Rhapsodic Dances

featuring the Senior Symphony

Carter Simmons, Artistic and Music Director

Saturday, November 23, 2024 | 3:00 pm

Shattuck Music Center Auditorium, Carroll University

Bedřich Smetana (1824-1884)

“Dance of the Comedians” from The Bartered Bride

Antonín Dvořák (1841-1904)

Slavonic Dance, Op. 72, No. 2

Gustav Holst (1874-1934)

"Ballet" from The Perfect Fool, Op. 39

Intermission

Johannes Brahms (1833-1897) | Orch. Arnold Schönberg (1874-1951)

Klavierquartett G-Moll, Op. 25, für Orchester

1. Allegro
2. Intermezzo. Allegro ma non troppo
3. Andante con moto
4. Rondo alla zingarese. Presto

VIOLIN
Concertmasters listed in alphabetical order

Benyamin Kim, Concertmaster
Magdalena Masur, Concertmaster
Henry Snavely, Concertmaster
Sal Stein, Concertmaster
Jayanth Suthan, Concertmaster
Colette Wiering, Concertmaster
Christianna Ebel, Assistant Concertmaster
Anna Lena Derocher
Nishanth Suthan
Alexander Chen
Leif Young
Yiwen Ma
Emilia Sato
Sophia Collins
Ariana Augustine
Isabella Krynicka
Mayouel Viviano Terando
Dana Kim
Samuel Botshtein
Flynn O’Rear
Lexi Mabini
Simon Doerr
Giovanna Hughes
Logan Gleesing
Andrew Behring
Ruthee Rosploch
Evan Chirillo
Avana Kelly
Bianca Enriquez
Joy Zhao
Chloe Chen
Sarah Harkavy
Cameron Coraggio
Bode Li
Akshay Bharathwaj
Alex Holzman
Elisabeth Hillmann
Soren Ellingstad
Yessica Rodriguez
Laura Tauzell
Vera LeFort
Kayla Cooney
Ellasyn Korb
Ishani Nayak

VIOLA
Spencer Laga, Principal
Violet Lucier, Principal
Alana Perez, Principal
Haley Burns, Principal
Eleanor Froelich
Jennifer Raychel
Amber Yi
Cassidy Quandt
Hrishikesh Srivathsan
Samantha Stundtner
Dhruv Venkateswaran
Lucy Hamann

CELLO
Ava Larsen, Principal
Adela Ramirez, Principal
Gabrielle Peck, Principal
Luke Field, Principal
Maryveth Ochoa
Rebecca DeBoer
Luka Vater
Reagan Laws
Rylee Stelpflug
Maya Thomure
Phoebe Panozzo
Maggie Barrett
Anderson Brewer
Josiah Chu
Abraham Albiter
Brandon Liao

BASS
Gavriilia Fyrogeni, Principal
Alexander Matusiak, Assistant Principal
Lauren Gooden
Dmitriy Levit
Grant Atkinson
Ean Gergetz
Oscar Thompson

