Semir Jackson ’27
A&E Editor
On Friday Nov. 14 and Saturday Nov. 15, the Wooster Symphony Orchestra performed a concert in Gault Recital Hall celebrating its 110th season. Jeffrey Lindberg, director of Wooster Symphony Orchestra and professor of music, conducted the ensemble. The concert also featured Grammy Award-winning guitarist Jason Vieaux, who won Best Classical Instrumental Solo award for “Play.” NPR has described Vieaux as “perhaps the most precise and soulful classical guitarist of his generation.” His appearances at venues including Lincoln Center, the Concertgebouw and the Seoul Arts Center have established his reputation as a leading classical guitarist.
The program opened with “Overture to Candide.” The piece, though relatively brief, maintains continuous energy. It begins with bright brass melodies and quickly moves into rapid woodwind lines supported by rhythmically driven strings. Short melodies appear in sequence, each shifting quickly to new themes. Gabriel Jones ’28 reflected on the piece, saying, “I thought it was really beautiful. There were moments where I was shocked and moments where I was relaxed.” Changes in volume, rhythm and tempo maintain the piece’s forward motion. The ensemble shifts focus between its sections, creating varied textures. Although the themes are not developed extensively, their recurring appearances connect the work’s sections. The piece concludes by combining its earlier ideas into a final, lively passage.
The next piece performed was Jack Gallagher’s “Berceuse.” French for “cradle song,” “Berceuse” is built around the gentle character of a traditional lullaby. The piece moves at a calm, steady pace and centers on a smooth main melody that passes between instruments. The arrangement’s soft dynamics and legato phrasing create a quiet atmosphere. Harmonic changes occur gradually and support the central melody. The musicians introduce small variations, including subtle rhythmic adjustments and light accompaniment figures. The accompaniment remains clear, allowing the melody to remain prominent. The form relies on its repetition, maintaining a balanced and predictable sound.
“Berceuse” was followed by Joaquín Rodrigo’s “Concierto de Aranjuez,” arranged in three movements that showcase the guitar’s stylistic interactions with the orchestra. The “Allegro con spirito” uses lively rhythms, clear phrases and alternating exchanges between soloist and ensemble. The soloist, Vieaux, introduces a rhythmic motif that serves as the basis for much of the movement. Additional themes appear, many reflecting signature characteristics of Spanish folk melodies. The movement features frequent contrasts of theme, texture and mood.
The “Adagio” centers on a long melody introduced by solo English horn (Stuart Franklin ’26) and later taken over by the guitar, supported by a cyclical chord progression. The texture remains light, ensuring the guitar can be clearly heard. Rodrigo creates contrast through phrasing and orchestral color.
The “Allegro gentile” uses simple phrases, gentle rhythms and an overall bright sound. Throughout the concerto, Rodrigo maintains clear musical roles, allowing the guitar to alternate between leading and supporting functions. Similar to the first movement, Vieaux introduces the central musical idea of the finale, a swaying melody that becomes the basis for extended exchanges among different instruments of the ensemble.
The orchestra concluded the program with Beethoven’s “Egmont Overture.” It opens with a slow introduction built from strong chords, descending lines and dark instrumental colors. This leads into a faster portion driven by steady rhythms and clearly defined themes. Scott Crawford ’27 stated, “My favorite piece to play was ‘Egmont’ because played it in high school, and I haven’t played it in the orchestra, so this is really new to me. I’ve never been able to play it in almost like a professional orchestra, so this is all new to me.” The material relates to Beethoven’s incidental music for Goethe’s play, using changes in dynamics and texture to support the dramatic structure.
These pieces altogether present a mixture of energetic writing, gentle melody and contrasting dramatic elements. Emma McKone ’26 said, “I felt really good about the concert tonight. I think that all the pieces we played tonight are fun and exciting … I feel we were really prepared for the concert as far as material goes.” Each work displays a distinct musical approach, and heard together, they form a program that highlights varied themes and ensemble performance.