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New Jersey Symphony Orchestra Presents Beethoven's First & Fourth Symphonies on January 14–17

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Beethoven’s youthful first symphony and his more mature fourth bookend the world premiere of Richard Danielpour’s The Wounded Healer

The Deal

Thursday, January 14, at 7:30 p.m., at Bergen Performing Arts Center

  • $23 for one ticket for seating in section P2 (up to $47 value)
  • $37 for one ticket for seating in section P1 (up to $75 value)
  • Click to view the seating chart

Saturday, January 16, at 8 p.m., at Count Basie Theatre

  • $23 for one ticket for seating in section P2 (up to $47 value)
  • $37 for one ticket for seating in section P1 (up to $75 value)
  • Click to view the seating chart

Sunday, January 17, at 3 p.m., at New Jersey Performing Arts Center

  • $21 for one ticket for seating in section C (up to $42 value)
  • $25 for one ticket for seating in section B (up to $50 value)
  • $39 for one ticket for seating in section A (up to $78 value)
  • $45 for one ticket for seating in section P (up to $90 value)
  • Click to view the seating chart

The Program

  • Beethoven—Symphony No. 1 in C Major: Beethoven didn’t compose his first symphony until he was nearly 30, but his time composing less involved pieces was clearly well spent—his first major work is both mature and highly individual, marked already by unusual choices in tempo and key.
  • Danielpour—The Wounded Healer: Juilliard-trained composer Richard Danielpour draws on an ancient archetype in a percussion concerto meant to evoke the physical and spiritual work of healing oneself, with world-renowned percussionist Lisa Pegher taking the drumstick-shaped reins for the world premiere.
  • Beethoven—Symphony No. 4: The least performed of his works—and certainly less famous than his Fifth—Beethoven’s Fourth was first perceived as rather bizarre for the introduction’s jabbing dissonances. Yet time eventually turned the tide in Beethoven’s favor, leaving one critic to remark toward the end the master’s life, according to NPR, “There are no words to describe the deep, powerful spirit of this work.”

Need To Know Info

Promotional value expires Jan 17, 2016. Limit 10/person. Valid only for option purchased. Redeem starting 1/14 for a ticket at venue box office. Refundable only on day of purchase. Must purchase together to sit together. Discount reflects merchant's current ticket prices, which may change. ADA seating cannot be guaranteed. Contact box office prior to purchase for availability. Ticket value includes all fees. Must use promotional value in 1 visit. Not valid in combination with promo codes Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services. Learn about Strike-Through Pricing and Savings

About Beethoven's First & Fourth Symphonies

In 1922, the New Jersey Symphony Orchestra performed its first concert at the Montclair Art Museum. They weren't called by that name yet, and they only had 19 string players at the time, but it was a show that established the orchestra as an important organ in the artistic community. It also might have been the last time the group was largely unknown. The ensemble quickly swelled in size, talent, and popularity as it racked up one significant achievement after another. In 1968, Henry Lewis joined the company to become the first African-American music director of a major symphony. The orchestra reached new heights under his leadership, taking the stage at Carnegie Hall and at the Garden State Arts Center with Luciano Pavarotti—a guest who joined the musicians again in 1984 to perform the first-ever classical program at the humble speakeasy known as Madison Square Garden. The group's illustrious career continued into the late '80s, as it performed live on PBS and played a concert of Bernstein works that won the admiration of the man himself.

Today, the NJSO continues to confidently play into the 21st century. Under the current leadership of Music Director Xian Zhang, the ensemble shares seasons of classical, pops, and family programs, along with outdoor concerts, and educational projects. But the group has never forgotten its humble beginnings, maintaining a commitment to the community that caused The Wall Street Journal to call them “a vital, artistically significant musical organization."

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