Symphony Orchestra (PDF)

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					                    University symphony orchestra
                           Kimcherie Lloyd, director
                      Matthew Butterfield, assistant conductor
                            Bryen Warfield, manager
                             Felix Borges, librarian

First Violin                  Bass                          Horn
  Julianne King, †               Matthew Boothe *                Nancy Waring *
  Mike Lambert                   Jake Siener                     Jennifer Pope                       presents
  Rebecca Neely †                Eli Raines *                    Elizabeth Metzger
  Brittany Washam                Aaron Shockley                  Aaron Coomer
  Kate Doyle                     Ben Heckel                      Ben Taylor
  Marina Konishi Comfort         Jordan Wright                   Justin Warner
  Mary Grace Reed                Catherine Craig                 Emma Keller
  Jacob Head                     Karli Bailey                    Ian Wolfe

                                                                                     University of Louisville
  Aaron Neumann ˚                Sam Zaccone
second Violin                 Piccolo                            Brad Curtain *
  Steve Kinnamon *
  Catherine Tyree
  Courtney Schisler
                                 Kaila Washington

                                                                 Mike Teglasi
                                                                 Micah Holt
                                                                 Halston Soder
                                                                                     Symphony Orchestra
  Alexander Moore                Sarah Carney *
  Gabrielle Boguslaw             Michelle Shapmire          tromBone
  Joni Robinson ˚                Sam Williams                    Ian Gregory *
  Rebekah Markoski
  Courtney Morrison           oBoe
                                                                 Phil Steinmetz
                                                                 Cory Zillich
                                                                                        Kimcherie Lloyd, director
  Hannah Chalk                   Teil Rochelle *
  Malinda Weiner                 Caitlin Dolenc             Bass tromBone
                                 Sarah Lempke                    Joe Murrell
  Elena Dias *
                                 Lexie Langella
                                                                                      featuring concerto competition winner
  Geoff Britton               clarinet                           Adam Edwards *
  Prangchat Fakto
  Sydney Fogle
                                 Samantha Holman *
                                 Dylan Lloyd
                                                                 Bryen Warfield
                                                                                          Ian Gregory, trombone
  Timothy Eshing                 Robert Acosta              Percussion
  Rachel Miller                  Danny Sogar                     John Carey *
  Amber Crist                    Alex Ravitz                     Sam Rouster
  Toni Robinson ˚
                                                                 James Weixler
                              Bassoon                            Amanda Roberts
cello                            Jackie Royce *                  Tony Johnson
  John Marietta *                Paul Tromba
  Ryan Snapp                     Lauren Roerig              HarP
  Felix Borges
  Jared Latta
                                                                 Lydia Falconnier
                                                                                               Friday Evening
  Nick Volpert
  Lindsay Becker
                                                                                                 March 4, 2011
  Byron Farrar                                              † concert mistress                     8:00 p.m.
  Laurel Yoder                                              * principal
  Chelsea Getty                                             ˚	 guest                    Margaret Comstock Concert Hall
                                                                                                          ARTIST BIOGRAPHY
             Welcome to the University of loUisville!
            We hope yoU enjoy the concert this evening.                               Ian Gregory is currently a senior at the University of Louisville pursuing
           Smoking is not permitted in the School of Music building.                  a degree in Music Performance. He is from Centerfield,KY, and graduated
 In the unlikely event of fire or other emergency, please walk to the nearest exit.   from Oldham County High School in 2007. He has been the principal
     The use of recording devices and flash photography is strictly prohibited.       trombonist in the University of Louisvilles Wind Ensemble and Symphony
            Please silence cell Phones & other electronic devices.                    Orchestra since 2008. Mr. Gregory has performed in many ensembles at
                                     Thank you.                                       U of L including the Trombone Ensemble, Brass Quintets, Jazz Band 2, as
                                                                                      well as trombone quartets. He was the principal trombonist of the 2009
                                                                                      Kentucky Music Educators Association Intercollegiate Band and recently
                                                                                      performed with the Louisville Orchestra in 2011. Mr. Gregory has performed
                            PROGRAM                                                   with groups in Canada, multiple countries in Europe, as well as in New
                                                                                      York Citys prestigious Carnegie Hall. Mr. Gregory enjoys performing and
                                                                                      teaching the trombone, and plans to teach at the university level.
Overture to Béatrice	et	Bénédict (1862)                            Hector Berlioz

Trombone Concertino No. 4, Op. 4 in E-flat Major (1837) Ferdinand David
   I. Allegro maestoso                                       (1810-1873)
   II. Marcia Funebre
   III. Allegro maestoso
                             Ian Gregory,	trombone


