THE UNIVERSITY OF TEXAS UNIVERSITY ORCHESTRA
Tuesday, February 27, 2018, 7:30 PM
Bates Recital Hall
This concert will last approximately two hours with one intermission
CONDUCTORS
Tamara Dworetz
Anders Grobey
PIANO
Martin Kesuma
SOPRANO
Julia Taylor
Mikhail Glinka Overture to Ruslan and Ludmilla (1842)
(1804–1857)
Dmitri Shostakovich Piano Concerto No. 2, Op. 102 (1957)
(1906–1975) Allegro
Andante
Allegro
Martin Kesuma, piano
Tamara Dworetz, conductor
Intermission
Samuel Barber Knoxville: Summer of 1915, Op. 24 (1947)
(1910–1981) Julia Taylor, soprano soloist
Antonín Dvořák The Noonday Witch, Op. 108/B. 196 (1896) (1841–1904) Anders Grobey, conductor
PROGRAM
PLEASE SILENCE YOUR ELECTRONIC DEVICES
Overture to Ruslan and LudmillaMikhail Glinka
Born: June 1, 1804, Novospasskoye, Russia
Died: February 15, 1857, Berlin, Germany
Composed: 1837-1842
Premiered: November 27, 1842, Bolshoi Kamenny Theatre, Saint Petersburg
Duration: 5 minutes
Instrumentation: two flutes, two oboes, two clarinets, two bassoons,
contrabassoon, four horns, two trumpets, three trombones, timpani, strings
Glinka’s iconic overture is one of the most prolific symphonic pieces to
foreshadow a movement in Russian classical music that would find its
full development in the music of Mussorgsky, Rimsky-Korsakov, and later,
Stravinsky’s “Russian” ballets. The music—composed at roughly the same
time such conservative works as Schumann’s first and Mendelssohn’s
third symphonies, respectively, is noticeably forward looking; harmonic
progressions derived from whole-tone scales mark a new direction in
Russian music, which had hitherto fallen more or less in lockstep with
contemporary music trends in Europe at large.
In the opera, as in later dramatic works by Wagner, Stravinsky, and
Rimsky-Korsakov, more experimental harmonies are associated with the
supernatural and with sorcery, where the calmer and purer harmonies are
associated generally with humanity and the side of good. The overture itself
is an orchestral showpiece, contrasting brilliant cascades of rapid eighth
notes with long, luscious lines from the strings. Its mastery of construction,
memorable melodies, and exciting conclusion make it a favorite selection
from the repertoire.
ABOUT THE PROGRAM
Piano Concerto No. 2Dmitri Shostakovich
Born: September 25, 1906, Saint Petersburg, Russia
Died: August 9, 1975, Moscow, Russia
Composed: 1957
Premiered: May 10, 1957, Maxim Shostakovich with the USSR State
Symphony conducted by Nikolai Anosov
Duration: approximately 23 minutes
Instrumentation: three flutes (one doubling piccolo), two oboes, two
clarinets, two bassoons, four horns, timpani, snare drum, solo piano, strings
Dmitri Shostakovich is one of a handful of essential composers from the
Soviet era, and considered by many to be most essential, possessive
of music that is at once so autobiographical while at the same time
representative of a kind of collective Russian attitude. Shostakovich also
is one of the longest-lived composers of this era, witnessing the October
Revolution at the age of only eleven; making his early living as a theatre
pianist; living through the nightmarish years of Stalin with the threat of
imprisonment, exile, or death; and moving into a decreased period of
compositional activity before his death in the 1970s. His second piano
concerto dates from a period of perhaps unprecedented freedom and joy
in Shostakovich’s music; Stalin had died some three years earlier, and it is
likely not without significance that celebratory works such as the Festive
Overture, and this concerto, date from this period, while at the same time,
Shostakovich explored compositional ideals that would likely have not been
permitted under the tyrant, such as in the Symphony No. 10. Written for
his son’s graduation from the Moscow Conservatory, the Second Concerto
is a work of light-hearted simplicity, partially informed by the exercises
pianists occasionally use for technical practice. Key areas and phrase
structures are perspicuous and well-defined; yet there is a characteristically
sarcastic “warping” of tonalities present even in this piece, a hallmark of
Shostakovich’s compositional style. The second movement is a heart-
wrenching, uncomplicated elegy. The last movement is a cheerful romp,
making partial use of a Mediterranean dance rhythm in uneven meter.
