Advance Program Notes Roanoke Symphony Orchestra Masterworks Concert Sunday, October 15, 2017, 3 PM

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Roanoke Symphony Orchestra Masterworks Concert David Stewart Wiley, conductor Jeffrey Biegel, piano

Piano Concerto no. 5 in E-Flat Major, Emperor Ludwig van Beethoven

I. Allegro II. Adagio III. Rondo: Allegro ma non troppo

Jeffrey Biegel, piano

INTERMISSION

Symphony no. 4 in E Minor, op. 98 Joannes Brahms

I. Allegro non troppo II. Andante moderato III. Alegro giocoso IV. Allegro energico e passionato

This performance is supported in part by a gift from Mike and Candi Kelly. Roanoke Symphony Orchestra FIRST VIOLIN FLUTE Akemi Takayama, concertmaster Alycia Hugo, principal James Glazebrook, associate concertmaster Julee Hickcox Paul Kim Larry Chang PICCOLO Nicole Paglialonga Julee Hickcox Wendy Rawls OBOE Christi Salisbury William P. Parrish, principal M. Alan Pearce Michael Schultz Charlie Rickenbacker Amanda Gentile CLARINET Carmen Eby, principal SECOND VIOLIN Candice Kiser Matvey Lapin, principal Elise Blake, assistant principal BASSOON Martin Irving, assistant principal Cynthia Cioffari, acting principal Shaleen Powell Ryan Romine Kevin Matheson Martin Gordon Jane Wang Vladimir Kromin CONTRA BASSOON Donna Stewart Megan Cassada Brooke Mahanes HORN Brent Beasley Wally Easter, principal Jared Hall Abigail Pack VIOLA Dakota Corbliss Kathleen Overfield-Zook,principal Rodney Overstreet Andrea Houde TRUMPET Sam Phillips Paul Neebe, principal Johanna Beaver Thomas Bithell Lindsey Fowler Satoko Rickenbacker TROMBONE Christina Sienkiewicz Jay Crone Samuel Kephart Zachary Guiles Liz Lochbrunner John McGinness

CELLO PERCUSSION Kelley Mikkelsen, principal William Ray, principal Carl Donakowski Hannah Pressley TIMPANI Alan Saucedo Annie Stevens Evan Richey Jeanine Wilkinson Rachel Sexton Edward Gant

BASS John P. Smith IV, associate principal Michael DiTrolio Christopher Ewan Edward Leaf Brian Wahl Program Notes PIANO CONCERTO, NO. 5, IN E-FLAT MAJOR, EMPEROR Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1824, Vienna, Austria)

There is a certain irony in the subtitle of Emperor that was later given to Beethoven’s fifth and final piano concerto, but never used by the composer himself. By the spring of 1809 when Beethoven was creating his Emperor Concerto, the last person he would have wanted to honor was the emperor of the day, Napoleon Bonaparte. Years earlier, he had angrily obliterated a dedication to the French leader he’d once admired from the title page of his Third Symphony, the Eroica, after he learned that Napoleon had just crowned himself Emperor.

In May 1809 Napoleon’s armies were actually besieging the city of Vienna. Beethoven’s home was in the line of fire of the French cannons, and he was forced to flee to his brother’s house, where he holed up in the cellar with a pillow pressed to his still sensitive ears. But his work on his new concerto did not cease.

And yet in many ways Emperor, taken in a more generic sense, is an appropriate title for this concerto. It is a work of imperial size and scope—particularly in its huge first movement—and it reflects its war-riven era in its virile, martial tone. Its key—E-Flat Major—was one of Beethoven’s favorites and one he associated with heroic thoughts; it is also the key of his Eroica Symphony. Sadly, Beethoven was never able to display his own powers as a pianist with this work. Although he had introduced all his other keyboard concertos to the public, his deafness was too far advanced for him to risk playing the 1810 premiere in Leipzig.

