SATURDAY, NOVEMBER 19, 2022
7:00 pm
The musicians of MYSO's Senior Symphony present VOYAGES.
Shattuck Music Center Auditorium, Carroll University
VOYAGES
featuring the Senior Symphony
Saturday, November 19, 2022, 7:00 pm
Shattuck Music Center Auditorium, Carroll University
Carter Simmons, Music Director
Dme. Ethel Smyth (1858 -1944)
Overture to The Wreckers
Ralph Vaughan Williams (1872 - 1958)
Norfolk Rhapsody No. 1
Edvard Grieg (1843 - 1907)
Peer Gynt Suite No. 2, Op. 55
-
- "Ingrid’s Lament"
- "Arabian Dance"
- "Peer Gynt’s Homeward Journey"
- "Solvieg’s Song"
Intermission
Nikolai Rimsky-Korsakov (1844 - 1908)
Scheherazade, Op. 35
- "The Sea and Sinbad's Ship"
- "The Tale Prince Kalandar"
- "The Young Prince and the Princess"
- "The Festival at Bagdad; The Sea; The Ship Goes to Pieces on a Rock"
FIRST VIOLINS
Clark Snavely, Concertmaster
Cecilia Koth, Concertmaster
Sofia Castanho-Bollinger, Concertmaster
Arisa Okamoto, Concertmaster
Ethan Chen, Assistant Concertmaster
Jayanth Suthan
Magdalena Masur
Henry Snavely
Jasmine Storck
Max Letellier
Christianna Ebel
Hans Hemann
Caleb Endres
Arisha Sobhani
Brynn Nelson
Andrea Hanna
Kayami Jackson
Grace Lee
Richard Nickel
Titus Veldhouse
SECOND VIOLINS
Madeline Bingenheimer
Zindzi Frederick
Benyamin Kim
Krish Vasudev
Valkyrie Ladd
Trinity Schrotenboer
Maia Cardew
Tamara Avdeev
Victoria Velazquez Rojas
Ben Christiaansen
Alexander Chen
Jennifer Hong
Brianna Cimoch
Emilia Sato
Yiwen Ma
Mae Jones
Maeve Kaufman
Brady Ahler
Suraksha Kodgi
Nathan Cunningham
VIOLAS
Sonya Wilhelm, Principal
Vivian Cucu, Principal
Elliot Richer, Assistant Principal
Benjamin Hruska
Katelynn Lesinski
Hayden Stringer
Brae Bigelow
Rem Leach
Shamit Surana
Christian Ostrowski
Lauryn Klinger
Sydney Badciong
CELLOS
Nolan Boerner, Principal
Noor Salameh, Principal
William Larsen
Gabrielle Peck
Luke Field
Gunnar Conine
Amber Moreno-Padilla
Nathan Hansen
Shelby Gooden
Maryveth Ochoa
Rebecca DeBoer
Lukas Vater
Ella Smullen
Carlos Recinos
Thelma-Abigail Aquino-Moreno
Emma Pingitore
BASSES
Isabella McGinley, Principal
Katya Imas, Principal
Benjamin Levin
Benjamin Crnkovich
Lauren Gooden
HARP
Maydine Bellot
FLUTES
Shreya Girish
Marisa Lehner
Zackary Muñoz
Abhinay Reddy
PICCOLOS
Marisa Lehner
Zackary Muñoz
OBOES
Lydia Morency
Elisabeth Young
Abby Debbink
ENGLISH HORN
Abby Debbink
CLARINETS
Lilly Beane
Rebecca Redlich
Aaron Srok
Sydney Stanford
Kaitlyn Yang
BASSOONS
Ben Beumler
Neil DuJardin
Rosalie Avery
HORNS
Shaurya Bansal
Mina Gates
Elijah Samuelson
Eli Hoffman
TRUMPETS
Milo Ascher
Sarah Downes
Oscar Endres
Molly Gapinski
Hudson Simmons
TROMBONES
Owen Addison
Grace Fitzgerald
Grace O'Connell
Josie Sagan
TUBA
Ryan Nelson
PERCUSSION
Logan DeWaide
Daniel Grady
Kishore Mohanram
Isaac Visser
ORGAN
Michael Schaner
Woodwinds, brass, and percussion are listed alphabetically.
Thank you to those who regularly work with our Senior Symphony musicians!
