascinating paraphernalia that are struck, plucked, rubbed, etc. This includes the kettledrums, the harp, and, on occasion, the piano. Some works use lots of different percussion; others may have a single musician playing the kettledrums, or no percussion at all. The percussion section is also found at the back of the orchestra.
Why are the musicians onstage playing before the concert begins?
Just like basketball players taking shots and practicing moves before the game, musicians need to warm up their muscles and focus their concentration. This is fun to listen to and to watch. Some of them are working on the passages they need to polish up before the performance, with no regard for what anyone else is practicing. Pick out the flute or the trumpet playing a solo line over and over, and listen to how it changes. Does it get smoother? If the player stops in the middle and starts over, can you hear the reason why? (It’s especially fun to recognize these solos later in the performance! Give a silent cheer for the player who nails the solo.)
Not all of the orchestra players practice onstage, of course. Just like the audience, everyone is doing his or her own thing. Some are talking; others are paging through their music. And some don’t come onstage at all until a minute or two before the performance. But at concert time, everyone is in place and ready to start.
Why do the musicians wear formal black clothes?
This is a long tradition that started a few centuries ago. Sometimes, these days, musicians dress a little more casually. But they still try to look uniform, so that the audience can concentrate on the music. Soloists are the exception: they often dress differently, because they are the focus of attention.
How come there are more stringed instruments than anything else?
The sound of each individual stringed instrument is softer than a brass or a woodwind instrument. But in large numbers, they make a magnificent, rich sonority.
Why do their bows move together?
The players of each individual section—first violins, second violins, violas, cellos, and doublebasses—play in unison most of the time. So all the cellos move together, for instance. As you listen, noticing the different bowings for each section gives you a visual clue to sort out the various melodies you’re hearing.
What does the concertmaster do?
The concertmaster sits in the first chair of the first violins. S/he acts as leader of that section, but also plays a leadership role with orchestra as a whole. S/he is also the last orchestra musician to enter the stage before a concert, and cues the oboe to “tune” the orchestra.
Why do all the musicians tune to the oboe?
The penetrating tone of the oboe is easy for all players to hear, and its ability to sustain pitch is very secure. The oboe plays the note “A,” and all the players make sure their “A” is exactly on the same pitch as the oboe’s. This ensures that they all are in agreement about the tuning before the concert starts.
Why do the string players share stands?
Fewer stands mean that the musicians, who are moving around quite a bit, have more room to play freely. Also, because the strings play more continuously than the other parts, their page turns can fall in inconvenient places where there should be no break in the music. Look closely and you’ll see that the player on the outside keeps playing, while the player on the inside briefly stops playing to turn the page.
Why does the conductor leave after every piece of music?
This provides the conductor a little breather—a chance to collect his or her thoughts before starting the next piece. If the applause is very enthusiastic, the conductor will come onstage again, bow, and perhaps recognize some musicians who played important solos in the piece. S/he may depart again once or twice before moving on to the next piece on the program.
Why don’t the musicians smile while they play?
Look closely and you’ll see that some of them do! But in general, they are concentrating deeply, just like outfielders waiting for the fly ball or pitchers winding up to a curve ball. They’re “in the Zone.” After the music is over, you may see them smiling broadly. If it was a concerto, and they liked the soloist’s playing, they won’t just smile—the string players will tap their stands with their bows as a sign of appreciation.
Prices by seating section
Seating Chart Details
Prices based on single tickets
$60 = Sections A/D
$47 = Sections B/E
$37 = Sections C/F/G
$25 = Sections H/I
About the Concert Hall
About the Concert Hall Details
The University of Akron's E.J. Thomas Hall
198 Hill St.
Akron, OH 44325
All Akron Symphony Cconcerts take place at The University of Akron's E.J. Thomas Hall.
- The University of Akron’s E. J. Thomas Hall is a smoke-free building. Smoking areas are located outside the building.
- Cameras, recording equipment, cellular phones and pagers are prohibited from being used during a performance. You may take the devices back to your car, check them at coat check in Robertson Lobby (EJ) or check them with the Head Usher at the information counter.
- Please note the curtain time printed on your tickets, as performances begin promptly. In consideration of others, latecomers will be seated at a suitable pause in the program. This includes patrons who leave the auditorium before or during a selection. Patrons will be re-seated after the completion of that selection.
- Intermissions are generally 20 minutes in length. The flashing of the lobby lights is your signal to return to your seat for the start of the performance. Latecomers will be seated at proper intervals.
- Members of the audience who wish to leave before the conclusion of the performance are asked to do so only between selections as not to disturb others.
- The University of Akron’s E. J. Thomas Hall has Orchestra and Grand Tier level seating for patrons in wheelchairs or patrons with special needs. Adjacent seating for a companion is also available in both areas. To make reservations, call the Box Office at 330.535.8131.
- There are a limited number of handicap parking spaces available on a first-come, first-served basis in the E.J. Thomas Hall parking deck and in parking lots No. 26 and No. 27. There is a $5 charge (cash only) for parking. A valid permit must be displayed.
- Located at the bottom of both ramps on both sides of the building.
- Public restrooms are located in Robertson Lobby. The Ladies’ Room can be accessed from the odd side of the building and the Men’s Room access is from the even side. The center stairs in Robertson Lobby lead to both restrooms. Accessible restrooms are located at the bottom of each ramp.
- Public telephones are located downstairs between the restrooms, off Robertson Lobby. Telephones are also located in our Ticket Office Lobby and McCormick Lobby. Both of these phones are wheelchair accessible.
- Should you need to be contacted when you are at a performance, please leave the Main Lobby phone number, 330.972.6828. Also be sure to leave your seat location with the caller so we can locate you quickly. Physicians and others expecting calls are requested to leave their name and seat location with the Head Usher in McCormick Lobby upon arrival.
- Drinking fountains are located at the top of both ramps in Robertson Lobby.
- The Information Counter is located in McCormick Lobby, which is adjacent to the Ticket Office. The counter is manned by an attendant, who is available to assist you with your questions and concerns.
Assistive Listening System
- A special sound system for the hearing impaired, Williams Personal PA Receiver is available at the information counter in McCormick Lobby, free of charge.
Lost and Found
- The information counter serves as our lost and found department during events. If you discover that you are missing something the day following a performance, please call 330.972.7595 and make a report.
Food and Beverage Service
- Food and beverages purchased at E.J. Thomas Hall are permitted in the auditorium. A full-service bar and concession stand are located in the building’s center lobby, Robertson Lobby. The Concession Stand offers soft drinks, bottled water, coffee, beer, wine, snacks and candy before the performance and at intermission.
Even and Odd Entries
- E. J. Thomas Hall has 26 entries that lead into the auditorium seating over three levels. The even entries are located on the University Avenue/Ticket Office side and the odd entries are located off of Hill Street. All entries with the exception of 9-10-11-12-13-14 are accessed by stairs. Entries 10 and 14 are the easy access/wheelchair-accessible entries.