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54th Annual
Concerto Concert2012–13 Season Sunday 14 April 2013598th Concert Miller Auditorium
3:00 p.m.
UNIVERSITY SYMPHONY ORCHESTRABruce Uchimura, ConductorJeffrey Spenner, Graduate Assistant ConductorAhmed Anzaldúa, Guest Graduate Student Conductor
D. GILES SIMMER, Soprano SoloistYOUYANG QU, Violin SoloistMINGYUAN YANG, Bassoon Soloist
Giuseppe Verdi Overture to La forza del destino1813–1901
Gaetano Donizetti “Quel guardo il cavaliere” from Don Pasquale1797–1848 D. Giles Simmer, Soprano
Ahmed Anzaldúa, Conductor
Jean Sibelius Violin Concerto in D Minor Opus 471865–1957 I. Allegro
II. Adagio di moltoIII. Allegro, ma non tanto
Youyang Qu, Violin
intermission
Johann Nepomuk Hummel Bassoon Concerto in F Major1778–1837 I. Allegro moderato
Mingyuan Yang, BassoonJeffrey Spenner, Conductor
Felix Mendelssohn Symphony Number 5 in D Major Opus 107 1809–1847 (“Reformation”)
I. Andante: Allegro con fuocoII. Allegro vivaceIII. AndanteIV. Andante con moto – Allegro vivace –
Allegro maestoso
The WMU Orchestra thanks Jennet Ingle and Robert Whaley (Professor Emeritus)for their expertise in preparation for this concert. We are also grateful to all of theWMU School of Music faculty and staff for their musical contributions and supportto the WMU Symphony Orchestra.
Building emergencies will be indicated by the flashing exit lights and sounding of alarms within the seating area.Please walk, DO NOT RUN, to the nearest exit. Ushers w ill be located near exits to assist patrons. Please turn off allcell phones and other electronic devices during the performance. Because of legal issues, any video or audiorecording of this performance is prohibited without prior consent from the School of Music. Thank you for yourcooperation.
PROGRAM NOTES
Verdi, Overture to La Forza del Destino
Fate and destiny knock on life’s door with a boldstatement by the orchestra brass section, of threedeclamatory notes at the beginning of Giuseppe Verdi’stragic opera La forza del destino (The Force of Destiny).Premiered in 1862 and then again in 1869 with arevised version, the work contains all the essentials of lateromantic Italian opera. La forza del destino is a tragicstory of love, betrayal, misunderstanding, andhopelessness.
The overture is one of Verdi’s most popular concertworks. Composed in distinct and separate sections, eachepisode portrays some emotional aspect of the opera’stragedies. It is a fantastic and engaging overture that willkeep the audience begging to hear the plots andemotions that will follow in the opera. Verdi was also anincredible orchestrator and uses his instruments in a verypersonal and recognizable style.– Bruce Uchimura
Donizetti, “Quel Guardo il Cavaliere” from DonPasquale
The aria “So anch’io la virtù magica” can be found inthe first act of Gaetano Donizetti’s opera Don Pasquale.Donizetti was born into a very poor family with littlemusical influence. Through his own hard work, as ayoung choir boy Donizetti received scholarship to furtherhis musical studies. His studies eventually lead tocontracts in Naples, Rome, Milan, and Austria. DonPasquale is considered one of Donizetti’s most famousoperas and a masterpiece in the opera buffa style. It waswritten for and premiered in Paris in 1843 by four of themost famous singers of the time. This aria is our firstglimpse of the young widow, Norina, who has beenconspiring with Dr. Malatesta to teach Don Pasquale alesson for being so foolish to think that he could getmarried at such a belated age. In this scene, Norina isalone and reading a book from which she recites apassage only to toss the book aside as she laughs at thesituation she describes. This gives a great deal of insightinto Norina’s own feelings that men are very easilydeceived by her many charms, which she describes asshe continues to wait for Dr. Malatesta’s arrival.– D. Giles Simmer
Sibelius, Violin Concerto in D Minor
In no violin concerto is the soloist’s first note, delicatelydissonant and off the beat, so beautiful. Indeed, inSeptember 1902, Sibelius wrote to his wife that he hadjust had “a marvelous opening idea” for a concerto. Atthe beginning of 1904 Sibelius had time to put thefinishing touches to his Violin Concerto in D Minor. Thefirst public performance of the concerto was on February8, but the soloist Viktor Novácek could not convince theaudience of the value of the work. Sibelius withdrew theconcerto; he condensed it and made the solo part easier.On October 19, 1905, the concerto received its premierein its final form in Berlin. The piece had beenre-dedicated to the Hungarian child prodigy, Franz vonVecsey, who was at the time only 12-years old. Vecseychampioned Sibelius’ concerto, and first performed it atage 13. Shortly afterwards, Sibelius’ friend RosaNewmarch told him that “in fifty years’ time, yourconcerto will be as much a classic as those of Beethoven,Brahms and Tchaikovsky.” How right she was!
