featuring the 2025 Poland and the Czech Republic Tour Orchestra

Saturday, July 12, 2025 | 1:00 pm

Sharon Lynne Wilson Center for the Arts

Good Afternoon!

Thank you so much for attending this concert by the Milwaukee Youth Symphony Orchestra as we embark on another European journey. It is truly an honor to perform for you! 

Today’s program honors the traditional orchestral canon and reflects some of our country’s greatest composers. It is our hope that you will savor the special, vibrant music-making of this beloved orchestra. 

The musicians on stage are each wonderful young individuals who represent many backgrounds and, as young people do, pursue varied interests beyond music. Together, as an orchestra, they provide a powerful and transcendent expression of what is good in the world. We believe that this orchestra truly reflects the best qualities of our country, and we are so proud to share them and their music with the people of Poland and the Czech Republic.

Carter Simmons, Artistic and Music Director

ANTONÍN DVOŘÁK (1841-1904)

Carnival Overture, Op. 92

JOHANNES BRAHMS (1833-1897) / Orch. Arnold Schönberg

Klavierquartett G-Moll, Op. 25, für Orchester

   III. Andante

AARON COPLAND (1900-1990)

The Tender Land Suite

1. 1. Introduction and Love Music
   2. Party Scene
   3. Finale: The Promise of Living
      
      Intermission

FRÉDÉRIC FRANÇOIS CHOPIN (1810-1849)/

Orch. Fitelberg Grzegorz

Polonaise in A Major, No. 1, Op. 40

OTTORINO RESPIGHI (1879-1936)

Fountains of Rome

1. 1. La fontana di Valle Guilia all’alba
   2. La fontana del Tritone a mattino
   3. La fontana de Trevi al meriggio
   4. La fontana di Villa Medici al tramonto

GEORGE GERSHWIN (1898-1937)

Overture to Funny Face (1927)

AMERICA'S COMPOSERS | Orch. Caleb Endres (b. 2004)        

RISE

In tribute to the visionary artists whose music inspired the spirit of our homeland

VIOLIN
Jayanth Suthan*
Henry Snavely*
Alexander Chen*
Christianna Ebel*
Anna Lena Derocher
Leif Young
Emilia Sato
Sophia Collins
Rosy Kojis
Giovanna Hughes
Logan Gleesing
Andrew Behring
Ruthee Rosploch
Evan Chirillo
Bianca Enriquez
Chloe Chen
Bode Li
Alex Holzman
Vera LeFort
Kayla Cooney
Ellasyn Korb
Milo Elliot
Rayna Jellish
Willa Grimm
James Pienkos
Monroe Emling
Samvrit Bhavsar
Harvey Whitney
Anna Koney

VIOLA
Caleb Endres+
Haley Burns+
Alana Perez+
Jennifer Raychel
Jenna Johnson
Rem Leach
Charlie Stevenson
Akilah Muhammad
Lucy Hamann
Max Hemann
Elizabeth Beltran

CELLO
Adela Ramirez+
Gabrielle Peck+
Rylee Stelpflug
Abraham Albiter
Joanee Rosploch
Brayden New
Kyra Jester
Carolina Ushakova-Kasymova

BASS
Gavriilia Fyrogeni+
Alexander Matusiak
Lauren Gooden
Ania Kurowski
Kasen Menke

HARP
Maydine Bellot

PIANO
Charlie Plante

FLUTE
Carli Hannes
Lucy Merrill
Zackary Muñoz
Lilly Talbot

PICCOLO
Lucy Merrill
Zackary Muñoz

OBOE
Abigail Debbink
Claire Fifarek
Lydia Morency

ENGLISH HORN
Claire Fifarek

CLARINET
Lilly Beane
Pearl de le Cova Townley
Rayna Kavalauskas
Sydney Stanford

BASS CLARINET
Pearl de le Cova Townley

BASSOON
Gavin Hansen
Anabelle Rook
Faith Weigand
Andie Wisniewski

HORN
Cameron Coraggio
Eli Drews
Anja Logan
Simon Field

TRUMPET
Emmah Bagin
Evelyn Brandel
Andrew Elliott
Sean Gaez
Max Marshal

TROMBONE
Jonas Daso
Finn Fitzgerald
Erich Haefer
Matias Krammer
Owen Ruck

TUBA
Lane Wendorf

TIMPANI and
PERCUSSION
Paddy Foy
Daniel Grady
Charlie Plante
Evelyn Roach
Nico Strichartz

* Concertmaster
+ Principal

Antonín Dvořák (1841–1904), Carnival Overture, Op. 92 (1891)

Colorful and full of energy, Carnival Overture is one of the most beloved orchestral works by Czech composer Antonín Dvořák. Composed in 1891, it is the second of a trilogy of concert overtures originally titled Nature, Life, and Love. Carnival was intended to depict “Life” with its bustling vitality and the whirlwind of human activity.

