Season-ending concerts honor retiring musicians

The KSO closed its 2025-26 MoxCar Marketing + Communications Masterworks Series on May 14-15 with Marsalis Swing Symphony, a collaboration with the Knoxville Jazz Orchestra that celebrated the rich connections between jazz and symphonic music.

The concerts at the Tennessee Theatre also provided an opportunity for the KSO to honor three longtime musicians retiring from the orchestra after decades of service.

Bass trombonist Brad McDougall retired after 25 years with the KSO. Violist Bill Pierce concluded a 43-year tenure with the orchestra after first coming to Knoxville during the 1982 World’s Fair and joining the KSO full-time in 1983. Timpanist Michael Combs retired after an extraordinary 58 years with the orchestra, a career that began in 1968 under Music Director David Van Vactor.

Together, the three contributed more than 125 years of artistry, collaboration, and service to the KSO and to audiences throughout East Tennessee.

The evening also included a surprise recognition of Music Director Aram Demirjian’s 10th season leading the KSO. CEO Rachel Ford and Board Chair Rick Fox joined Demirjian onstage to thank him for a decade of artistic leadership, musical innovation, and commitment to the community.

The post A Night of Recognition appeared first on Knoxville Symphony.

A 9 for 90 premiere rooted in community

After the first half of the KSO’s April Masterworks concert closed with Quilts, a new work by Jonathan Leshnoff, many audience members made their way back to the Tennessee Theatre lobby. They returned to the quilts that inspired the music, seeing new connections in the patterns and colors.

In celebration of our 90th Anniversary Season, the KSO and Music Director Aram Demirjian launched the 9 for 90 commissioning initiative, a season-long project that introduces nine new works across the orchestra’s full range of programming. Quilts stands as one of those world premieres, connecting music and the creativity of the community in a way that felt direct and personal. Demirjian described the project as “a beautiful synthesis of audience, music, and performer.”

The idea for Quilts began at Shannondale of Maryville, where music educator Risë Tucker encountered a display of handmade quilts created by residents and was struck by what she saw. “I was just blown away by the beauty of it,” she said. “It was such a testament to the creativity and artistry and craftsmanship that seniors have. It was like an epiphany moment. More people than just the ones who live here and those who come to visit need to be able to see these beautiful quilts.”

Working with her husband Larry Tucker and the KSO, that realization led to a collaboration in which three quilts became the basis for a new orchestral work. Leshnoff selected quilts by Carol Young, Connie Evans, and Susan Eagleton, each of which inspired a movement.

Before the performance, Leshnoff spoke with the audience about how he approached the piece. “When I looked closer at the quilts, I realized there was much more of a story than what was just being presented,” he said. “That’s when they took on an emotional depth that began to catch my musical ear.” Two of the three featured quilters, along with other members of the Shannondale community, were in the audience.

“Our residents were deeply honored to be part of such a meaningful and moving experience,” said Jen Krueger, Life Enrichment Director at Shannondale of Maryville. “Many shared how special it felt to be included and how much the music and presentation touched them. It was an evening they will remember for a long time.”

The post Stories Woven Into Music appeared first on Knoxville Symphony.

Former KSYO student shapes the next generation

When Kathy Hart first joined the Knoxville Symphony Youth Orchestras as a high school violinist, she had just moved to Knoxville from upstate New York. It was a new city, a new experience, and a moment of uncertainty that would quietly shape the direction of her life. “You don’t necessarily know that you’re laying the groundwork for what will be the rest of your life,” says Hart.

The program she entered already had a strong foundation. What began in 1973 as the Knoxville Youth Symphony, founded by KSO musicians Barbara and Jim Marable, soon came under the umbrella of the Knoxville Symphony Orchestra. Over time, it expanded into a multi-ensemble program that continues to evolve today.

Now in her 30th year with the Knoxville Symphony Youth Orchestras, Hart has been an integral part of that evolution, serving as the organization’s manager and conducting the Sinfonia Orchestra, one of its intermediate-level string ensembles. During her tenure, the program has grown from three orchestras serving about 120 students to six ensembles of nearly 400 young musicians from across East Tennessee.