The opening movement employs sonata form, modifiedin that a succinct cadenza for the soloist replaces theusual development section. The exposition consists ofthree theme groups — a doleful melody announced bythe soloist over murmuring strings, a yearning themeinitiated by bassoons and cellos with richaccompaniment, and a bold, propulsive strophe inmarch rhythm. The development-cadenza is built on theopening motive and leads directly into the recapitulationof the exposition themes, here considerably altered fromtheir initial appearances. A coda, filled with flashingfigurations for the soloist, closes the movement.
The second and third movements proceed from anotherlevel of ambition, which does not mean, however, thatthe Adagio is anything other than one of the mostmoving pages Sibelius ever achieved. Between itsintroductory measures and the main theme there is afascinating disparity. Clarinets and oboes in pairssuggest an idea of rather tentative tone (and surprisinglyWagnerian cast), a gentle beginning leading to the entryof the solo violin and to a melody of vast breadth. It is tobe played sonoro ed espressivo. It speaks in tones weknow well and that touch us deeply. Sibelius himselfnever found, perhaps never sought such a melody again:this, too, is farewell. Very lovely, later in the movement,is the sonorous fantasy that accompanies the melody(now in clarinet and bassoon) with scales, all pianissimo,broken octaves moving up in the violin, and the soft rainof slow scales in flutes and plucked strings.
It was not until the late 1930s that Sibelius’ ViolinConcerto began to be accepted into concert repertoire,largely championed by the late Jascha Heifitz. Earlier thedistinguished scholar Sir Donald Tovey had describedthis movement, rather unkindly, as a “Polonaise for Polarbears,” which tended to reflect reactionary opinioncurrent some eighty years ago. True also that Sibelius isone of the really smashing virtuoso concertos. It would bea mistake, though, to associate it with the merely virtuosictradition. The concerto has highly diverse ideas and theunity that bond them into one. Its daring substitute for aconventional development, its recapitulation thatcontinues to explore, rearrange, and develop, itswedding of violinistic brilliance to compositionalpurposes of uncommon originality, is one in which thebreath of the symphonist — one who was to becomeperhaps the greatest symphonist since Brahms — is notto be mistaken.– Youyang Qu
Hummel, Bassoon Concerto in F Major
Johann Nepomuk Hummel was an Austrian pianist,composer, and conductor. Hummel was a child prodigyand when Mozart noticed his superb skills, he taught theyoung boy without compensation. During a concert tourto England, Hummel met Franz Joseph Haydn, withwhom he later studied. Hummel went on to become theKonzertmeister at the court of Prince Nikolaus Esterhazy(he was Haydn’s successor), and was Kappelmeister inStuttgart and Weimar. In his lifetime, Hummel waswidely recognized as an exceptional soloist, teacher,conductor, and composer. His most celebrated studentwas Carl Czerny, but he also influenced Chopin,Schumann, and Liszt. Although he wrote ballets, operas,several piano concertos and solo keyboard works, theseremain largely forgotten. His most famous work is theTrumpet Concerto, which is still widely performed.
The Bassoon Concerto in F Major was probablypremiered in 1805, although there is no record of thefirst performance. According to the title page, the pieceis dedicated to Signor Griesbacher of Vienna, whoclearly was a virtuoso bassoonist. The piece isreminiscent of concertos written by Mozart and Haydn,adhering to classical forms, but as indicated by the title,elevated to almost symphonic dimensions. The firstmovement is comprised of exacting runs and demandingleaps, and is considered by many to be the most difficultwork for bassoon from the Classical era.– Mingyuan Yang
Mendelssohn, Symphony Number 5 in D major
The late opus number 107 and the title SymphonyNumber 5 imply that this was Mendelssohn’s lastsymphony. Indeed, “The Reformation Symphony” wasnot performed until 1868 after his more popular“Scottish” and “Italian” symphonies. In reality, this wasMendelssohn’s first large scale and full orchestralsymphony. He began composing it in 1829, intending tofinish it in time for the 300th year celebration of MartinLuther’s Augsburg Confession in 1830. Through a stringof unfortunate events, the “Reformation” Symphony wasnot completed and performed until many years later. It isplayed much more today than it was in Mendelssohn’slifetime.
