NOVEMBER 6 @ 6:00 pm
The musicians of MYSO's Senior Symphony present Voices of Russia, a program highlighting works of three of the country's most consequential composers.
Sharon Lynne Wilson Center for the Arts
FOUNDERS CONCERT: VOICES OF RUSSIA
featuring the Senior Symphony
Saturday, November 6, 2021, 6:00 pm
Harris Theater, Sharon Lynne Wilson Center for the Arts
Carter Simmons, Music Director
Sergei Prokofiev (1891-1953)
Romeo and Juliet from Suites 1 and 2, Op. 64
Suite 1, I. “Folk Dance” “Dance of the People”
Suite 2, I. “Montagues and Capulets”
Suite 2, VII. “Romeo at the Grave of Juliet”
Dmitri Shostakovich (1906-1975)
October, Symphonic Poem, Op. 131 (1967) (13’)
Intermission
Sergei Rachmaninov (1873-1943)
Piano Concerto, No. 2, Op. 18 in C Minor
John Schindler, Piano
- Moderato
- Adagio sostenuto
- Allegro scherzando
FIRST VIOLINS
Cecelia Santiago, Concertmaster
Clark Snavely, Concertmaster
Amy Koo, Concertmaster
Ingrid Buschkopf, Associate Concertmaster
Zak Chen, Associate Concertmaster
Sofia Castanho-Bollinger, Assistant Concertmaster
Cecilia Koth
Isabella Nichols
Isabella Lozier
Jasmine Storck
Ethan Emanuelson
Ethan Chen
Lorena Marrari
Savanna Rostad
Erin Krasovich
Mira Santo Tomas
Benjamin Doerr
Grace Lee
Alice Chen
Molly Anders
SECOND VIOLINS
Aashay Mardikar, Principal
Max Letellier, Assistant Principal
Jayanth Suthan
Henry Snavely
Aaron McGarry
Nicolas De Torre
Andrea Hanna
Victoria Velazquez Rojas
Tamara Avdeev
Madeline Bingenheimer
Richard Nickel
Aubrey Moore
Zindzi Frederick
Trinity Schrotenboer
Ramona Cloud
Ruby Donner
Blessing Kim
Jennifer Hong
Valerie Tuzhilkov
Jenna Johnson
Grace St. Denis
Nathan Lynn
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Owne Xayboury, Principal
Armarion Julien, Principal
Sonya Wilhelm
Vivian Cucu
Elliot Richer
Kyrsten Sulok
Noe Goldhaber
Benjamin Hruska
Alexandra Kunda
Hayden Stringer
Aiden Toth
Alexandra Streit
David Ibitoye
CELLOS
Luis McDougall, Principal
Noor Salameh, Principal
Nolan Boerner, Principal
Lucy Wu
William Larsen
Nathan Hansen
Jonatan Pasillas-Velazquez
Amber Moreno-Padilla
Shelby Gooden
Isaac Ganger
Jane Consiglia Atkinson
Emma Pawlak
Jesus Avila
BASSES
Oscar Thompson, Principal
Nathan Foley, Associate Principal
Isabella McGinley
Katya Imas
Benjamin Crnkovich
PIANO and CELESTE
Shreya Girish
FLUTES
Shreya Girish
Marisa Lehner
Isabel Margerie
Abhinay Reddy
PICCOLO
Marisa Lehner
OBOES
Blake Curtis
Sarah Kidd
Haley Street
Malena Weber
Elisabeth Young
ENGLISH HORNS
Blake Curtis
Malena Weber
CLARINETS
Anvita Bansal
Elisabeth Fischer
Autumn Lee
Sydney Stanford
Kaitlyn Yang
BASS CLARINETS
Anvita Bansal
Sydney Stanford
BASSOONS
Andrew Fujimoto
Presley Hansen
Alaina Mueller
HORNS
Eli Hoffmann
Elliott Loughney
Skylar Lyon
Alexandra Mueller
Peter Weyers
TRUMPETS
Emmah Bagin
Sarah Downes
Oscar Endres
Zachary Fitzgerald
Hudson Simmons
TROMBONES
Mitchell Dees
Zoe Flint
Grace O'Connell
Josie Sagan
TUBA
Ryan Nelson
PERCUSSION
Logan DeWaide
Daniel Grady
Reece Pfisterer
Casper Voca
Program Notes by Roger Ruggeri © 2021
Sergei Prokofiev (1891-1953)
Scenes from the Ballet Romeo and Juliet, Opus 64
After nearly fifteen years of extensive travel in America and Europe, Prokofiev returned to his homeland in December of 1932. Realizing a need to establish himself as a composer of music accessible to the Russian people, he resolved to modify his somewhat dissonant style into more lyric expressions. A commission for a ballet from the Moscow Theater provided an opportunity; the composer quickly settled upon the subject of Shakespeare's timeless tragedy, Romeo and Juliet. Conceptualizing his project as a “silent opera,” he wrote fifty-two pieces of music for a 2 1/2 hour ballet. Rather than describing the action of Romeo and Juliet, the music affords a psychological description of Shakespeare's characters. Written in 1935-36, the ballet was first performed in December of 1938 in Brno.