In her 30th year with the KSYO, Kathy Hart continues to guide the next generation of musicians.

Rachel Ford, President and CEO of the Knoxville Symphony Orchestra, points to Hart’s steady leadership as central to the program’s success. “Kathy’s impact on the Youth Orchestras is both deep and lasting. She has helped shape not only the structure of the program, but the experience of generations of students, creating an environment where young musicians can grow, connect, and thrive,” says Ford.

Hart’s path into music education was not part of her original plan. She entered the University of Tennessee as a business major on a violin scholarship, which required her to perform in the university orchestra and study privately. That changed when her violin instructor, a Suzuki Teacher Trainer, encouraged her to enroll in a Suzuki Pedagogy course. “By the end of my freshman year, I was a music education major,” Hart says.

Her foundation in the Suzuki Method continues to shape her approach, emphasizing a positive learning environment, strong relationships, and the role of family in a student’s development. That perspective extends across her work as an educator, from teaching at the University of Tennessee to maintaining a private violin studio of more than 50 students and supporting school programs throughout the region. In 1998, she helped reestablish the orchestra program at Bearden High School, part of a broader commitment to strengthening music education across East Tennessee.

Hart’s connections now reach well beyond the classroom. She stays in touch with former students from her studio, many of whom remain connected through music and through each other. “I had 140 alumni kids, and I followed them,” she says. “I have 57 grandchildren that I know of… I’m starting to teach them.”

Hart sees the youth orchestra as more than musical training. “It’s not even just about building musicians,” she says. “I want these guys to have that self-confidence and feel good about themselves.” She also points to a moment many students share early in their time with the program. “I love to see those little kids first walk into the Tennessee Theatre. Their feet don’t even hit the floor; they’re just in awe.”

Those early experiences give way to something more lasting. “They bond. They go to each other’s weddings. They stay in touch. That friendship is really unique.”

Supporting student growth has shaped Hart’s work throughout her career. In 1994, she launched a summer music camp with a small group of students who needed additional preparation for ensemble playing. What started in her basement with seven students has grown into a program that has served more than 3,600 young musicians and is now part of the broader youth ensembles structure. “Watching that grow… that’s going to be my legacy,” she says.

That work comes into focus this spring, as the KSYO present their final concert of the season on May 4. In addition to recognizing the Graduating Class of 2026, the program will feature the world premiere of Alchemy by composer Gala Flagello, part of the KSO’s 9 for 90 commissioning project.

For Hart, it is another moment in a longer arc. After three decades, her focus remains consistent: creating meaningful musical experiences that stay with students long after they leave the program. For many, those experiences begin much as hers did, with a first rehearsal, a new environment, and the start of something they may not yet realize will shape the rest of their lives.

Youth Orchestras Spring Concert
May 4 at the Tennessee Theatre, 7:00 pm
This concert is sponsored by Richard Fox and Ralph Cianelli

The post Full Circle: Kathy Hart and the KSYO appeared first on Knoxville Symphony.

Seven World Premieres from March to May

KNOXVILLE, Tenn. (Feb. 17, 2026) – In celebration of the KSO’s 90th Anniversary Season, the Knoxville Symphony Orchestra (KSO) and Music Director Aram Demirjian created the 9 for 90 season-long commissioning initiative that welcomes the world premieres of nine works, each composed specifically for the KSO and performed across the full range of its artistic programming.

With two world premieres already performed this season, the Knoxville Symphony Orchestra’s 9 for 90 commissioning project now enters its most active phase, as seven additional world premieres unfold in rapid succession from March through May. Rather than concentrating the commissions in a single series, the project is woven throughout the season, spanning the KSO’s Masterworks, Chamber, Q Series, Youth Ensembles, and Concertmaster series.

“9 for 90 celebrates the KSO’s recent history and looks to the future by investing deeply in a core aspect of our mission: driving the symphonic art form forward through artistic invention and collaboration,” said Demirjian. “I am so proud that when we perform new music at the KSO, we center it, and our audience now seeks out the chance to discover something new.”