The length and complexity of the sonata-form first movement demonstrate Beethoven’s new symphonic conception of the concerto. The opening is boldly innovative. First we hear the pianist sweeping over the keyboard in grand, toccata-like arpeggios and scales, punctuated by loud chords from the orchestra. Then the soloist allows the orchestra to present its long exposition of themes. The first theme, with its distinctive turn ornament, is introduced immediately. The second, a quirky little march, appears first in halting minor-mode form in the strings, then is immediately smoothed out and shifted to the major by the horns. Over the course of the movement, Beethoven will transform both these themes in a wondrous range of keys, moods, and figurations.

After its long absence, the piano begins its version of the exposition with an ascending chromatic scale ending with a long, high trill. Throughout, Beethoven uses this scale as an elegant call-to-attention: whenever we hear it, we are being given notice that a new section of the movement is beginning. It will mark the opening of the development section and later the closing coda after the recapitulation.

Just before that coda comes the usual moment for the soloist’s big cadenza. But here Beethoven has quashed the soloist’s customary right to improvise his own exhibition of virtuosity. Fearing the jarring improvisations other soloists might make, the composer wrote in Italian in the score, “don’t play a cadenza, but attack the following immediately.” He then carefully wrote out a brief series of variants on both his themes.

A complete contrast to the extroverted first movement, movement two is a sublime, very inward elegy in B Major, a remote key from the home tonality of E-Flat. Two themes receive a quasi-variations treatment. The first and most important is the strings’ grave, almost religious theme heard at the opening. The second theme is the downward cascading music with which the piano enters.

At the close of the movement, the pianist experiments hesitantly with a new melodic/rhythmic idea. Suddenly, the spark is struck, and the theme explodes into the exuberant rondo finale. Beethoven stresses the weak beats of his dancing meter, giving the theme an eccentric, hobbling gait. An important element is the incisive rhythm first heard in the horns; this martial, drum-like motive returns us to the wartime world of the concerto’s birth. Near the end, Beethoven gives this to the timpani, in eerie duet with the soloist, before the concerto’s triumphant finish. Program Notes, continued SYMPHONY, NO. 4, IN E MINOR Johannes Brahms (b. 1833, Hamburg, Germany; d. 1897, Vienna, Austria)

Brahms’ last—and, in the opinion of many—greatest symphony made an inauspicious debut with its first audience, a small group of the composer’s friends (including conductor Hans Richter and Viennese critic Eduard Hanslick) gathered around two pianos in 1885 as Brahms and a colleague played through the score. They listened in stunned silence, then began tearing the work apart. Max Kalbeck, the composer’s first biographer, suggested Brahms publish the finale as a separate piece, throw out the third-movement scherzo, and rewrite the first two movements. A discouraged Brahms asked Kalbeck the next day, “if people like … you do not like my music, who can be expected to like it?”

Fortunately, the musical public liked the Fourth Symphony much better than did Brahms’ friends. It was a resounding success at its premiere with the Meiningen Orchestra under the composer’s baton on October 25, 1885, and was equally applauded on a nine-city tour that followed, with Brahms and the distinguished conductor Hans von Bülow alternating on the podium. Von Bülow responded to the Fourth as we do today, calling it “stupendous … individual and rocklike. Incomparable strength from start to finish.”

What could have been so distressing about this noble work to those first listeners, all sophisticated musical professionals? While composing it during the summers of 1884 and 1885 in Mürzzuschlag in southern Austria’s Styrian Alps, Brahms wrote to von Bülow, “it tastes of the climate hereabouts; the cherries are hardly sweet here, you wouldn’t eat them!” Certainly compared to his first three symphonies, the work has something of the bitterness of sour cherries in its austerity, harmonic bite, and predominantly tragic mood. It is the most tightly constructed of his symphonies, governed by an internal logic inspired by the strictness of its celebrated passacaglia finale. But listeners will be less aware of this than of the work’s amazing range of moods, its wealth of lyrical melody, and its overall drama.

For Brahms, a firm structural foundation gave freedom for unfettered expressiveness. This is epitomized by the finale’s use of the Baroque passacaglia or chaconne form, in which a series of variations are created over a repeated theme. Brahms adopted his theme from Bach’s Cantata, no. 150, Nach Dir, Herr, verlanget mich (Toward You, Lord, I Long). In 1880, he had played this cantata for von Bülow and, pointing out the theme, suggested, “what would you say to a symphonic movement written on this theme some day?”