Folk Dance: Allegro giocoso. Taken from the music of the folk festival which opens the ballet’s second act, this dance grows from piper’s tunes to full orchestra, then fades into the distance.
Montagues and Capulets. Following a brief introduction suggesting the young lovers’ ultimate tragedy, this first section provides a satirical portrait of their prideful parents in a pompous march whose theme is first presented by clarinets and violins. Juliet’s charming innocence is evoked in a lyric trio section that features the solo flute. The parental theme returns with a tenor saxophone solo, leaving no doubt about the satirical intent of the movement.
Romeo at Juliet's Tomb. All the agony and pathos of this scene are present in Prokofiev's music, as the lovers play out the last act of their lives' drama. The composer originally wanted to have Juliet awaken in time to keep Romeo from killing himself; thus providing the ballet with a happy ending. Ultimately influenced by growing criticism of this deviation from Shakespeare‘s plot, the composer resignedly put this tragic seal of death on his ballet.
Dmitri Shostakovich (1906-1975)
October, Symphonic Poem, Opus 131
Amid the vicissitudes of his life as a Soviet artist, Shostakovich maintained an integrity which allowed him to express his innermost feelings while coping with the whims and demands of Party politics. Although his personal expressions perhaps emerged most naturally in his chamber music, Shostakovich’s music is layered with many potential levels of meaning. As a master of the abstract art of music, he spoke publicly of his works in general terms while remaining silent about more personal aspects.
In late life, the political dangers which always confronted Shostakovich were compounded by problems of illness and advancing age. Following a heart attack in 1960, Shostakovich suffered from a nervous system disorder that progressively weakened his right hand. Despite these problems, he remained creative, although often in an understandably somber vein.
For the fiftieth anniversary of the Russian Revolution (October 25, 1917) Shostakovich penned this tempestuous 13-minute symphonic poem which echoes elements of some of his earlier works. The opening recalls his Symphony No. 10, a work which both laments and celebrates Stalin’s death. There is also music from his film score of Volochayevka Days, in which the citizenry rises against an oppressive regime. When at last the music changes to the major mode, the listener may choose between triumph and sarcasm.
Sergei Rachmaninov (1873-1943)
Concerto No. 2 in C minor for Piano and Orchestra, Opus 18
Following the failure of his First Symphony at St. Petersburg in 1897, Rachmaninov fell into a severe depression that lasted for more than a year. Fearing a decline of his general health, the relatives with whom the composer-pianist was living insisted that he visit Dr. Dahl, a physician who was gaining a reputation in Moscow for the cures that he was effecting through auto-suggestion. Despite misgivings, Rachmaninov consented and subsequently spent many hours with the doctor during a four-month period. Time and again, the doctor told him: “You will start to compose a concerto…You will work with the greatest of ease…The composition will be of excellent quality.” The result was the Concerto No. 2 in C minor and Rachmaninov’s ultimate cure. Out of gratitude, the work was dedicated to Dr. Dahl.
Rachmaninov appeared as soloist at the first performance with the Philharmonic Society of Moscow on October 27, 1901. A tremendous success, the three-movement concerto has become the composer’s most frequently performed large-scale work. In 1903 it won the Glinka Prize and since has had the dubious honor of being both the basis for three major motion pictures and providing the melody for a popular song of 1946 entitled Full Moon and Empty Arms.
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