- Paul Hauer, String Advisor
- Lisa Werner, Orchestra Manager
- Paul Sekulski, Music Librarian
In addition, we are grateful to these teaching artists who coached the orchestra:
- Frank Almond, Johnston Family Artist-in-Residence
- John Babbitt
- Ben Haimann
- Amanda Koch
- Ann Lobotzke
- Kevin Pearl
- Pamela Simmons
- Don Sipe
- Adrien Zitoun
Dame Ethel Smyth
b. April 22, 1858; London | d. May 8, 1944; Woking, Surrey
Overture to The Wreckers
Until the later-19th-century, a number of Cornwall communities engaged in “wrecking,” misleading passing commercial vessels to founder on their rocky coast in order to scavenge cargo. Fascinated by the dramatic potential of these activities, Ethel Smyth embarked on a walking tour of Cornwall in 1886, ultimately interviewing many with first-hand recollections. In her memoirs, the composer wrote: “Ever since those days I had been haunted by impressions of that strange world of more than a hundred years ago; the plundering of ships lured onto the rocks by the falsification or extinction of the coast lights; the relentless murder of their crews; and with it all the ingrained religiosity of the Celtic populations of that barren promontory.”
Working with her friend, the American writer, Henry Brewster, Smyth brought her three-act opera to its initial completion in 1902. First written in French, then German, and later in English, The Wreckers endured many abridged performances, but in the 21st century has been enjoying revitalized interest.
The third of her six operas, The Wreckers is set in an 18th-century Cornish fishing village, “whose inhabitants,” writes biographer Sophie Fuller, “lure ships on to the coastal rocks in order to plunder their cargo. Two lovers defy the tight-knit community and light warning beacons. Discovered by the other villagers, they are sentenced to die in a cave that will be filled by the incoming sea. Intense and dramatic, Smyth’s music represented a move to what she described as her ‘latest manner.’”
Ralph Vaughan Williams
b. October 12, 1872; Down Ampney | d. August 26, 1958; London
Norfolk Rhapsody No. 1, in E minor
Upon earning his Music Doctorate at Cambridge in 1901, Vaughan Williams was generally dissatisfied with his own compositional process. He was, however, growing interested in the folk music of Britain and, in 1904, joined the newly-formed Folk Song Society. In the following year, he made a trip to King’s Lynn in the province of Norfolk (northeast of London, on the North Sea). There, he collected a number of folk songs which he subsequently published in the Society’s Journal.
Vaughan Williams made use of a number of these tunes in a set of three orchestral rhapsodies written in 1905-06. He originally intended to create a Norfolk Song-Symphony with the first rhapsody forming an Introduction and first movement, the second a slow movement and scherzo, and the third a lively finale. He subsequently withdrew the latter two rhapsodies, leaving the present Norfolk Rhapsody No. 1 as the first of a set of one. It was premiered under the direction of Henry J. Wood on August 23, 1906, in Queen’s Hall, London.
Originally based upon five Norfolk songs, this rhapsody was revised and consolidated into three folk tunes in 1914. An adagio introduction brings a whiff of sea air that permeates the entire work. A freely expressive viola solo reveals the first theme: "The Captain’s Apprentice." English Horn voices a maiden’s lament: "A Bold Young Sailor." Fuller treatment of both tunes to an allegro vivace, where bassoons and cellos reveal the light-hearted "On Board a ’98." Following more extensive development of this idea, the opening section returns to shroud the work’s conclusion in ocean mist.
Edvard Grieg
June 15, 1843; Bergen, Norway | September 4, 1907; Bergen
"Peer Gynt" Suite No. 2, Op. 55
Shortly after winning recognition as Norway's leading young composer, Edvard Grieg was approached in January of 1874 by his famous countryman, Henrik Ibsen, with a proposal to join forces in a new stage setting of his satiric verse drama Peer Gynt. Although Grieg sensed that this fantasy on the capricious hero of Norse folklore revealed some unsavory aspects of the Norwegian national character, his slender financial straits prompted him to accept. He set to work and composed 22 incidental pieces; eight of which were later used to form two well-known orchestral suites.
Grieg printed the following plot outline in his preface to the Second Suite’s score: “Peer Gynt, the only son of poor peasants, is drawn by the poet as a character of a morbidly developed fancy and a prey to megalomania. In his youth he has many wild adventures—comes, for instance, to a peasants’ wedding where he carries off the bride up to the mountain peaks. Here he leaves her to roam about with wild cowherd girls. He then enters the kingdom of the mountain king, whose daughter falls in love with him and dances to him. But he laughs at the dance and the droll music, whereupon the enraged mountain folk wish to kill him. But he succeeds in escaping and wanders to foreign countries, among other to Morocco, where he appears as a prophet and is greeted by Arab girls. After many wonderful guidings of Fate he at last returns as an old man, after suffering shipwreck on his way to his home as poor as he left it. Here the sweetheart of his youth, Solvejg, who has stayed true to him all these years, meets him, and his weary head at last finds rest in her lap.”
