Sound of Charlotte Blog
Concertmaster Calin Ovidiu Lupanu Talks Mendelssohn’s Double Concerto
January 7, 2025
On January 31 and February 1, Charlotte Symphony Orchestra Concertmaster Calin Ovidiu Lupanu will take the stage with frequent collaborator pianist Phillip Bush for an emotional and highly anticipated performance of Mendelssohn's Double Concerto. Calin sat down to share his thoughts on what makes this concerto so special and why this performance holds special meaning for him.
What makes Mendelssohn's Double Concerto so exciting for you to perform?
Pianist Phillip Bush and I have performed together many times, but this will be our first time playing a concerto together with the full orchestra behind us. Mendelssohn's Double Concerto is such a wonderful piece of music -- full of youthful exuberance and energy, with some very delicate and melancholic moments typical of Mendelssohn.This concerto was composed in 1832, right after Mendelssohn wrote his Concerto for Violin and String Orchestra, a piece I performed with the CSO during the pandemic. In many ways, these two works are quite similar -- full of beautiful melodic material and intense, fast passage work. What an incredible accomplishment for the 14-year-old Mendelssohn!
What are you most looking forward to about performing with pianist Phillip Bush and conductor Akiko Fujimoto?
I have played with Phillip Bush so many times that I've lost count! Our first collaboration was during my first year in Charlotte when we performed the Tchaikovsky Piano Trio, and from that moment, something just clicked! Phillip is such a wonderful musician and person, and he's very easy to work with. Every time we play together, I learn something new from him. Most of the time, we don't even have to talk; things just fall into place naturally.This will be my first time working with Akiko Fujimoto, and I'm really looking forward to it! I'm sure it will be a fantastic collaboration.
What would you like the audience to know about this performance?
This performance will be especially meaningful for me because it will take place one year to the day since my mother's passing. For me, it will be highly emotional, and I hope that I will make her proud.Join CSO Concertmaster Calin Ovidiu Lupanu, pianist Phillip Bush, and conductor Akiko Fujimoto for a thrilling performance of Mendelssohn's Double Concerto on January 31 and February 1. The program will also include Louise Farrenc's Overture No. 2 and Robert Schumann's "Spring" Symphony.... Read more
Meet Bart Dunn: Our New Principal Music Librarian
December 4, 2024
Behind every Charlotte Symphony performance is a dedicated team working behind the scenes to bring the music to life. Some of the most important players in that process are the team in the music library. Managing thousands of pages of sheet music each season, they ensure our musicians have everything they need to deliver exceptional performances. Managing much of this effort is Bart Dunn, our new Principal Librarian. We sat down with Bart to learn more about his journey and the essential role of a music librarian.
Tell us a bit about yourself -- where are you from, and how did you find your way to Charlotte?
I'm originally from Southern Maryland and studied at Towson University, just outside Baltimore. After graduate school, I joined the profession and worked at Temple University, the Jacksonville Symphony, and most recently, Houston Grand Opera. My wife and I are East Coast people at heart, so being closer to family made Charlotte the perfect fit. And as much as I love opera, being back in a symphonic environment where there's such a wide variety of programming is exciting and keeps the job interesting. Last weekend it was Beethoven X Beyoncé, this week it's Brahms's Requiem!
What led you to become a music librarian? Was this always your plan?
Not exactly! I started as a cellist but realized in college that I didn't want to spend five hours a day practicing to keep my technique sharp. I wanted to stay connected to performance without the intense practice schedule. A chance summer position at Interlochen introduced me to ensemble librarianship, and everything clicked. It's funny -- many of us in this field stumble upon it. It's a lot of "busy work," but it can be incredibly rewarding.So, what does a music librarian do?
A phrase that music librarians often throw around is, "We provide the right music to the right people at the right time." Day to day, this means marking parts -- things like bowings or cuts -- researching repertoire, coordinating editions, and even reporting on performances to copyright holders. It's a mix of detailed, varied tasks, which keeps things interesting. I find writing in the bowings (markings in the music that indicate which direction to use the bow for string instruments) cathartic, in a sense.
What drew you to the Charlotte Symphony specifically?
Besides being closer to family, I love the variety of programming here. It's energizing to be part of an organization on an upward trajectory. With Music Director Kwamé Ryan here now, he's going to have his own distinct vision for programming and what he wants to see from the orchestra. I'm excited to see how the Symphony evolves over the next five to ten years -- and to be along for the ride!... Read more
Get to Know Our New Board Chair, Richard Krumdieck
September 3, 2024
Richard Krumdieck (right) with his wife, Sally, and President and CEO David Fisk (left) at the Charlotte Symphony's 2023 Annual Gala
We recently caught up with Richard Krumdieck, the new Board Chair of the Charlotte Symphony Orchestra, to discuss his passion for music, his journey with the Symphony, and his exciting vision for the future.
How did you begin your journey with music?
Music has always played a central role in my life. Both my parents were from Peru and loved classical music. My father had an extensive collection of classical albums, and my first experience with music was listening to those albums with him on his stereo. One that I especially loved was the Mozart Clarinet Concerto, performed by English clarinetist Jack Brymer. That inspired me to choose the clarinet, and I played in my community youth orchestras and continued studying music through college. For a time, I even considered a career as an orchestral clarinetist, but ultimately, I pursued medicine. However, I have always loved music and deeply admire those who choose to pursue a career in the arts. Even as a young adult, I made a commitment that I would support the arts in any way I could.
