Belmont University School of Music
THURSDAY, OCTOBER 9, 2025 7:30 PM
MCAFEE CONCERT HALL
Belmont University School of Music presents
Two Great Symphonies
Belmont University Symphony Orchestra
Dr. Christopher Fashun, conductor
Symphony No. 8 in B minor, D. 759 “Unfiniished” Franz Schubert
I. Allegro moderato (1797-1828)
II. Andante con moto
5-Minute Intermission
Symphony No. 2, Op. 30 “Romantic” Howard Hanson
I. Adagio Allegro moderato (1896-1981)
II. Andante con tenerezza
III. Allegro con brio
Program Notes
Symphony No. 8 in B minor, D. 759 “Unfinished” - Completed in 1822, no work in Schubert’s oeuvre has presented such an intriguing and enigmatic puzzle. Although there are traces of evidence that lead musicologists to possible explantions as to why Schubert did not complete the last two movements, there is no concrete evidence that gives definitive proof. Therefore, we are left to speculate with what imprints remain; mainly that it was the onset of syphilis and depression that was consistent with the four-year period (1818-1822) during which Schubert wrote several instrumental works that were never completed.
Even more fascinating is the performance history of the work. While studying composition as a teenager with Salieri, he befriended Anselm Hüttenbrenner, an accomplished pianist and composer but whose primary focus was that of a law student. Upon completing the manuscript for the symphony (which included an incomplete sketch of a third movement scherzo), Schubert handed the score to Anselm’s brother Josef as a present to the former for acquring an honorary membership into the Steiermärkischer Musikverein (Styrian Music Society) in Graz, Austria. Whatever the reason, Josef placed it in a desk drawer with other unfinished works. Upon moving from Vienna to Graz 43 years later, Josef and Anselm rediscovered the manuscript and were encouraged to publish the two completed movements. In 1865, conductor Johann Herbeck took the score from Anselm and presented the premiere of the symphony that same year in Vienna. Schubert never heard a public performance of any of his symphonies and never heard the Eighth and Ninth symphonies at all.
Symphony No. 8 is arguably the most romantic of his symphonies and demonstrates Schubert’s brilliance in his treatment of melodic simplicity, polyphonic balance, harmonic exploration, masterful orchestration, and emotional power and range. Although the music is entirely that of Schubert’s, influences of Mozart and Beethoven can be clearly heard throughout both movements.
The first movement form is presented in the expected sonata form where Schubert displays his genius for motivic development in both the development and recapitulation sections. Written in an ABAB form, the character of the second movement reaches the sublime. The strength of this movement lies in Schubert’s ability to modulate to remote and seemingly unrelated key areas from the tonic key of E major.
Symphony No. 2. Op. 30 “Romantic” - More than four decades after his death, Howard Hanson remains one of America’s most persuasive compositional voices. Though conservative in his harmonic vocabulary, his deeply felt music continues to resonate with audiences. Born in Wahoo, Nebraska of Scandinavian heritage, he was influenced as much by Jean Sibelius as by his American surroundings. His inborn warmth of expression was deepend by a tinge of melancholy that is heard in many works of Sibelius and other northern European composers.
In 1921, Hanson was awarded the first American Prix de Rome for a tone poem, Before the Dawn, which brought him to Rome, Italy to study with Ottorino Respighi. During his two-year stay in the Italian capital, he completed his Symphony No. 1, “Nordic,” which premiered in Rochester, New York in 1923 and caught the attention of George Eastman, founder of the famous school of music. Eastman invited Hanson to become the school’s director, a post he held for four decades with seemingly limitless energy and committment, and was responsible for bringing the school to the level of prominenece it is known for today.
A clue to the genesis, and perhaps long-term success, of Hanson’s Second Symphony may be found in this comment by the composer in 1930:
The Symphony for me represents my escape from the rather bitter type of modern musical realism [that] occupies so large a place in contemporary thought. Much contemporary music seems to me to be showing a tendency to become entirely too cerebral. I do not believe that music is primarily a matter of the intellect, but rather a manifestation of the emotions. I have, thereofre, aimed in the Symphony to create a work that was young in spirit, lyrical and romantic in temperament, and simple and direct in expression.