Symphony No. 1 in D Major (Titan) (1889)                           Gustav Mahler
   I. Langsam, Schleppend. Immer sehr gemächlich.                     (1860-1911)
   II. Kräftig bewegt.
   III. Feierlich und gemessen, ohne zu schleppen.
   IV. Stürmisch bewegt.
popular themes into something new. The movement begins with a quotation                                    PROGRAM NOTES
of the children’s round Bruder	Martin, a German version of the French Frère	
Jacques played by the uncommon feature of solo double bass, kick-starting           The University Symphony Orchestra features three formidable works
the work with a decidedly dark atmosphere. The round continues in a minor           expressing the heights of 19th-century Romantic music making. The
key rather than the usual major, with occasional interjections of klezmer-like      program is interconnected; Berlioz’s Overture to Béatrice	 et	 Bénédict	 and
music, complete with bass drum and cymbals. Mahler’s inspiration for this           Mahler’s Symphony	 No.	 1 were both inspired from literary sources, in
movement is said to have come from a woodcut by Moritz von Schwind                  addition Mahler had a deep admiration for the Frenchman’s music. Both
entitled How	the	Animals	Bury	the	Hunter, depicting a funeral procession            the Mahler and the Concertino	for	Trombone by German composer Ferdinand
of forest animals carrying the remains of a hunter with solemn grief. The           David feature funeral marches in their interior; both men were influenced
ironic imagery translates into the music by means of the transcription into         by their Jewish upbringing and later converted to Christianity, most likely
the minor of the children’s round. The addition of the klezmer atmosphere           in an attempt to gain acceptance as serious public figures. As such, all three
also adds an element of the exotic and even trouble to the piece written at         works represent struggle and the emotional impulses of Romanticism from
a time with growing tension against Judaism in central Europe, something            lusty love, miserable mourning, to heaven-storming ecstasy.
Mahler struggled with throughout his career having been born and raised
a Jew (he had to officially convert to Catholicism to obtain his post at the                                                       -	Program	notes	by	Cody	Gault
Vienna Opera, and was eventually forced to resign, partially as a result of
his heritage). The movement quietly ends, seductively so in relation to the
opening of the fourth movement.                                                     Overture to Béatrice et Bénédict                              Hector Berlioz
The fourth movement begins with a bang, quite literally, startling the listener
and getting their full attention after being lulled into quiet intimacy at the      Shakespeare had important implications for Berlioz. His Symphonie	
end of the third movement. A cymbal crash gets the timpanists rolling as the        Fantastique, one of his most popular and infamous works, was written as
strings heighten the tension to a series of violent orchestral tumults. The large   a testament to his intense obsession with Harriet Smithson, an actress he
brass forces have ample moments to shine, as do thundering timpani and              saw in two of Shakespeare’s plays in Paris. (He would later have a stormy
crashing cymbals. Eventually the drama recedes into a quieter, sentimental          marriage with her.) In later years, the composer remarked that the Love	
section as if contemplating the damage caused in all the former fury. The           Scene	to his Romeo	and	Juliet	Symphony was his favorite composition. Another
slower section becomes more troubled, however, and another outburst erupts,         Shakespearian influence came in 1862 with Béatrice	et	Bénédict. It was one of
this time echoing the triumphant fanfares found in the latter portion of the        a relatively small number of successful premieres for Berlioz, although the
first movement. The victory is short-lived, however, and the music collapses        opera sees few full performances today compared to the popularity of its
back into introspective quietness, touched with reoccurrences of I	Walked	          overture. Berlioz wrote the libretto himself, virtually copying Shakespeare’s
Across	the	Fields	this	Morning from the first movement. The sentimentality          Much	Ado	About	Nothing.
reaches another impassioned climax before strings assertively alert that
change is in the air. The orchestra gradually rises into another increasingly       The titular Béatrice and Bénédict are witty, playful characters who display
louder and triumphant section, propelling the movement to a rousing close.          an outward dislike of each other. They slowly come to realize their love,
Fanfares repeat unto the final bars, where rolling timpani meet effervescently      however, and this mix of play and amorous affection is strikingly reproduced
glittering strings and triangle to the whooping of French horns and ecstatic        in Berlioz’s Overture. The work begins with two declarations followed
crashing of cymbals. The piece concludes with two massive notes.                    by pauses, as if the two characters are exchanging opening remarks in a
                                                                                    sparring of wit. A longer, more relaxed and romantic interlude follows
                                                                                    with occasional jabs, flowing into a delicate but decidedly pointed middle
                                                                                    section that once again acts as an orchestral dialogue actively engaged in
                                                                                    one trying to outdo the other. Berlioz rehearsed the orchestra extensively
                                                                                    before the premiere, demanding exceptional delicacy and clarity of playing
                                                                                    for the intricate parts that mock and seemingly chase after one another.
                                                                                    Strings scurry, woodwinds intermingle and brass serve as ebullient partners
                                                                                    in crime. The work ends on a rambunctious and triumphant note: Béatrice
and Bénédict finally acknowledging their love in marriage.                      narrative.