Tonight’s performance of the beloved Fourth Symphony by Brahms has a noteworthy musical addition at the opening of the first movement. Maestro David Stewart Wiley has restored the original four-measure introduction by the composer in the Allegro non troppo first movement. A strong A Minor to E Minor tonal sonority in these four bars prepares us for the customary violin upbeat. This is an exact realization from the surviving manuscript scored in the composer’s hand and establishes the symphony’s home key. We hope you enjoy this RSO premiere restoration of the original opening measures of this masterwork, for it is not found on any existing recording to our knowledge!

The violins’ sighing motive, descending then ascending, will be the cornerstone of Brahms’ symphonic cathedral; by movement’s end, this gentle idea will reach heights of dramatic pathos. The complete melody then unfolds in the violins, followed by a variation on it. Already Brahms is announcing that the variations process will be an important force throughout this entire symphony. A mysterious passage of string arpeggios and cloudy harmonies and a fanfare motive are also important elements in this sonata form in E Minor. The overall mood is subtle and autumnal, rising to heroic tragedy over a heavy drum roll at the end.

The slow movement, in E Major, is full of nostalgia and melancholy. A dark, cloudy color is established by the four horns (the movement’s signature instruments), followed by clarinets, singing the principal melody in mournful middle register over a steady rhythmic pattern in plucked strings. The second major theme in this compressed sonata form is one of Brahms’ lovely yearning tunes, sung by the cellos below arcing high violins. Of this movement Brahms’ close friend Elisabeth von Herzogenberg wrote, “it is a walk through exquisite scenery at sunset, when the colors deepen and the crimson glows to purple.” Program Notes, continued Evening’s purple brightens to golden daylight in the exuberant scherzo movement, in C Major and marked Allegro giocoso. All melancholy is temporarily swept away in the most extroverted, joyful symphonic movement the introspective Brahms ever wrote. The ringing of the triangle intensifies the jubilation.

And now comes the celebrated finale with its eight-measure passacaglia theme stated clearly at the beginning by the wind instruments. You may subliminally feel this pattern throughout the 30 variations, but you will be more conscious of the overall emotional trajectory. Brahms groups his variations in large blocks so there is no feeling of start and stop. A slower middle section opens with one of the most beautiful, sorrowful melodies ever written for the flute. After a prominent recapitulation of the passacaglia theme, a dramatic set of variations builds to a tragic coda, intensified by pounding timpani. Here Brahms achieves a Pyrrhic victory in a mighty conclusion to his symphonic career.

—Notes by Janet E. Bedell, copyright 2017

Biographies JEFFREY BIEGEL, piano The fascinating career of Jeffrey Biegel takes its roots from the beginning. Until the age of three, Biegel could neither hear nor speak, until corrected by surgery. The ‘reverse Beethoven’ phenomenon explains his life in music, having heard only vibrations in his formative years.

In August 2017 Biegel recorded Kenneth Fuchs’s Piano Concerto, Spiritualist, with the London Symphony Orchestra at Abbey Road Studios and with JoAnn Falletta conducting, for an upcoming Naxos recording. He also performs the world premiere of a new Concerto for Piano and Orchestra composed for him by Italian pianist/composer Giovanni Allevi with Orchestra Kentucky, conducted by Jeff Reed. He will be joined by Maestro Reed to perform the European Premiere on November 15, 2017 in Milan’s Teatro di Vermes. In March 2018 the new Peanuts Concerto for piano and orchestra will be available, created by Grammy-award winning composer Dick Tunney and based on the original music by Vince Guaraldi. For 2018-20, Christopher Theofanidis’s Concerto for Piano, Strings, Harp, and Percussion will be performed by commissioning orchestras as part of a new consortium effort.

The 2016-2017 season included two world premieres for piano and orchestra in commissioning projects created by Biegel: PDQ Bach’s Concerto for Simply Grand Piano and Orchestra with the Colorado Symphony Orchestra and 15 orchestras in the U.S. and Finland and Jimmy Webb’s Nocturne for Piano and Orchestra with Orchestra Kentucky and orchestras in the U.S.