That philosophy is reflected in the range of composers participating in the project and in the broad engagement across the organization. “We have emerging stars to established international voices, some of whom are old friends of the KSO, and others with whom we are working for the first time. It means so much to me, too, that three major pillars of our organization – the musicians, the board, and the staff – have played vital and active roles in bringing 9 for 90 to fruition,” said Demirjian.

“From the beginning, our board was excited to support the opportunity to bring new music to life,” said KSO CEO Rachel Ford. “We’re proud to stand behind Aram’s artistic vision and to help make these nine new works possible. While 9 for 90 marks a milestone season, it’s ultimately forward-looking and reflects how the KSO continues to invest in the artistic life of this community.”

The commissioning initiative was made possible through a board-led fundraising effort that raised approximately $110,000 to support the creation and presentation of the new works, including composer travel and residency expenses.

The 9 for 90 project builds on a decade of sustained commitment to new music under Demirjian’s leadership. Over the past ten years, he has introduced 115 works to the KSO’s repertoire, including 70 by living composers and representing a wide range of contemporary voices. During that time, the orchestra has commissioned or co-commissioned 41 works, including projects such as Michael Schachter‘s Violin Concerto: Cycle of Life, a collaboration between the KSO, Schachter, Knoxville Museum of Art, and glass artist Richard Jolley, and Between Suns: A Concerto for West African Drums and Orchestra by Derrick Skye developed in partnership with Knoxville-based drum ensemble Indigenous Vibes.

The first two premieres of the current season – XC Blast by Jennifer Higdon in September and Sing to the Moon by Kevin Day in December – marked the launch of the 9 for 90 project. Beginning in March, the remaining seven commissions will receive their world premieres over an eight-week period.

Higdon, who has been a frequent collaborator with the KSO, emphasized the importance of new work in shaping the future of the art form. “New music gives people alive today a reflection of their own time, their energy, and their sound world,” said Higdon. “New compositions are how music history moves forward. It’s the way it has always been. Even Beethoven was once considered radical.”

Demirjian describes 9 for 90 as a collaborative effort, shaped not only by his artistic vision but also by the musicians who will bring the works to life. In several cases, KSO musicians played a direct role in identifying composers whose voices and styles they admired. Members of the KSO Principal Brass Quintet, for example, recommended composer and jazz pianist Kevin Day, whose genre-blending approach they felt would resonate with both performers and audiences.

For KSO horn player Kelsey Bentley, a member of the Brass Quintet, that involvement has been especially meaningful. “We’re very excited to be part of 9 for 90 and to bring our audience into the process of creating new work,” Bentley said. “It’s a meaningful way to connect performers and listeners with contemporary music.”

The upcoming world premieres include works by Gala Flagello, Guido López-Gavilán, Saad Haddad, Jonathan Leshnoff, Sky Macklay, Robert Paterson, and Nicky Sohn, presented across multiple venues and ensemble formats. Several of the composers are expected to be in Knoxville to rehearse with the orchestra and attend their premieres, reflecting the project’s emphasis on direct artistic engagement.

That dynamic was evident earlier this season when Higdon was in Knoxville for rehearsals and the premiere of XC Blast, offering musicians the opportunity to shape the work alongside its creator. This spring, that spirit of collaboration continues, in some cases through long-standing artistic relationships.

“What I love about 9 for 90 is that we’re bringing renowned composers from the international community to Knoxville,” said KSO Concertmaster William Shaub. “Saad Haddad, a friend since Juilliard, and I have spent hours on Zoom shaping his Violin Sonata. That kind of direct collaboration sparks my creative vision and inspires our musicians here at the KSO. That’s what makes this project so meaningful.”