Felix Mendelssohn was of Jewish heritage but was raiseda Lutheran. The “Reformation” Symphony was clearly atribute to his Lutheran faith and his deep respect forJohann Sebastian Bach and the Baroque era of music.Mendelssohn was largely responsible for the revival ofBach’s music, which had been dormant until this time.
The first movement begins with an Andante that presentsthe “Dresden Amen” theme in the strings and sets aprayerful mood. This is contrasted by a moredeclamatory motive for the woodwinds and brass. Thefollowing Allegro con fuoco is a contrapuntal battlebetween these two presentations in various rhythmicguises.
The second movement is a scherzo and trio with lessapparent musical struggle then in the outer movements.The woodwinds present a folk-like theme attached to acharming and danceable rhythm. The oboes play awaltz-like melody in the contrasting trio section. It is ajoyful respite to the inextinguishable musical battle of thefirst movement.
The religious sounding and reflective third movement isbrief and acts as a bridge to the Finale. The violinsdominate this “musical prayer” with an expressive andbeautiful musical line that resembles an operaticrecitative.
The beginning of the Finale quotes the famous Lutheranchorale “Ein’ feste Burg ist unser Gott” (A mighty fortressis our God) played by woodwinds and brass instruments.This gives way to an energetic Allegro maestoso that alsoquotes a fugue theme from one of Bach’s Solo ViolinSonatas and other familiar motives. The movement endstriumphantly and optimistically with a regal statement ofthe opening chorale.– Bruce Uchimura
2013 CONCERTO SOLOISTS
Soprano D. Giles Simmer is a graduate studentmajoring in performance; she studies with Dr.Karen Kness. She received a Bachelor of Arts inmusic from Hillsdale College in Hillsdale,Michigan, where she was a Howard MusicScholar and an L.A. Weichselfelder Scholar. Anative of Atlanta, Georgia, Simmer won secondplace at the 2013 National Association ofTeachers Singing (NATS) regional competition andwas a semi-finalist at the 2012 Harold HaughLight Opera Competition. Simmer has performedwith the Arbor Opera Theatre, Opera GrandRapids, Rackham Symphony Chorus, ComicOpera Guild, and the Michigan Opera Theatre.Her performances have included Le Nozze diTutte, The Red Mill, Don Giovanni, Lucia diLammermoor, The Grand Duchess of Gerolstein,Die Fledermaus, La Boheme, Carmen, and TheMikado. Simmer was recently accepted into twosummer vocal programs, OperaMaya in Tulum,Mexico and the American Institute of MusicalStudies (AIMS), in Graz, Austria. She has been astaff singer at St. John’s Episcopal Church inDetroit since 2009, and was previously a staffsinger at both Christ Church Cransbrook at WestBloomfield and All Saints Episcopal Church inAtlanta. Simmer is also an active member ofSigma Alpha Iota, the international musicfraternity for women, serving as the Vice Presidentof Membership for the Detroit Alumnae Chapterfrom 2008–10. When she is not in Kalamazoo,Simmer lives in Detroit with her husband, Dean,and dog, Bear.
Violinist Youyang Qu is a senior majoring inperformance; she studies with Professor RenataArtman Knific. She is a member of WMU’s LeeHonors College and is a Nancy Monsour-MichaelShubeck College of Fine Arts DistinguishedScholar and a Kalamazoo SymphonyOrchestra/Western Michigan University ArtistScholar. Qu, from Changchun, Jilin, China, is agraduate of the China Conservatory of Music.Accepted to WMU on a full scholarship in 2009,she won the School of Music’s concertocompetition as a freshman and performed with theUniversity Orchestra as a soloist. A highly skilledand prize-winning violinist, Qu has attended
music festivals in China, Italy, Korea, Russia, andthe United States. In Italy she won the concertocompetition prize at the Orfeo Music Festival. InRussia, she was awarded the “best performance”prize and won first place in the concertocompetition at the New Star International MusicFestival. In 2011 she won Best Classical Soloist byDownBeat magazine as part of the publication’sstudent music awards competition. Qu serves asconcertmaster of the University SymphonyOrchestra, plays regularly as a chamber musician,and has performed with various ensembles,including WMU’s Collegium Musicum and OperaWorkshop.