On February 22, 2015, Moravian College in Bethlehem, Pennsylvania, conferred the Honorary Degree of Doctor of Humane Letters upon Biegel for his achievements as the most respected prolific artist of his generation in performance and recordings and as a chamber music collaborator, champion of new music, composer, arranger, and educator. Biegel is respected for his incomparable performances of the standard works for piano and orchestra and has become the go-to pianist for new compositions and special recording projects. 2015 Biographies, continued saw the release of Lucas Richman’s Piano Concerto: In Truth with Richman conducting the Pittsburgh Symphony Orchestra; William Bolcom’s Prometheus for Piano, Orchestra, and Chorus with the Pacific Symphony Orchestra and Pacific Chorale; E1 label’s release ofVolume 2: The Complete Sonatas for Piano by Mozart; and Steve Barta’s Symphonic Arrangement of Claude Bolling’s Suite for Flute and Jazz Piano no. 1 with the renowned jazz flutist Hubert Laws. Biegel performed two world premieres for piano and orchestra with Orchestra Kentucky, conducted by Jeff Reed—Peter Tork’s Moderato ma non troppo and Nashville’s Grammy-winning composer Dick Tunney’s Concerto for Piano and Orchestra: The Monkees. (Tork is a member of legendary rock group The Monkees). Biegel’s artistry attracted the attention of the world’s most sought after producer, arranger, and composer, David Foster, who introduced Biegel to Jeremy Lubbock, whose orchestrations form the sonic landscape for many chart-topping, Grammy-winning recordings by legendary pop music artists. After listening to a live demo recording of Biegel’s performance of Rachmaninov’s Concerto no. 3, Lubbock offered to compose a new opus especially for Biegel, which resulted in the world premiere of Lubbock’s Moods: a duet for piano and strings with Donald Spieth leading the Moravian College Orchestra in 2015. Recording company Naxos offered Biegel the unique opportunity to record a compilation of works with Paul Phillips conducting the Brown University Orchestra, released in January 2016. This project includes the original 1924 piano part for George Gershwin’s Rhapsody in Blue, Maurice Peress’ orchestration of Duke Ellington’s New World A-Coming, Keith Emerson’s Concerto no. 1, and Neil Sedaka’s Manhattan Intermezzo, featuring Biegel’s additions to the piano part. Additional Naxos discography includes Leroy Anderson’s Concerto in C with Leonard Slatkin conducting the BBC Concert Orchestra, Ellen Taaffe Zwilich’s Millennium Fantasy and Peanuts Gallery, Kenneth Fuchs’s Falling Trio, Vivaldi’s Four Seasons, and Cesar Cui’s 25 Preludes. Koch Records’ Classical Carols is a holiday recording merging well known piano music with traditional holiday carols, arranged by Carolyne M. Taylor.