The overture opens with a brilliant fanfare and a flurry of strings that immediately plunge the listener into a festive scene. Dvořák described the music as portraying “a lonely, contemplative wanderer” who finds himself “amid the crowd at a carnival.” The exuberant outer sections pulse with excitement, evoking the noise and color of a carnival at full swing—dancing, music, laughter, and joyful chaos.

In contrast, the overture’s middle section offers a moment of lyrical calm. Here, a tender English horn and flute duet suggests a brief escape from the crowd, a pause for introspection or perhaps a quiet romantic encounter away from the noise.

The rousing energy returns as the overture races to a dazzling conclusion, showcasing Dvořák’s mastery of orchestration and his deep connection to Czech folk rhythms and melodic charm. Carnival Overture is a vibrant celebration of life, brimming with spirit and joy—a perfect concert opener that continues to delight audiences around the world.

Johannes Brahms (1833–1897) | Orchestrated by Arnold Schönberg in 1937, Piano Quartet in G Minor, Op. 25

What happens when two titans of music—one rooted in Romanticism, the other in Modernism—collide across time? The result is the remarkable orchestration of Brahms’s Piano Quartet in G Minor, Op. 25, by Arnold Schönberg.

Originally composed in 1861 for piano, violin, viola, and cello, Brahms’s quartet is a robust and emotionally charged work, filled with rhythmic intensity, lyrical warmth, and structural brilliance. Decades later, in 1937, Schönberg —a composer best known for pioneering atonality and the twelve-tone technique—surprised many by orchestrating this deeply Romantic chamber piece. He did so not to modernize or distort it, but, in his words, to make it sound like Brahms’s Fifth Symphony.

Schönberg’s orchestration preserves Brahms’s musical content while expanding its colors and textures to fit the symphonic stage. He assigns the piano’s virtuosic passages to various orchestral instruments with ingenuity and flair, giving new dimension to the music without losing its original spirit.

When Schönberg started the project, he was teaching at the University of California Los Angeles (UCLA)--having recently moved from Germany to the U.S. He had been forced to give up a similar teaching position in Berlin due to the German National Socialists who had enacted a “Law for the Restoration of the Professional Civil Service” which banned Jews from holding university positions. The Los Angeles Philharmonic premiered Schönbergs’ orchestration in 1938 under the baton of conductor, Otto Klemperer. It is interesting to note that Klemperer, also a Jew, was born in what is now Wrocław, Poland.

Aaron Copland (1900–1990), The Tender Land Suite (1958)

Aaron Copland, often called the “Dean of American Composers,” had a remarkable gift for capturing the vastness and spirit of the American landscape in sound. The Tender Land Suite, drawn from his 1954 opera The Tender Land, is one of the most poignant expressions of his lyrical, homespun American style.

The opera was originally written for television and tells the story of Laurie, a young woman coming of age in a rural Midwestern town during the Great Depression.  In 1958, Copland arranged this concert suite from the opera’s most evocative moments, allowing the music to reach a wider audience.

The suite is in three movements:

1. “Introduction and Love Music:” This gentle and atmospheric opening sets the pastoral tone of the suite, evoking the wide-open spaces of the American heartland. The music reflects the tender and uncertain feelings of young love.
2. “Party Scene:” In contrast to the first movement, this section bursts with energy and rustic charm. Dance rhythms and folk-like melodies depict a lively community celebration, full of warmth and neighborly spirit.
3. “The Promise of Living:” The suite closes with one of Copland’s most beautiful and moving melodies, adapted from the opera’s finale. A hymn-like theme gradually unfolds and builds, expressing hope, gratitude, and the enduring values of family, work, and home.

With its noble simplicity and emotional sincerity, The Tender Land Suite stands as a musical tribute to the American ideal—full of longing, promise, and quiet strength.