Do you still play the clarinet?
I do still play! I take private lessons from Taylor Marino, the CSO's Principal Clarinetist, and perform with community orchestras and community bands. I also enjoy getting together with friends on occasion to play chamber music.
How did you first become aware of the Charlotte Symphony?
I was aware of the Charlotte Symphony before I even moved to the area in the late 1990s. A friend of mine sang in what was then called the Symphony Chorus -- now the Charlotte Master Chorale -- and invited me to a performance of Beethoven's Ninth Symphony. I was very impressed with the level of artistry; that was my first exposure to the CSO. After moving to Charlotte, I became a regular concertgoer and began supporting the Symphony with philanthropic gifts. I was later invited to become a trustee, which deepened my connection to the organization. I became more aware not only of the high level or artistry but also of the organization's values, which align closely with many of my own.
Is there a particular initiative or program at the CSO that resonates with you personally?
Yes, there are several! Two that are particularly important to me involve increasing access to classical music performances, such as moving concerts outside of the traditional concert hall and directly into the community using non-traditional venues like breweries or our new mobile stage, CSO Roadshow. The initiative that is most important to me, however, is providing music education for our youth. I was extraordinarily privileged to have a music education, and I believe every child should have the opportunity to learn music and play an instrument if they desire. The skills learned through music -- such as practice, perseverance, listening, compromise, and collaboration -- are invaluable, whether or not one pursues a career in the arts. The skills I learned from music have served me very well in my career in medicine.
How do you envision the CSO evolving over the next few years?
I believe the CSO is at a very positive inflection point. Under Christopher Warren-Green, the Orchestra achieved significant artistic growth, and I'm eager to see this continue under the direction of new Music Director Kwamé Ryan. I also envision the Charlotte Symphony becoming a more integral part of the Charlotte community and for us to communicate more effectively about the essential role we play in enriching the cultural landscape here.
What are you most looking forward to in your new role as Chair?
I am excited to foster a spirit of collaboration within the CSO and help realize our shared artistic vision. I am also eager to be a strong advocate for the Symphony in our community.
Is there a message you hope to convey to the community through your work with the CSO?
I want to emphasize the essential role that the CSO plays in Charlotte. By providing quality live classical performances, bridging communities through collaboration with other arts organizations like the Charlotte Ballet and Opera Carolina, and our commitment to music education, we're not just an orchestra -- we're a cornerstone of the community! The CSO helps makes Charlotte a vibrant place to live and work, which attracts new businesses to the area.
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Cellist Jeremy Lamb discusses ‘Oumuamua with Harvard Professor
May 14, 2024In the lead-up to the orchestral premiere of his work A Ride on 'Oumuamua, CSO cellist Jeremy Lamb talks to theoretical physicist and Harvard Professor Dr. Avi Loeb about 'Oumuamua, the first interstellar object to enter our solar system, and the inspiration for Jeremy's composition.
Kenney Potter on Mendelssohn’s Lobgesang
March 1, 2023
Jessica Cottis returns to the Charlotte Symphony on March 24 & 25 to lead the Orchestra and Charlotte Master Chorale in Mendelssohn's Lobgesang (Hymn of Praise), A Symphony-Cantata. The work premiered in 1840 as the culmination of a festival in Leipzig celebrating the 400th anniversary of Gutenberg's printing press. Robert Schumann attended the premiere and reported on the similarities between Lobgesang and Beethoven's Ninth, "save for the distinguishing difference that the three orchestral movements proceed without any pause between them -- an innovation in the symphonic form. No better form could have been selected for this special purpose."
Here, Charlotte Master Chorale Artistic Director Kenney Potter shares some insight on this incredible work and how the Chorale is preparing.
| For those who are unfamiliar with this work, what should they expect? Triumphant music that expresses the text of Psalm 150 beautifully. The listener will hear first the trombones state the main theme of the work, which is sung with the text of Psalm 150 ("Let everything that has breath, praise the Lord.") What I find interesting is that the trombone is the horn of choice for many German speakers vs. trumpets. A good example is in the Mozart Requiem, where the Tuba Mirum "final days" theme is played by the trombone (this is due to Luther's translation that the trombone signaled the last days). I think it was a purposeful decision to utilize the trombones. |  |
What do you make of the comparisons between Mendelssohn's Lobgesang to Beethoven's Symphony No. 9?
There are obvious similarities, since the listener will hear three orchestra movements (labeled in traditional format) followed by a choral movement. The difference is that Mendelssohn himself labeled this work as a "symphony-cantata on words of the Holy Bible for soloists, choir, and orchestra."
What does it take to prepare the Charlotte Master Chorale for a work of this scope?
Compared to Beethoven 9, there is more material to prepare. Also, Mendelssohn was more understanding of the voices and their ranges and capabilities. Beethoven is extremely challenging for vocalists due to the extreme ranges, particularly for the sopranos.
What are your favorite moments in the work?
The opening chorus, the utilization and treatment of the "Now Thank We All Our God" tune in the eighth movement, and the final fugue.
What are you looking forward to most about this performance?
It is always a joy to collaborate with the Charlotte Symphony, especially on works that our Charlotte audience needs to hear!
The Charlotte Symphony and Charlotte Master Chorale perform Mendelssohn Hymn of Praise on March 24 & 25 at Belk Theater -- Get tickets today!
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