Chosen as the first pianist to record for the Steinway & Sons recording label, Biegel’sBach on a Steinway debuted at number three on the Classical Billboard charts, followed by A Steinway Christmas Album, which reached the number one spot on the Billboard chart. This was followed with a tribute to the Golden Age pianists for Steinway’s release, A Grand Romance, featuring knuckle-busters performed by the great pianists of the early 20th century. In 1997 he created and performed the first live audio/video recitals on the internet from Steinway Hall in New York, and the recording is preserved on a recording bearing the website name at that time, cyberecital.com. The videos from these historic recitals are available on Biegel’s website and YouTube. Pioneer of commissioning projects joining multitudes of orchestras as a model for commissioning new music in the 21st century, Biegel created a consortium of orchestras in 1998 toward bringing a new work to audiences in 2000. He brought 27 orchestras into the largest commissioning project up until that time for Ellen Taaffe Zwilich’s Millennium Fantasy, which premiered with the Cincinnati Symphony Orchestra in 2000. That same year he decided to go one step further and create the first 50-state project with Tony Award-winning composer Charles Strouse’s Concerto America. Every orchestra in the U.S. received a press release announcing the Concerto America Project. The tragic events of September 11, 2001, made Biegel realize that the timing for such an endeavor was inappropriate. The Boston Pops, conducted by Keith Lockhart, delivered a brilliant world premiere in June 2002, followed by a performance with the former Honolulu Symphony Orchestra. Taking commissioning to a new level, Biegel created a new project joining 17 orchestras in the U.S. with one orchestra in Germany, representing the European Premiere for Lowell Liebermann’s Concerto no. 3, op. 95. The Milwaukee Symphony Orchestra with Maestro Andreas Delfs gave the premiere in 2006, followed by the Landestheater Sinfonieorchester Schleswig-Holstein in Germany, conducted by Gerard Oskamp. In 2010 Biegel performed the world premiere of William Bolcom’s Prometheus for piano, orchestra, and chorus with Carl St. Clair leading the Pacific Symphony Orchestra and Pacific Chorale, followed by performances from the Detroit Symphony Orchestra led by Leonard Slatkin, the Calgary Philharmonic and Chorus representing the Canadian commissioning member orchestra, and several more involved in this project. In addition, Biegel gave the world premiere of Richard Danielpour’s Mirrors with the Pacific Symphony Orchestra, also with Maestro St. Clair conducting. In March 2016 Biegel performed the world premiere of Kenneth Fuchs’s Piano Concerto, Spiritualist, based on three paintings by American abstract artist Helen Frankenthaler, with the Springfield Symphony Orchestra (MA) and the Wheeling Symphony Orchestra. Biographies, continued Further developing the repertoire by some of the finest composers of our time, Biegel returned to Pulitzer Prize composer Ellen Taaffe Zwilich one decade later in 2010 for a new commissioning project. Shadows features piano, orchestra, and percussionist on drum set, djembe, and crotales. The piece reflects many who emigrate from their homeland to new lands, bringing their native cultures, music, language, and styles with them, hence creating “shadows” of their heritage in their new homeland. The Louisiana Philharmonic Orchestra presented the world premiere in 2011 with Carlos Miguel Prieto conducting. Kevin Rhodes lead the Pro Arte Chamber Orchestra with Biegel’s son, Evan, then only 16, in his debut as percussion soloist in 2013. In Minneapolis’ Orchestra Hall, Biegel met young composer Jake Runestad, who created a composition for piano, orchestra, and chorus, teaming with war veteran and renowned poet, Brian Turner. Dreams of the Fallen received its world premiere with the Louisiana Philharmonic Orchestra and Symphony Chorus of New Orleans at the National WWII Museum on Veterans Day 2013. That same year composer and conductor Lucas Richman composed his Piano Concerto, In Truth, exclusively for Biegel, which received its premiere in 2013 with the Knoxville Symphony Orchestra.

An avid composer, Biegel and his son, Craig, co-composed The World in Our Hands, published by the Hal Leonard Corporation. The Hal Leonard Corporation has also published Christmas in a Minute, an SATB choral version of Chopin’s Minute Waltz, as well as his arrangement of The Twelve Days of Christmas for SATB divisi a cappella choir and Hanukah Fantasy for SATB/piano (orchestration by Lucas Richman, available through The LeDor Group). Biegel received a commission to compose a new work for SSA choir with the chosen text Hey Ho, The Wind and the Rain from William Shakespeare’s Twelfth Night, and is published by the Hal Leonard Corporation. Other choral compositions include There Shines a Light Ahead for SATB/piano published by Porfiri & Horvath in 2013, an arrangement ofThe Christmas Song for SATB a cappella choir, and both Ho Ho Hanukah, Ho Ho Christmas and A Different Kind of Hero are published by Carl Fischer Inc. Four Psalms for Choir are published by the LeDor Group and The Elegy of Anne Boleyn and Auld Lang Syne for piano solo and for SATB choir and piano are self-published.