Aram Demirjian, Music Director
Aram Demirjian is Music Director of the Knoxville Symphony Orchestra and a frequent guest conductor with leading orchestras across the United States. Winner of the 2020 Sir Georg Solti Conducting Award from The Solti Foundation U.S., he has been praised for his “rejuvenating” leadership (Washington Post) and “even electric” presence on the podium (San Francisco Classical Voice). Now in his tenth season with the KSO, Demirjian has strengthened the orchestra’s artistic profile through audience-centered programming and a sustained commitment to American music and living composers. Under his leadership, the KSO was selected for SHIFT: A Festival of American Orchestras at The Kennedy Center and has been featured nationally on PBS’s Craft in America. Demirjian holds degrees from Harvard University and the New England Conservatory.

Knoxville Symphony Orchestra
Celebrating its 90th Anniversary Season, the Knoxville Symphony Orchestra shares extraordinary music and meaningful experiences across East Tennessee. Each year, the KSO presents hundreds of performances not only in the concert hall but also in schools, hospitals, parks, libraries, and community spaces, reaching more than 100,000 people. Its Youth Ensembles program serves nearly 500 student musicians from throughout the region. Led by Music Director Aram Demirjian, the KSO is one of the Southeast’s longest-standing orchestras and continues to play a central role in the cultural life of East Tennessee.

The post KSO’s 9 for 90 Accelerates appeared first on Knoxville Symphony.

How the KSO Crafts the VYPC Concert Experience

In February, the KSO will welcome more than 3,500 kindergarten through second-grade students to three sold-out performances of its Very Young People’s Concerts (VYPC). These 45-minute shows, designed especially for early-elementary learners, blend narration, visual storytelling, dance, and live orchestral music. For many children, it is their first encounter with a symphony. And while the concert itself is full of color and energy, the work that makes it meaningful begins long before the lights dim.

What audiences don’t see is the thoughtful, collaborative process behind the scenes: the curriculum planning, repertoire selection, and resource development that make the VYPC a valuable part of each child’s school year. At the center of that work is the KSO Teacher Guide, created in-house by Community & Education Coordinator Erin Gonzalez. Part curriculum tool and part creative bridge, the guide helps teachers connect classroom learning to the concert experience.

Gonzalez begins each new guide with the concert theme and a central question: Where can we find meaningful connections for young learners? From there, the education team explores opportunities to extend the concert into other areas of the curriculum. Some years that means geography or storytelling; this season, with Peter and the Wolf as the anchor piece, the theme naturally lent itself to animals and habitats.

The VYPC Teacher Guide helps teachers connect classroom learning to the concert experience.

Sergei Prokofiev’s classic work remains one of the most effective introductions to orchestral instruments. Each character (bird, duck, cat, wolf) is represented by a distinct instrument, giving students a way to hear personality and narrative in sound. But its value, Gonzalez notes, goes even deeper.

“Peter and the Wolf is one of those pieces students remember long after the concert,” she says. “Once a child has heard the duck played by an oboe or the wolf played by horns, they start recognizing those sounds in other music. It gives them a way into the orchestra that feels personal and fun.”

To complement Peter and the Wolf, the KSO includes short selections that portray animals students might encounter in their own backyards like chipmunks, cats, dogs or butterflies. These works offer opportunities for teachers to explore early science concepts such as animal traits, senses, and habitats, all of which appear in Tennessee’s K–2 standards. “Peter and the Wolf gives us a foundation,” says Music Director Aram Demirjian. “But part of the fun is finding companion pieces that reinforce those ideas, how instruments create character, how rhythm shapes mood, or how a short musical moment can tell its own story.”

This blend of music, movement, and scientific observation also reinforces Tennessee’s Fine Arts standards, which emphasize expressive qualities, audience behavior, and understanding connections between music and other disciplines. To help ensure the Teacher’s Guide is developmentally appropriate and genuinely useful, the KSO maintains a Education Advisory Council comprised of classroom educators, choral directors, and instrumental teachers. The result is a program that feels playful and imaginative, yet is deeply aligned with what students are learning in school.

One of the most valued components of the Teacher Guide is the Concert Playlist, which introduces the music and themes before students ever take their seats. “We know teachers are balancing a lot,” Gonzalez says. “We try to give them tools that make their work a little easier and help their students feel more confident and prepared.”