Knoxville: Summer of 1915Samuel Barber
Born: March 9, 1910, West Chester, Pennsylvania
Died: January 23, 1981, New York City
Composed: 1947
Premiered: April 9, 1948, Eleanor Steber with the Boston Symphony
conducted by Serge Koussevitzky
Duration: 15 minutes
Instrumentation: flute (doubling piccolo), oboe (doubling English horn),
clarinet, bassoon, two horns, trumpet, triangle, harp, soprano soloist, strings
Knoxville: Summer of 1915 is one of Samuel Barber’s most oft-performed
and well-beloved works. The text, excerpted from a larger work by James
Agee, is a dream-like depiction of a childhood in the American south. The
year 1915 was significant for Agee, who would have then been aged five
years. It was his last year with his family intact: the following year, he lost
his father in an automobile accident. Barber opted for a pictorial score,
setting a soprano soloist as the voice of Agee’s self as a young boy, and
attempting to encapsulate in music the wonderment young people feel over
simple things—the stars in the sky, a streetcar, the rhythm of porch swings,
and the childlike personification of personal belongings. The most intense
music occurs around the narrator’s prayer for his people. Agee’s text itself
was composed in ninety minutes as an experiment in free-form writing.
Agee referred to his process in relation to jazz and improvised creative art.
The piece begins with a solemn prayer in the woodwinds, and moves next
to a recurring “porch swing” music, before moving to the aggressive, edgy
sounds of a streetcar. Later, a simple song accompanies an evening scene
in the backyard. After a climactic prayer, the simple music of the beginning
returns as the author—a child—is put to bed.
The Noonday WitchAntonín Dvořák
Born: September 8, 1841, Nelahozeves, Czech Republic
Died: May 1, 1904, Prague, Czech Republic
Composed: 1896
Premiered: November 21, 1896, London, conducted by Henry Wood
Duration: 14 minutes
Instrumentation: two flutes, piccolo, two oboes, two clarinets, bass clarinet,
two bassoons, four horns, two trumpets, three trombones, tuba, timpani,
bass drum, triangle, cymbals, glockenspiel, strings
This late tone poem is an explicit narration in music, similar to the tone
poems of Richard Strauss, and dates from a style period in Dvořák’s output
characterized by extended harmonies and formal innovation; pieces from
this period are drastically different from more familiar works like the eighth
and ninth symphonies and the Slavonic Dances. Dvořák, who, in defiance of
common wisdom of the day, remained “Antonin” when advised to change
his name to the more Germanic (and therefore cosmopolitan) “Anton”,
remained true to his Czech roots even during his stay in America (1892-
5), and revisited them in his music upon his return to Bohemia. The Noon
Witch is a mythical folklore creature common to Slavic Europe, probably
invented to protect crops: the witch, variously a hag, beautiful woman, or
young girl, confronts field workers or children and asks them questions,
which are punished with death if left unanswered; or, in some traditions, she
is merely a personification of heatstroke. Dvořák’s account follows Erben’s
poem Polednice and is a more vivid account: a mother admonishes her son
to behave, else the Noon Witch will abduct him; he misbehaves, and the
witch, likely to the mother’s surprise, appears; the witch gives chase to the
pair, and the mother faints; and finally, the father finds the child dead in his
mother’s arms, she having smothered him while unconscious.
Paul Grobey is a candidate for the Doctor of
Musical Arts degree in orchestral conducting at the
University of Texas. Under the tutelage of Gerhardt
Zimmermann, Paul serves as music director of the
UT University Orchestra and assistant conductor to
the UT Symphony. Additionally, Paul is an assistant
conductor with the Austin Symphony Orchestra,
and serves as an associate choral conductor at
Redeemer Presbyterian Church in east Austin. Originally hailing from the
Pacific Northwest, Mr. Grobey’s musical studies began at age nine with
instruction in piano and violin. He holds degrees in violin performance and
orchestral conducting from, respectively, the University of North Texas
and Ithaca College. In addition to his continued activities as a violinist and
conductor, Paul is also a composer and student of music theory.
ABOUT THE CONDUCTORS
Tamara Dworetz is pursuing an M.M. in Orchestral
Conducting at the University of Texas at Austin. She
serves as Conductor of the UT University Orchestra
and the UT String Project’s Chamber Orchestra.
She is an Assistant Conductor for the Austin
Symphony under Peter Bay, and a Cover Conductor
for the UT Symphony Orchestra under Gerhardt
Zimmermann. In June 2016, Tamara was selected
as an apprentice conductor for the PRISMA Music Festival in British
Columbia. There, she had the opportunity to conduct the PRISMA Brass,
including musicians from the Vancouver Symphony, Victoria Symphony
and Netherlands Philharmonic. She has guest conducted the DeKalb
Symphony Orchestra, Emory Youth Symphony Orchestra and the Indiana
University Brass Choir. From 2013-2016, Tamara served as the Director
of Orchestras at Lakeside High School where she initiated Sectional
Days and a Private Lesson Program with instructors from the Atlanta
Symphony and Atlanta Opera Orchestras.
ABOUT THE SOLOISTS
Soprano Julia Taylor, has most recently performed
the role of Frasquita in Austin Opera’s Carmen and
appeared as a soloist with Austin Symphony Orchestra
in Bruckner’s Te deum. Other highlights include her
company debut as Curley’s Wife in Austin Opera’s
Of Mice and Men and a performance of Ginastera’s
String Quartet No.3 with the Miró Quartet. Upcoming
engagements include a concert of ‘Opera’s Greatest
Hits’ with the Round Rock Symphony and soprano soloist with UT Rio
Grande Valley in Orff’s Carmina Burana. She has been recognized as “Best
Singer” by the Austin Critics’ Table Awards for the roles of Mimì in La
femme bohème with LOLA Opera and Beatrice in Jake Heggie’s Three
Decembers with the Butler Opera Center. Past engagements include a solo
recital with the Puccini Foundation, Königin der Nacht in Die Zauberflöte
with the Butler Opera Center and soprano soloist in Handel’s Messiah with
Austin Symphony Orchestra and Chorus Austin.