In 1997, he performed the original 1924 manuscript of Gershwin’s Rhapsody in Blue with the Boston Pops and has subsequently performed the 1924 manuscript with the St. Louis Symphony and the Israel Chamber Orchestra conducted by Philippe Entremont at the Kravis Center, the German Premiere with the Bochumer Symphoniker, and the Scandinavian Premiere with the Bergen Philharmonic in Norway. On January 8, 2001, he appeared on Good Morning America, followed by a performance with the American Symphony Orchestra in New York’s Avery Fisher Hall. The program featured the world premiere of Biegel’s transcription of Mily Balakirev’s Islamey Fantasy for piano and orchestra, the restored original 1924 manuscript of Gershwin’s Rhapsody in Blue, and Zwilich’s Peanuts Gallery. Leonard Bernstein said of pianist Jeffrey Biegel, “he played fantastic Liszt. He is a splendid musician and a brilliant performer.” These comments launched Biegel’s 1986 New York recital debut as the recipient of the coveted Juilliard William Petschek Piano Debut Award in Lincoln Center for the Performing Arts’ Alice Tully Hall. He studied at the Juilliard School with Adele Marcus, herself a pupil of Josef Lhevinne and Artur Schnabel. Biegel is currently on the piano faculty at the Brooklyn Conservatory of Music at Brooklyn College, a City University of New York (CUNY). Biographies, continued DAVID STEWART WILEY, conductor Blossoming under David Stewart Wiley’s leadership, the Roanoke Symphony Orchestra (RSO) has experienced remarkable artistic growth, expansion, and innovation. A renowned talent, Wiley has not only taken the RSO to new artistic heights, but has conducted such distinguished symphonies as Atlanta, Buffalo, Cincinnati, San Francisco, Milwaukee, Indianapolis, Minnesota, Saint Louis, Oregon, Honolulu, and Utah, among others. Wiley’s music has taken him to dozens of countries in Asia, Africa, and Europe, including Italy, Germany, Slovakia, and the Czech Republic.

Roanoke’s inspiring maestro and world traveler is also an engaged and active community partner and celebrity, having been named Roanoke’s Citizen of the Year for his outstanding service and outreach to diverse communities, separate from his professional duties. Wiley also serves as principal conductor of the Long Island Concert Orchestra and continues to travel regularly to New York to lead concerts for tens of thousands each year. Throughout the U.S., Wiley plans and leads an innovative experience with business executives and musicians together on stage, Conducting Change, which helps executives to model leadership skills in a fun and engaging atmosphere. Wiley also continues as artistic director of Virginia’s Blue Ridge Music Festival and previously served as assistant conductor of the Minnesota Orchestra and the Indianapolis Symphony Orchestra.

Wiley’s energetic and inspiring leadership with the RSO since 1996 has been a remarkable success story, with consistently stellar reviews, a diverse and impressive list of guest artists and composers, and innovative commissions of new music in various styles (some fusing classical and bluegrass). The RSO has hired over 50 new professional musicians during Wiley’s tenure, collaboratively raising the RSO to new artistic heights. The RSO works with Public Radio WVTF to broadcast RSO concerts and produced its first live TV web broadcast. Wiley partners with schools and numerous arts and civic organizations throughout the region, and the RSO and Wiley received a Distinguished Music Educator Award from Yale University. Innovative events like RSO Rocks and the Destination series have broadened what a symphony event can be for new audiences, and the RSO has increased both its Masterworks series and its Pops series offerings. The RSO expanded its runouts to the Moss Arts Center, and Holiday Pops is a sellout at Virginia Tech each year. Wiley’s energetic work bringing classical music to youth in our minority communities has been steadfast, and he was honored by the NAACP as Citizen of the Year in the Arts for his service.

As a solo pianist, Wiley has performed with numerous major orchestras throughout the United States, including Minnesota, Indianapolis, Oregon, Honolulu, Wheeling, and West Virginia, performing major concerti from Baroque to contemporary, often conducting from the piano. He has appeared as both a jazz and classical pianist in Boston’s Symphony Hall and in recital and has made chamber music appearances throughout the U.S., as well as in China, Russia, Romania, Germany, Hungary, Italy, the Czech Republic, and Bulgaria.

Summer engagements include the Aspen Music Festival, Brevard Music Center, Garth Newel, Wintergreen, Park City (Utah), Minnesota Orchestra Summerfest, and the Sitka (Alaska) and Prince Albert (Hawaii) Summer Music Festivals. From 1999 until 2006 Wiley was the artistic director and conductor of the Wintergreen Summer Music Festival, where he founded the festival orchestra, created the academy, and led the festival to remarkable artistic growth in seven years, tripling the balanced budget.