Teacher preparation doesn’t stop with the guide. The KSO also sends pairs of musicians directly into classrooms for Meet the Musician visits, giving students a personal introduction to the instruments they will hear onstage. When a student recognizes the musician they met earlier during the concert, the connection is instant and suddenly the orchestra feels personal, someone they know is onstage.

Making those moments possible, along with the concerts themselves, requires year-round coordination across dozens of schools throughout East Tennessee, each with its own schedule, needs, and field-trip guidelines. That careful planning ensures the Very Young People’s Concerts are more than a single performance. They serve as an entry point: a welcoming, well-supported introduction to live orchestral music designed to inspire young learners.

Very Young People’s Concert

February 25, 2026 at 9:30 am – Tennessee Theatre, Knoxville
February 26, 2026 at 9:30 and 11:00 am – Clayton Center for the Performing Arts, Maryville

Sponsored by Jarrod Blue and John Law, the Boyd Foundation, Pinnacle Bank, Vulcan Materials Company, and Rotary Club of Knoxville.

The post Bringing Music to Young Learners appeared first on Knoxville Symphony.

Love, Fate, and the Music of Romeo and Juliet

Valentine’s Romance: Star-Crossed Lovers brings together three Russian composers whose music confronts a familiar human question: how love persists – or fails – when shaped by conflict, fate, and loss.

For Music Director Aram Demirjian, the program offers a way to mark Valentine’s Day without reducing the music to sentiment. “It does not get more romantic than the music that we have chosen for our February Masterworks program,” says Demirjian. “It’s a great opportunity to celebrate Valentine’s Day with somebody you care about, but also to experience music that captures love in all its complexity.”

Pianist Zlata Chochieva will perform Rachmaninoff with the Knoxville Symphony Orchestra.

The concert is framed by two contrasting interpretations of Romeo and Juliet. Tchaikovsky’s Romeo and Juliet Overture-Fantasy captures the emotional core of the story rather than tracing its events. “He evokes the full range of emotions in the drama,” says Demirjian, moving from the solemn opening associated with Friar Laurence, through the violence of the feud, to the work’s central love theme. Of that theme, he adds, “It’s just so beautiful and so moving. And Tchaikovsky knew he had something good, because it comes back three times over the course of the piece.” Prokofiev’s Romeo and Juliet takes a more direct approach, following the story from youthful innocence to final catastrophe.

Readers interested in a deeper look can explore the full program notes.

At the program’s center is Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini, a work Demirjian calls one of his favorites in the piano repertoire. Though unrelated to Shakespeare’s narrative, the Rhapsody explores obsession and mortality through its contrasting variations and the recurring Dies Irae chant (a traditional Latin funeral dirge). “He was a composer living in political exile, but also in a kind of artistic exile,” says Demirjian. “He was one of the last great figures at the end of the Romantic tradition.”

The work carries particular resonance in Knoxville, where Rachmaninoff gave his final public performances and where the Dies Irae musical motif appears carved into the Rachmaninoff statue in World’s Fair Park.

The Rachmaninoff statue in World’s Fair Park honors the composer’s final public performances in Knoxville.

The Rhapsody will be performed by guest pianist Zlata Chochieva, whose performances are noted for their clarity and command of Russian repertoire. Of Rachmaninoff’s music, Chochieva says, “I just feel so natural playing his music. There is something very close to my heart. It’s demanding, obviously very difficult, but also so pianistic. It feels natural to play his music because he was such a great pianist himself.”

Valentine’s Romance: Star-Crossed Lovers, part of the MoxCar Marketing + Communications Masterworks Series, will be performed Thursday and Friday, Feb. 12-13 at 7:30 pm at the Tennessee Theatre. This concert is dedicated to the memory of Sarah Winbigler DeYoung by her loving family.

Background on the works is adapted from KSO program notes by Ken Meltzer.

The post Star-Crossed Lovers appeared first on Knoxville Symphony.

Inside the Woodwind Quintet with Duncan Henry

For the upcoming Q Series concert, there’s an opportunity to listen a little differently: through the ears of one musician. Principal Bassoon Duncan Henry offers a way into the music that’s less about expertise and more about attention, curiosity, and conversation.