The “Romantic” Symphony is Hanson’s best-known orchestral score and fulfills the expressions of its title. After an atmospheric introduction, the first movement begins in earnest with a much-
repeated three-note motive that leads the orchestra to a climax. A horn fanfare clears the air for a descending theme uttered by the brass, which in turn yields to a tender theme marked in the strings. This theme recurs in the two remaining movements, gaining in power and amplitude as the music moves forward. The symphony ends with a coda that restates this theme in a grandly sonorous fashion. One interesting sidelight about this work is that excerpts from this symphony accompany the end credits for the sci-fi thriller Alien.
Program notes by Dr. Christopher Fashun, School of Music Faculty
Personnel
First Violin
Luke Baxley, concertmaster
Jade LaGore, assistant concertmaster
Rocco Greco
Macahila Hinnenkamp
Nathaniel Eulentrop
Kangin Joo
Owen Swiggum
Eliana Woodman
Harrison Mabon
Isaac Hardin
Sam Lock
Tessa Dalton
Second Violin
Kimmie Rauscher, principal
Daniel Ramirez
Sam Lehe
Brooke Harden
Zachary Hardin
Florence Schaumann
Nadia Foote
Lauren Nolte
Natalie Piedra
Drew Haines
Viola
George Graefen, principal
Anne-Marie Nguyen
Bella Kinard
Mackenzie Combs
Daniel Olopade
Karissa Szarek
Melanie Migneco
Jillian Baez
Cello
Grant Brown, principal
Madelyn Duncan
JéNai O’Connor
Thomas Cañas
Julia Kostraba
Graham DeHaan
Hannah Silverman
Owen Siller
Corrine Hawkey
Zoë Wilson
Angie Jackson
Kat Fogle
Ingrid Bakeman
Ava Kronenberger
Bass
Alex Haldane, principal
Joseph Bonvissuto
Ari Stoker
Will Wirth
Claire Walker
Rylan Stone
Carter Bohman
Talon Seidel
Piccolo
Mya Ploor
Flute
Brendan Wilson, principal
Jake King
Mya Ploor
Oboe
Amanda Rebstock, principal
Shawn Redmond
English Horn
Lily Chantler
Clarinet
Michelle Babyak, principal
Tommy Steele
Bassoon
Emily Okamura, principal
Harrison Sampson
Lucy Guthrie
Contrabassoon
Cayman Hogue
Horn
Holden Cessna, principal
Grace Helton
Ali Voyles
Ellie McClellan
Caroline Holmes
Trumpet
Biruke Woldeyohannes, principal
Luke Woody
Kristen Lester
Isabella Jones
Trombone
Caden Mohnke, principal
Luke Myers
Brooke Garrett
Tuba
Hudson Butler
Harp
Audrey Smith
Aliyah Wenneker
Percussion
Gramm Raedeke, principal
Cole Counihan
Miriam Marks
Joshua Wingard
Upcoming Concerts and Events
Bass & Rock Ensembles
Saturday, October 18, 7:30 p.m.
Massey Concert Hall
From Roar to Rhythm: The Evoluution of Jazz featuring Jazz Band I & Jazzmin
Sunday, October 19, 2:00 p.m.
Fisher Center for the Performing Arts
This is a ticketed event, Students may purchase tickets at the Belmont Box Office
Jazz Band II
Wednesday, October 22, 7:30 p.m.
Massey Concert Hall
String Chamber Orchestra with Guest Artists
Friday, October 24, 7:30 p.m.
McAfee Concert Hall
Company
Friday, October 24, 7:30 p.m.
Massey Concert Hall
Voxology
Saturday, October 25, 7:30 p.m.
Massey Concert Hall
Bel Canto & Chorale
Sunday, October 26, 5:00 p.m.
McAfee Concert Hall
Jazz Small Group I & Jazz String Quartet
Monday, October 27, 7:30 p.m.
Harton Recital Hall
Southbound
Thursday, October 30, 7:30 p.m. Massey Concert Hall
For more information on upcoming concerts and events, please visit www.belmont.edu/cmpa or “like” Belmont University School of Music on Facebook.