Wiley’s CDs include an album of French Cello Concerti with Zuill Bailey and the Roanoke Symphony Orchestra on Delos International; Beethoven’s Symphony, no. 9, Choral, with the RSO and Choruses; American Piano Concertos with Norman Krieger and the RSO on Artisie 4; Wiley & Friends: Classical Jazz; American Trumpet Concertos with the Slovak Radio Symphony/Neebe; violin/piano duo CD Preludes & Lullabies with Akemi Takayama; a solo piano CD with all original compositions, Full Circle; and Piano Bells: Reflections on Classic Carols. As a composer, he collaborated on the film Lake Effects, which featured a symphonic soundtrack performed by the RSO and with Wiley conducting, featuring original music by Kaz Boyle and Wiley. Biographies, continued David Stewart Wiley won the Aspen Conducting Prize, was assistant conductor for the Aspen Music Festival, and was awarded a Conducting Fellowship at Tanglewood. Wiley holds both a doctor and master of music in conducting from Indiana University, a degree in piano performance with honors from the New England Conservatory of Music, and a degree in religion, summa cum laude, from Tufts University. He is a recipient of the Perry F. Kendig Prize for service to the arts and is a Paul Harris Fellow from Rotary International. He and his wife, Leah Marer Wiley (soprano soloist, vocal coach, and owner of Muevela Fitness), have a son and a daughter who play cello and violin and enjoy traveling, various sports, and making music together. Engagement Events

Sunday, October 15, 2017, 2 PM LISTEN IN THE LOBBY: PIANO Prior to the performance by the Roanoke Symphony Orchestra, enjoy classical piano works performed by Virginia Tech music students.

Special thanks to Tracy Cowden

For Virginia Tech Students

The Division of Student Affairs invites you to engage in the Aspirations for Student Learning to do more, be more, and aspire to be your best self.

Aspirations for Student Learning

Commit to unwavering CURIOSITY Pursue SELF-UNDERSTANDING and INTEGRITY Practice CIVILITY Prepare for a life of COURAGEOUS LEADERSHIP Embrace UT PROSIM (That I May Serve) as a way of life

One way to work toward these aspirational goals is to engage in Keystone Happenings. Keystone Happenings highlight the Aspirations for Student Learning, provide opportunities for learning, and challenge students to reflect. Search “keystone” on GobblerConnect at gobblerconnect.vt.edu/events to discover these opportunities.

Keystone Happening Reflections for Roanoke Symphony Orchestra

While Beethoven was writing the Emperor Concerto, his city of Vienna was under attack by Napoleon Bonaparte’s troops. How do you imagine that influenced Beethoven’s approach to creating the work? Where and what do you hear in the Emperor Concerto that reflects the tumult of Vienna in 1809?

For more resources for educators, students, and lifelong learners to help you dig deeper and engage with this performance and our other season performances, view our Learning Guide at artscenter.vt.edu/experiences. In the Galleries

RADCLIFFE BAILEY September 14-December 9, 2017 Miles C. Horton Jr. Gallery and Sherwood Payne Quillen ‘71 Reception Gallery

Painter, sculptor, and mixed media artist Radcliffe Bailey (American, based in Atlanta, Georgia) layers found objects, materials, and potent imagery to explore connections between past and present, personal experience and collective memory. In this installation, Bailey references historical and ancestral communities and migrations, including enslaved African peoples escaping through Virginia’s Great Dismal Swamp, while examining concepts of identity race, culture, and the mnemonic power of objects.

For more information on this artist, please visit jackshainman.com/artists.

GALLERY HOURS Monday-Friday, 10 AM-5:30 PM Saturday, 10 AM-4 PM To arrange a group tour or class visit, please contact Meggin Hicklin, exhibitions program manager, at megh79@ vt.edu.

Pictured: Windward Coast—West Coast Slave Trade, 2009-2011 (detail) Piano keys, plaster bust, and glitter Shown here in black and white Dimensions variable ©Radcliffe Bailey Courtesy of the artist and Jack Shainman Gallery, New York