Harp
Emmaline Strong

FLUTE
Maribel Cortez
Johana Kim
Lucy Merrill
Lilly Talbot
Jane Tretheway

OBOE
Claire Fifarek
Kelly Li
Lydia Morency

ENGLISH HORN
Claire Fifarek

CLARINET
Lilly Beane
Hanh Bui
Rayna Kavalauskas
Madeline Makarewicz

E-FLAT CLARINET
Rayna Kavalauskas

BASS CLARINET
Madeline Makarewicz

BASSOON
Gavin Hansen
Faith Weigand
Andie Wisniewski

CONTRABASSOON
Faith Weigand

FRENCH HORN
Shaurya Bansal
Eli Drews
Rachel Jacobson
Meera Rao

TRUMPET
Sean Gaez
Max Marshal
Redding Mortwedt
Katharine Wilhelm

TROMBONE
Jonas Daso
Emmeline Erickson
Matias Krammer
Owen Ruck

TUBA
Lane Wendorf

TIMPANI and PERCUSSION
Paddy Foy
Kyler Katanik
Rachel Shatzer
Nicolas Strichartz

Woodwind, Brass, and Percussion musicians listed in alphabetical order

Bedřich Smetana
b. March 2, 1824; Leitomischl, Bohemia | d. May 12, 1884; Prague

"Dance of the Comedians," from The Bartered Bride

Aspiring to create a Czech national opera, Smetana composed a serious historical work which he entitled The Brandenburgers in Bohemia. The work gained a certain success through its nationalistic subject matter and the vitality of its music. By the time The Brandenburgers... was in production, Smetana was already at work on a new opera project, The Bartered Bride. Incensed by a colleague who dismissed The Brandenburgers..., saying that it is easier to write a historical opera than a comic one, Smetana redoubled his efforts on The Bartered Bride. Having begun as a work with spoken dialogue, The Bartered Bride was, by its third revision of 1870, a full fledged opera in three acts. The work’s enormous international success overshadowed all of the composer’s later, more serious operatic efforts. 

Remaining one of the most lovely and fresh-sounding works of its genre, the opera tells of a girl who tricks a marriage broker into contracting her with the exact mate that she desired. The colorful "Dance of the Comedians" makes its appearance in the third act, as a traveling circus entertains a throng in the village square.

In an article on the composer, John Clapham found that: “The attractive spontaneity and naturalness of The Bartered Bride result from a rare combination of simplicity with the skill and imagination of a sophisticated artist. A true Czech spirit, at least its optimistic side, seems to emerge from the score, with its cheerful melodiousness reminiscent of an 18th-century Czech pastoral, rhythmic patterns from Czech folksong, characteristically Czech drinking-chorus, polka, furiant, and skocna (comedians’ dance), and the Czech love of direct utterance and bold contrasts of mood, colour and dynamics... With it he had made great progress towards the creation of a national musical style, but he was still barely halfway to his goal: the spirit of his nation embraced more than optimism, humour, pathos and peasant cunning. His ambitious plans to write stage works came to fruition in Dalibor and Libuse, and The Bartered Bride was an interlude during which he refreshed himself for the more important tasks ahead. It is unique among his operas and gives no indication of the nature of the later comic works.”

Antonín Dvořák
b. September 8, 1841; Nelahozeves | d. May 1, 1904; Prague

Slavonic Dance in E Minor, Op. 72, No. 2

In 1878, Dvorák gained his first international publisher through the recommendation of Johannes Brahms. The publisher, Simrock of Berlin, wanting some salable material from the unknown Czech composer, commissioned him to write a set of Slavonic Dances in the style of Brahms’ Hungarian Dances. 

In these works, Dvorák idealizes the folk dance, but, unlike Brahms, employs his own melodies and harmonies. An orchestrated version of Dvorák’s dances became so popular that a second set of eight dances was commissioned in 1886. Taken from this latter set, the E minor dance surrounds a sprightly, mazurka-like middle section with a suave theme of unforgettably poignant gypsy spirit. Generally associated with Poland, a mazurka is a triple-time dance of the Mazurs, a people who flourished on the plains of Mazovia, near Warsaw.

Gustav Holst
b. September 21, 1874; Cheltenham | d. May 25, 1934; London

"Ballet" from The Perfect Fool, Op. 39

Descending from a long line of musicians, the English composer Gustav Holst entered into his family’s musical activities in early life. He revealed considerable ability as a pianist and composer even before attending London’s Royal College of Music. During this training, he developed neuritis in his hand and abandoned piano for the trombone. After graduation, Holst gained valuable insights into orchestral writing while playing first trombone in the Carl Rosa Opera Company. 

Holst’s one-act opera, The Perfect Fool, emerged from the same World War I era as his famed orchestral suite The Planets. Introduced at Covent Garden on May 14, 1923, Holst’s opera was prefaced by this charming trio of ballets, danced by spirits of Earth, Water and Fire. Holst’s trombone moderates the vigorous outer dances, while a dulcet viola soothes the central dance.

