Symphony No. 10 - Symphony of Ferguson

Commissioned by the Missouri Humanities Council the Symphony for Ferguson was premiered October 2015 at the Touhill Performing Arts Center at the University of Missouri-St. Louis by the University Orchestra under the direction of Dr James Richards. The commission sought to have familiar and meaningful tunes for the city of Ferguson, St. Louis County, and the state of Missouri. The Ferguson tragedy of 2014 has been deeply troubling to people all around the world. In response, countless performing and visual artists have gone deep into their hearts and minds to find meaning, acceptance and peace in this troubled time. Harbach composed Symphony for Ferguson to help her in dealing with the Ferguson tragedy.

The first movement, "Heroes," portrays the men and women who came forward to help during the time of crisis and the months that followed. The first theme heard is "Johnny, You’re No Hero" from Harbach’s musical Booth! It is a tumultuous melody that crystallizes the public scorn and indignation over the death of Abraham Lincoln as seen through the eyes of Edwin Booth and his daughter Edwina, the assassination having been committed by Edwin’s brother, John Wilkes Booth.

"Now I See What Cannot Be," the second movement, is a trio of Marie, Emil and Alexandra (from Act 2, Scene 1) from Harbach’s opera, O Pioneers! Women are clearing tables and talking in groups to those who are finishing, men are tending their equipment and preparing to head back from the fields. Flirty repartee between Emil and Marie alternates between Emil’s theme, a seductive tango between the horns and strings and Marie’s theme, lyrical and light with high woodwinds and harp. The scene ends with a rousing anthem, "Pioneers, O Pioneers!"

The third movement, "Always no Our Love Depend" is a duet between Alexandra and Carl (from Act 2, Scene 6 of O Pioneers!). The deaths of Emil and Maria stun the community, leaving Alexandra numb with grief and shock. Carl eventually returns after having heard news of the tragedy, and he and Alexandra begin a life of tenderness and measured happiness. With enduring and noble music in the brass, Carl tries to console the grieving Alexandra while she laments her loss with the melodic woodwinds and restive strings. A dialogue between the brass and woodwinds lead to a oneness of musical thought, a closure to her loss, and the abiding love of two people who have withstood the unthinkable.