                                                                                The symphony is composed for a large and varied orchestra under ideal
Trombone Concertino No. 4, Op. 4 in E-flat Major          Ferdinand David       conditions numbering near 100 performers (though often truncated for
                                                                (1810-1873)     logistical and economic reasons today) including two timpanists, offstage
                                                                                trumpet and a large battery of percussion. Four movements make up
Ferdinand David was a versatile and renown musician in the middle of            the work: an introductory movement growing organically out of misty,
the nineteenth century. He served as concertmaster for the Gewandhaus in        mysterious beginnings into a joyous celebration of nature; a folk dance
Leipzig under Felix Mendelssohn. He also gave the premiere of Mendelssohn’s     in the second movement; the third movement – a macabre funeral march
Violin	Concerto and served as technical advisor for Mendelssohn’s writing       based on a children’s round crashed by a klezmer band; and the “stormishly
the concerto. David was also known as an arranger and composer in his           agitated – energetic” final fourth movement.
own right though he tended to focus more on the former after the failure of
his opera. He arranged an important collection of Johann Sebastian Bach’s       The first movement begins with an eerie A in the strings, given distinct
solo works for violin.                                                          quality by harmonics in the violins. Several quieted fanfares follow, first in
                                                                                the clarinets, then in distant trumpets. Mahler gives a nod to the opening
David’s Concertino	for	Trombone was one the composer’s first works, opus        movement of Beethoven’s Ninth	Symphony in the droning, simplistic quality
number 4. It was also one of the first works written to feature the trombone,   of the unfolding orchestra. The movement comes to life with the quotation
which was not quite yet the popular orchestra standard that it is today.        of Mahler’s song I	 Walked	 Across	 the	 Fields	 this	 Morning, from his earlier
Despite the work’s age, it remains an important piece in the solo repertoire    work Songs	of	a	Wayfarer. The song is meant as a lighthearted enjoyment
of trombonists both for its technical challenge and tuneful musicality.         of nature, the synaesthetic experience of nature so key to Mahler’s music
David’s compositional style is nothing particularly innovative or striking      echoed in one of the stanzas of the vocal version of the song,
but quality writing for Germanic music at this time, with influences of Carl
Maria von Weber and Mendelssohn apparent. The work is in three parts;           	   And	then,	in	the	sunshine,
two allegro movements framing a slower funeral march. The first movement        	   the	world	suddenly	began	to	glitter;
begins with rich Germanic winds building into an orchestral climax, the         	   everything	gained	sound	and	color
trombone making a heroic entrance. The proceeding includes passages of          	   in	the	sunshine!
more lyrical depth contrasting with technical flashy sections. The funeral
march indulges in the full, brassy sonority of the trombone, mourning with      In addition, Mahler employs the distinctive sound of the cuckoo throughout
dignity and presence in long arcs of sound. The third movement returns to       the symphony beginning at this point in the first movement. The song
the heroism of the first, ending in typical romantic fervor.                    theme continues to be worked until a few dark moments threaten shadow
                                                                                near the end of the movement. This is quickly dispelled, however, and a
                                                                                triumphant ending with the orchestra in dialogue with the timpani sets the
Symphony No. 1 in D Major (Titan)                           Gustav Mahler       stage for the second movement.
                                                                                The second movement contains a ländler and trio. The ländler was a popular
Mahler began his vast, interconnected saga of nine completed symphonies         folk dance in Austria and Germany in the 18th and 19th centuries in three
with this work, completed in 1888 when the composer was 28, and                 quarter time, featuring hopping and skipping. Mahler was particularly
subsequently revised several times (as was his custom). Initially the work      fond of the earthy form and included it in many of his works. While it
was titled Titan, after the nearly 1,000 page novel of German Romantic          retains a folksy character, there are more elegant moments in the strings,
writer Jean Paul. The novel is a coming-of-age story of sorts, engaged in       reminders that the dance was a precursor to the waltz. A slower, more lyrical
an ambitious appraisal of the life and times of its main character. Mahler      trio section follows the first ländler, only for a recapitulation to follow for
dropped the title and brief program of the work he had written after revising   a lively ending.
the symphony into a more cohesive whole rather than a programmatic tone
poem, preferring the power of letting the listener make their own abstract      The third movement introduces several characteristics that would become
deductions about the pure music rather than try to follow any prescribed        hallmarks of Mahler – the macabre, inversion, satire, and reworking of