Johannes Brahms
b. May 7, 1833; Hamburg | d. April 3, 1897; Vienna

Piano Quartet in G minor, Op. 25 (orchestrated by Arnold Schoenberg)

In the score of years before completing his First Symphony (1876), much of Brahms’ creative energy was directed toward his lofty symphonic goal. Efforts which appeared to be falling short of this goal were either destroyed or, more frequently, transformed into works of more modest scope. One such transformation was the present work, his first piano quartet, completed in 1861. Although the work was scored for only four musicians (piano, violin, viola and cello), its musical scope is large indeed; Tovey called its first movement “the most original and impressive tragic composition since the first movement of Beethoven’s Ninth Symphony.” This was the work that served as his calling card when Brahms introduced himself to Vienna as a pianist-composer in 1862.

Fondly referring to it as “Brahms’ Fifth Symphony,” Arnold Schoenberg (1874-1951) made a controversial orchestration of the quartet in 1937, one year after settling in Los Angeles. The first performance of the work in its orchestral garb was conducted by Otto Klemperer in Los Angeles on May 7, 1938. Schoenberg revealed something of his motives and methods in a letter (March 18, 1939) to the San Francisco critic and annotator, Alfred Frankenstein:

Here are a few remarks about the “Brahms.”

My reasons:

1. I like this piece.

2. It is seldom played.

3. It is always very badly played, because the better the pianist, the louder he plays and you hear nothing from the strings. I wanted once to hear everything, and this I achieved.

My intentions:

1. To remain strictly in the style of Brahms and not to go farther then he himself would have gone if he lived today.

2. To watch carefully all these laws which Brahms obeyed and not to violate any of those which are only known to musicians educated in his environment.

How I did it:

I am for almost 50 years very thoroughly acquainted with Brahms’s style and his principles. I have analyzed many of his works for myself and with my pupils. I have played as violist and cellist this work and many others numerous times; I therefore know how it should sound. I had only to transpose this sound to the orchestra and this is in fact what I did.

Of course there were heavy problems. Brahms likes very low basses, of which the orchestra possesses only a small number of instruments. He likes a full accompaniment with broken chord figures, often in different rhythms. And most of these figures can not easily be changed, because generally they have a structural meaning in his style. I think I resolved these problems, but this merit of mine will not mean very much to our present-day musicians because they do not know about them and if you tell them there are such, they do not care. But to me it means something....

Yours very sincerely,

Arnold Schoenberg

I. Allegro; G minor, 4/4. The first theme wends its way from the clarinets to the strings as its two sections unfold. Cellists play their soaring second theme in unison before passing it on to the woodwinds. The whole orchestra is given an opportunity to revel in the performance of Brahms’ noble lines. After many lush climaxes in the development and recapitulation sections, the movement finally ebbs to a gentle close.

II. Intermezzo: Allegro ma non troppo; C minor 9/8. Oboe and English horn join to play the first theme of this scherzo-form movement. Clarinet provides another theme that is then taken up by the violins. The tempo moves ahead as the second violins play the first melody of the A-flat major trio section. The main part of the movement returns and is subsequently completed by a short coda.

III. Andante con moto; E-flat major, 3/4. Flowing lines abound as winds and strings join in the first theme. Flutes take the second melody over a triplet accompaniment figure in the cellos. After some pianistic arpeggios in the woodwinds, dotted rhythms carry the movement to its animated middle section in C major. A return of the first section completes the movement.

IV. Rondo alla Zingarese: Presto; G minor, 2/4. In this final movement, Brahms utilizes the spirit and drive of the Magyar music that he assimilated while on a tour of Hungary with the Hungarian violinist, Remenyi. Of particular interest is the orchestration of the cadenzas toward the end of the movement. After this, the rondo theme returns to begin the brilliant closing section.

In addition, we are grateful to these teaching artists who have worked with the orchestra for this concert:

• Frank Almond, Johnston Family Artist-in-Residence
• Alex Ayers
• Nicole Gabriel, Music Librarian
• Paul Hauer, Senior Symphony String Advisor
• Hyewon Kim
• Amanda Koch
• Paris Myers
• Kevin Pearl
• Erin Pipal
• Don Sipe, Brass Studies Director
• Tobie Wilkinson
• Adrien Zitoun

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