Born in Indonesia, Martin Kesuma is prizewinner
in numerous competitions including the Dickinson
Piano Competition, Texas State International Piano
Festival Concerto Competition, Petroff College Piano
Competition, New York International Music Concours,
Texas State University Aria/Concerto Competition,
and the ASEAN International Concerto Competition.
Martin’s recent projects include a CD “Detours”
showcasing solo piano compositions from around the world, which will be
published by the Centaur Records later this year. Martin started his musical
studies at the age of six in Indonesia and moved to San Marcos at the age of
seventeen to study at Texas State University, where he received his Bachelor
of Music degree. He is currently pursuing his Master of Music degree at
University of Texas at Austin under the tutelage of Anton Nel.
THE UNIVERSITY OF TEXAS UNIVERSITY ORCHESTRA
VIOLIN ISarah Jiang
Concertmaster
Rebecca WangAssistant Concertmaster
Siddhartha Shetkar
Inki Lee
Saskia Gregg
Karen Yang
Becky Wang
Mia Rho
Selena Kim
Eric Sun
VIOLIN IIAlan Chen
Principal
Wilmer Rodriguez
Eric Liu
Michael Lange
Caleb Chuck
Gautam Sarathy
Kristina Rodrigues
Marie Scholch
Rachel Matthews
VIOLASMichael Langford
Principal
Hannah Warren
Katie Anderson
Brandon Falcona
Chris King
Bryan Leung
Nathan Dias
Drew Bromenshenkel
Nathan Nguyen
CELLOS
Andrew ArkhipovPrincipal
Russell Cannon
Melissa Cruz
Ashley Wang
Anmol Mathur
Parth Gupta
Shiri Spitz
Darrin Hui
Joanna Ross
Harrison Varvel
Diego Maceda
DOUBLE BASSESGriffin Glenn
Principal
Samir Epili
Xavier Saavedra
FLUTES
Jisu Jung
Abhijit Rao
Alexis Salim
PICCOLOAditi Rajgopal
OBOESPranav Subramanian
Rhiannon Pytlak
CLARINETSSofia Mock
Luis “Andy” Gonzalez
BASS CLARINETRohan Pillay
BASSOONSTiger You
Isaias Tristan
CONTRABASSOONKatia Osorio
FRENCH HORNSAlexander Dwyer
Ryan Billedo
Victor Liaw
Joseph Jackson
Raymond Lehmer
TRUMPETKevin Jacobsen
TROMBONESElizabeth Delaney
Adrian Silva
Hunter Stufflebeam
TUBAConrad Suen
TIMPANIAlex Staten
PERCUSSIONYorika Iwata
HARPKristen Posey
UPCOMING ORCHESTRA CONCERT
The University of Texas University OrchestraTuesday, February 27, 7:30 PM
Bates Recital Hall
ConductorsTamara Dworetz
Paul Grobey
Mikhail GlinkaOverture to Ruslan and Lyudmila
Dmitri ShostakovichPiano Concerto No. 2 in F major
Samuel BarberKnoxville: Summer of 1915
Antonín DvořákThe Noon Witch, Op. 108
This concert is free and open to public
UPCOMING ORCHESTRA CONCERT
The University of Texas Symphony OrchestraTuesday, April 3, 7:30 PM
Bass Concert Hall
ConductorGerhardt Zimmermann
Joined byThe University of Texas Choirs
Gustav MahlerSymphony No. 2 in C minor,
Resurrection
This concert is not available in our Subscription Package.
Tickets can be purchased at texasperformingarts.org
UPCOMING CONCERTS
THE UNIVERSITY OF TEXAS AT AUSTIN • COLLEGE OF FINE ARTS
Douglas Dempster, Dean
SARAH AND ERNEST BUTLER SCHOOL OF MUSIC
Mary Ellen Poole, Director
Tonight’s program notes written by Paul Grobey, program annotator for the Butler School
of Music.
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calendar at music.utexas.edu/calendar.
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Shawna Pennock, saxophoneTuesday, February 27, 2018, 7:30 PM
Recital Studio, MRH 2.608
Butler Opera Center Presents
The Rape of Lucretia by Benjamin BrittenThursday, March 1, 2018, 7:30 PM
Saturday, March 3, 2018, 7:30 PM
Sunday, March 4, 2018, 4:00 PM
Performances in McCullough Theatre
Jonathan Gunn, clarinetwith Anton Nel, piano, and Bion Tsang, cello
Wednesday, March 7, 2018, 7:30 PM
Bates Recital Hall