Frédéric François Chopin (1810–1849) | Orchestrated by Grzegorz Fitelberg

Polonaise in A major, Op. 40, No. 1

Originally written for solo piano in 1838, Polish composer Frédéric Chopin’s Polonaise in A major, Op. 40, No. 1 has come to symbolize the great courage, dignity, and strength of Poland and its people. The music’s majesty and spirit inspired conductor and composer Grzegorz Fitelberg (1879–1953) to write this brilliant orchestration well-known throughout Poland. Fitelberg, a prominent Polish conductor who was associated with 20th-century modernism and the Polish National Radio Symphony Orchestra, amplified Chopin’s stately music allowing it to be enjoyed using the full palette of symphonic colors. Our orchestra is honored to offer this evening’s performance in kindness and with great respect for our Polish friends.

Ottorino Respighi (1879–1936), Fountains of Rome (1916)

Ottorino Respighi’s Fountains of Rome is a vivid tone poem and the first in his celebrated “Roman Trilogy,” followed by Pines of Rome and Roman Festivals. Composed in 1916 and premiered in 1917, Fountains established Respighi’s international reputation as a masterful orchestrator and musical painter.

Rather than simply depicting water features, Respighi’s goal was to portray the atmosphere and mood surrounding four of Rome’s iconic fountains at different times of day. He wrote:

“In this symphonic poem, the composer has endeavored to give expression to the sentiments and visions suggested to him by four of Rome’s fountains, contemplated at the hour in which their character is most in harmony with the surrounding landscape, or their beauty appears most impressive to the observer.”

The work unfolds in four connected sections:

1. “The Fountain of Valle Giulia at Dawn:” A serene opening paints the early morning mist over this pastoral corner of Rome. Gentle strings and winds suggest a peaceful countryside awakening.
2. “The Triton Fountain in the Morning:” Here, Respighi brings out a playful, celebratory mood. Brass fanfares and lively rhythms capture the energy of Triton, the sea god, blowing his conch shell and commanding the waves to dance.
3. “The Trevi Fountain at Midday:” Majestic and dramatic, this movement is the emotional climax of the piece. With shimmering orchestration and heroic themes, Respighi evokes the grandeur of cascading waters and sun-drenched marble as the fountain roars in full daylight.
4. “The Fountain of the Villa Medici at Sunset:” The final section returns to a mood of quiet reflection. Delicate textures and fading harmonies portray the golden light of sunset, as the fountain murmurs gently in the fading Roman twilight.

With Fountains of Rome, Respighi pioneered a new kind of program music—one that blends impressionistic color with cinematic drama. The piece is not just a portrait of Rome’s fountains, but a timeless evocation of the city’s spirit, history, and eternal beauty.

George Gershwin (1898–1937) | Orch. by Don Rose, Overture to Funny Face (1927)

George Gershwin, one of America’s most beloved composers, had a unique ability to bridge the worlds of classical music, jazz, and Broadway. His Overture to Funny Face, written in 1927, is a sparkling example of his signature style—brimming with energy, wit, and infectious rhythm. The Broadway musical created by George and his brother Ira Gershwin, starred the legendary Fred and Adele Astaire and was a hit, praised for its charm, clever lyrics, and memorable melodies.

In true Broadway fashion, the overture is fast-paced and exuberant, featuring some of the show’s most popular tunes, including “Funny Face,” “’S Wonderful,” and “He Loves and She Loves.” Gershwin’s jazz-inflected harmonies, lively syncopations, and colorful instrumentation give the piece a distinctively American flavor—urban, upbeat, and effortlessly stylish.

Gershwin’s overture has remained a favorite on the concert stage captures the vibrant spirit of 1920s New York and the golden age of musical theater with timeless appeal.

Caleb Endres (b. 2004), RISE

RISE is a tribute to the visionary artists whose music inspired the spirit of our homeland. America’s music reflects the world’s culture, and the orchestra is honored to present a new orchestration by one of our wonderful alumni, Caleb Endres. 

Reimagined for symphony orchestra, this inventive scoring gives new voice to musical greats like Duke Ellington, Chuck Mangione, and Dizzy Gillespie, and is our grateful salute to those who have given us voice.

Donations to MYSO are the crucial funding source that allow us to nurture, challenge, and inspire young minds, profoundly changing lives and our community for the better. We are tremendously grateful for these important gifts.

This list recognizes gifts of $250 or more that were received from July 1, 2024, through April 30, 2025. We encourage you to contact Maria Fuller, Donor Experience Coordinator, at 414-267-2958, with questions or corrections—or to learn how to make a much-appreciated gift to MYSO.

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