At the center of the program is the woodwind quintet, an ensemble Henry describes as a constantly shifting exchange. As the bassoonist, he occupies the lowest voice in the group, often providing the harmonic foundation. But that role is never fixed. “A really good woodwind quintet,” Henry says, “kind of intermingles who is supporting and who is a more prominent voice.”

Principal Bassoon Duncan Henry describes the woodwind quintet as a constantly shifting musical conversation.

That interplay is what gives chamber music its sense of life. The bassoon may anchor the harmony in one moment, then step forward with a melodic line before blending back into the ensemble. When the group is working well, those transitions can be subtle and sometimes hard to isolate, which is part of both the challenge and the appeal.

For listeners, Henry suggests an approach that is intentional but forgiving. Rather than trying to take in everything at once, he encourages focusing on a single musical thread. “The audience could also just pick one of us, say the bassoon, and just try to follow along with our part,” he says.

This approach can open up the structure of the music in an immediate, personal way. Watching the musicians can help, too, since “as we move, that can kind of help your ear pick up what we’re doing.”

Q Series the Elks Lodge
January 21, 2026

This program features Narong Prancharoen‘s Shadow; Geraldine Mucha‘s Wind Quintet and String Quartet in F Minor, Op. 20 No. 5 by Franz Joseph Haydn. Series made possible by a generous gift from Mardel Fehrenbach.

The post How to Listen at the Q Series appeared first on Knoxville Symphony.

Devan Jaquez and Bach’s Orchestral Suite No. 2

In Johann Sebastian Bach’s Orchestral Suite No. 2, the flute steps into the spotlight, but never does so alone.

Written in the late 1730s, the suite places the flute at the center of a musical dialogue, moving through a series of dances that range from stately to playful. For KSO Principal Flute Devan Jaquez, the balance – between structure and freedom, solo voice and conversation – is what makes this piece especially rewarding to perform.

“My favorite thing about playing Bach, really baroque music in general,” says Jaquez, “is the opportunity the composer gives the performer to improvise in the way of ornamentation.”

KSO Principal Flute Devan Jaquez (center) is featured in January’s Chamber Series program.

In Bach’s time, performers were expected to shape the music in the moment, especially when passages repeat. “The solo flute gets the opportunity to mess around with the music a little bit, adding a couple of notes here, adding a little trill there,” Jaquez says.

That freedom extends beyond ornamentation to the flute’s place within the ensemble. “Even when I am playing, I’m not always the solo,” Jaquez says. “Listeners might enjoy taking note of when the flute takes the lead solo role, and when it is accompanying the rest of the ensemble.” Those shifts are easy to hear in movements like the opening Overture and the Badinerie, where the flute moves between leading and listening, always in conversation with the ensemble.

This concert also marks a personal milestone for Jaquez, his first time performing Bach’s Orchestral Suite No. 2. “I always relish the opportunity to play with my amazing colleagues here at the KSO,” he says, “not just as a soloist, but in every capacity that I have the opportunity to.”

Jaquez holds the Karen Keys & Keith Walburn Bryan Chair as the KSO’s Principal Flute and is a graduate of the Colburn Conservatory and UCLA.

Haydn “Oxford” Symphony, part of the Roy Cockrum Chamber Series, will be performed Sunday, Jan. 25 at 3:00 pm at the Bijou Theatre. This concert is sponsored by Julia Caroline White.

Background on Bach’s Orchestral Suite No. 2 is adapted from the KSO program notes by Ken Meltzer.

The post Finding Freedom Inside Bach appeared first on Knoxville Symphony.

Reflections on Performance and Collaboration

When violinist Vadim Gluzman steps onto the Tennessee Theatre stage for the KSO’s January Masterworks concerts, he brings with him one of the most revered works in the violin repertoire and a lifetime of lived experience inside its music.

Johannes Brahms’ Violin Concerto in D Major is often described as a summit piece: technically demanding, emotionally complex, and uncompromising in its depth. For Gluzman, it is a work that continues to reveal new meaning each time he returns to it. “What keeps you coming back to a masterpiece?” he says “You see something else in it every time. It’s inevitable.”