Bassoonist Mingyuan Yang is a freshmanmajoring in performance; he studies with Dr.Wendy Rose. He is a WMU Diether H. HaenickeScholar. Yang graduated from The Affiliated HighSchool of Wuhan Conservatory of Music inWuhan, China. As a student at Wuhan, Yangpresented a solo bassoon concert, the first of itskind since the Conservatory’s founding in 1920.Yang has been invited to perform for masterclasses at the International Bassoon Festival inBeijing, China in 2009 and 2012.
UNIVERSITY SYMPHONY ORCHESTRABruce Uchimura, ConductorJeffrey Spenner, Graduate Assistant Conductor
Violin IÏÑ Melissa Taddie, Concertmaster, Strongsville OH
Sophie Petroski, Boise IDÎÏ Liang Dong, Beijing, CHINA
Audrey Jansma, FremontÐ Ariele Macadangdang, KalamazooÎÏ Shu Wang, Beijing, CHINA
Rachel Mostek, LaGrange Park ILErin Zuchniewicz, Novi
Violin IICharlotte Munn-Wood, Principal, South Bend INMichelle Bessemer, Port St. Lucie FLLindsey Mroczek, MattawanVeronica Cieri, DearbornNick Voyt, NewaygoThomas Hanawalt, Grass LakeBrandon Pacheco, Mount MorrisAnne Rhode, Farmington HillsNathan Bagby, Tecumseh
ViolaJosh Holcomb, Principal, KalamazooAmanda Smith, Wayland
Ï Laura Boekeloo, PortageKristin Benes, Downers Grove ILJanay Hughes, Oak ParkJonathan Boyd, Farmington HillsRebecca Dube, Ray TownshipLukas Stanley, MidlandKatelyn Herring, Shelbyville
CelloWillis Koa, Principal, West Bloomfield
Ò Warren Oja, Royal OakÓ Carrie Brannen, Wyoming
Allyson Perez, Santo Domingo, DOMINICAN REPUBLICKatie Nicholls, Beverly HillsBrittany Harris, RochesterTaylor Crow, Saint JosephSamantha Hickey, ClarkstonMatthew Heyboer, Holland
Double BassÎ Brett Armstrong, Co-Principal, Grand Rapids
Steven Fernandez, Co-Principal, Farmington HillsAndrew Rose, KalamazooCraig Kowalsky, CommerceKyle Pitcher, DorrMike Horrigan, Grand Rapids
FluteSandra Fernandez, Principal, Guayaquil, ECUADORJory King, Westland
Ô Maria Eugenia Vallejo, Quito, ECUADOR
OboeLucas Florin, Principal, St. Clair ShoresKayla Pingel, FarmingtonMichael Wessels, English Horn, Wayland
ClarinetÕ Margaret Albrecht, Beverly Hills
Elisabeth Waldburger, Grainger INStephanie Torok, PlymouthRuth Daley, Kalamazoo (assisting)
BassoonJosh Hart, Principal, MattawanWhitney Miller, Assistant Principal, Dumfries VAMingyuan Yang, Zhengzhou, CHINAJoseph Swift, Howell (assisting)
TrumpetAdam Phillips, Co-Principal, KalamazooAdam Stowe, Co-Principal, ClarklakeMitchell Curry, West Chester OH
HornLuke Walton, Palmyra NYElizabeth Glasser, KalamazooMackenzie Harris, Portage
Ö Molly Zebell, St. Joseph
TromboneAnibal Hernandez, Principal, Hatillo, PUERTO RICOLuke Marlowe, Byron Center
× Evan Clifton, Bass Trombone, Howell
TubaTravis Netzer, Kalamazoo
TimpaniChristopher Guthrie, Principal, Portage
PercussionAndrew Maxbauer, Principal, Traverse City
Ø Skye Hookham, Ann ArborAmber Feltrin, White Lake
HarpAlison Reese (assisting)
Orchestra Staff× Evan Clifton, Manager× Paul Clifton, Librarian
Î KSO/WMU Artist ScholarÏ Rhea Yeager Fetzer ScholarÐ Julius & Esther Stulberg Scholar
William & Fiona Denny ScholarÒ Herbert Butler ScholarÓ Carroll Haas ScholarÔ John & Patricia Schaefer ScholarÕ Tucky & Charles Elliott ScholarÖ Beulah & Harold McKee Scholar× Russell Brown ScholarØ Harper C. Maybee Scholar