For violinist Vadim Gluzman, Brahms’ Violin Concerto remains a work of ongoing discovery.

That sense of discovery is central to Brahms’ concerto. Written for the composer’s close friend Joseph Joachim, the work is as much a symphony as it is a concerto, demanding not only virtuosity from the soloist, but collaboration with the orchestra. Gluzman resists the notion of the “soloist” as a lone figure. “Every music is a dialogue,” he says. “Every orchestra has a sound, and every conductor brings a different energy. Music is a living being.”

For KSO Music Director Aram Demirjian, that dialogue is exactly what makes Brahms’ concerto so powerful and  challenging. “It almost demands everything the performer has,” Demirjian explains. “Authority and delicacy, introversion and exuberance, vulnerability and confidence. All living at once.” Demirjian often returns to a phrase from one of his own teachers: Brahms’ music is always living on two sides of the same emotion. It’s a quality that gives the concerto its unmistakable emotional tension, never simplistic, never showy for its own sake.

Gluzman knows that tension well. His interpretation of the concerto reflects more than three decades of performing the work with orchestras around the world, absorbing each experience into his evolving understanding of the piece. “My idea of this concerto today is a collection of all those experiences,” he says. “It changes because I change.” That evolution is closely tied to the instrument Gluzman plays: a legendary 1690 Stradivari once owned by Leopold Auer, teacher to an entire golden generation of violinists. Gluzman has performed on it for nearly three decades, and its sound has become central to his musical voice. “If I think violin,” he says, “I imagine the sound of this instrument.”

In Knoxville, that sound will meet an orchestra eager for collaboration and discovery. Demirjian notes that guest artists like Gluzman don’t simply perform with the orchestra, they change it.“His sound will feed into our sound,” Demirjian says. “It becomes a shared experience, and a learning experience, for everyone onstage.”

Gluzman Plays Brahms, part of the MoxCar Marketing + Communications Masterworks Series, will be performed Thursday and Friday, January 15–16 at 7:30 pm at the Tennessee Theatre. This concert is sponsored by Bill and Atie Rotmeyer.

Background on Brahms’ Violin Concerto is adapted from the KSO program notes by Ken Meltzer.

The post Inside Brahms’ Violin Concerto appeared first on Knoxville Symphony.

KSO Presents Star Wars: Return of the Jedi in Concert

Knoxville, Tenn. (January 7, 2026) – The Knoxville Symphony Orchestra will present Star Wars: Return of the Jedi in Concert on Saturday, January 10, 2026, at 8:00 p.m. at the Knoxville Civic Auditorium. Audiences will experience the complete film on the big screen while the KSO performs John Williams’ iconic, Academy Award®-winning score live.

Led by Resident Conductor James Fellenbaum, this special event brings the scope and excitement of one of cinema’s most beloved chapters to life, pairing George Lucas’s epic storytelling with Williams’s unforgettable music.

Punch it, Chewie! Star Wars: Return of the Jedi comes to life with the KSO.

Audience members are encouraged to arrive early to enjoy a special pre-concert experience in the lobby, where costumed characters from the 501st Legion, a worldwide Star Wars costuming organization, will be on hand for photos and fan interactions prior to the performance.

“Return of the Jedi is a thrilling culmination of the original Star Wars trilogy, and John Williams’s score is inseparable from its emotional power,” said Music Director Aram Demirjian. “Performing this music live, in sync with the film, is an exhilarating experience for both the orchestra and the audience.”

Since the debut of Star Wars more than four decades ago, the saga has had a profound impact on popular culture, captivating audiences worldwide with its mythic storytelling, groundbreaking visuals, and one of the most recognizable musical scores ever written. Experiencing the film with a live orchestra offers a new perspective on Williams’s masterful use of melody, rhythm, and orchestral color.

Star Wars: Return of the Jedi in Concert is licensed by Disney Concerts. This concert is sponsored by KaTom Restaurant Supply.

The post Star Wars on the Big Screen appeared first on Knoxville Symphony.