Created in 1891-92, the Second Suite consists of nos. 4, 15, 19, and 18 from the original music.
- Ingrid’s Lament, or The Abduction of the Bride. Peer Gynt’s misadventures begin as he abducts his old girlfriend at the moment of her marriage to his rival. The generally active nature of this music is contrasted by the lyric lament of Ingrid bewailing her fate.
- Arabian Dance. Amid Peer’s Arabian wandering, a tribe of nomadic Arabs take him to be a prophet. In their desert encampment, a troop of maidens entertains Peer with an exotic dance reminiscent of the better known Anitra’s Dance. This romantic evocation of North African atmosphere begins in the distance, then reveals a trio section of Moorish-Spanish panache before a return of the march trails off to a hushed conclusion.
- Peer Gynt’s Homecoming. Rather the worse for his turbulent experiences, the aged and worn hero boards a ship bound for his native land. As revealed in this bit of incidental music, his voyage turns out to be consistent with the rest of his adventures…the ship sails into a mighty storm and is wrecked.
- Solvejg’s Song. In the last act of Ibsen’s drama, the melancholy theme of long-suffering Solvejg is the siren song which beckons Peer homeward.
Nicholas Rimsky-Korsakov
b. March 18, 1844; Tikhvin | d. June 21, 1908; St. Petersburg
Scheherazade, Op. 35
On the shores of a beautiful Russian lake, during the summer of 1888, Rimsky-Korsakov wove together a symphonic suite based upon the tales of the “Thousand and One Nights.” He originally intended to write a more formal work, a programmatic symphony in which each of the movements would tell an individual story. In the process of working out his materials, Rimsky-Korsakov decided to adopt a more flexible form while keeping the evocative original title, Scheherazade.
The source of this work, sometimes known as the “Arabian Nights’ Entertainments,” is a collection of ancient Persian-Indian-Arabian tales that found publication in Arabic during the mid-15th-century. From this extensive work, Rimsky-Korsakov found himself particularly drawn to the stories of Sinbad...perhaps because the composer himself spent a number of his earlier years in the Russian Navy. Enrolled at the age of twelve in the Corps of Naval Cadets at St. Petersburg, Rimsky-Korsakov became interested in music and was ultimately urged to begin composing by his mentor, Balakirev. The budding young musician completed a three-year world cruise before returning to Russia and the beginning of his career as a composer.
The following program prefaces the score of Scheherazade:
The Sultan of Schahriar, persuaded by the falseness and faithlessness of women, has sworn to put to death each one of his wives after the first night. But the Sultana Scheherazade saved her life by interesting him in tales which she told him during one thousand and one nights. Pricked by curiosity, the Sultan puts off his wife’s execution from day to day, and at last gave up his bloody plan. Many marvels were told Schahriar by the Sultana Scheherazade. For her stories the Sultana borrowed from the poets their verses, from folk songs the words; and she strung together tales and adventures.
The program I had been guided by in composing Scheherazade consisted of separate, unconnected episodes and pictures from The Arabian Nights: the fantastic narrative of the Prince Kalandar, the Prince and the Princess, the Baghdad festival, and the ship dashing against the rock with the bronze rider upon it. The unifying thread consisted of the brief introduction to Movements I, II, and IV, and the intermezzo in Movement III, written for violin solo, and delineating Scheherazade herself as telling her wondrous tales to the stern Sultan. The conclusion of Movement IV serves the same artistic purpose.
In vain do people seek in my suite leading motives linked always and unvaryingly with the same poetic ideas and conceptions. On the contrary, in the majority of cases, all these seeming leit-motives are nothing but purely musical material, or the given motives for symphonic development. These given motives thread and spread over all the movements of the suite, alternating and intertwining each with the other. Appearing as they do each time under different moods, the self-same motives and themes correspond each time to different images, actions, and pictures…In this manner, developing quite freely the musical data taken as a basis of the composition, I had in view the creation of an orchestral suite in four movements, closely knit by the community of its themes and motives, yet presenting, as it were, a kaleidoscope of fairy-tale images and designs of Oriental character…
Throughout the work there are two recurring themes; the first, a powerful brass passage, suggests the stern Sultan; the second, usually heard as a violin solo, is thought to be the lovely and clever Scheherazade. Each of the movements refers to a different episode, yet none of them tells an exact story. Rather, they allow the listener to make up the story in his or her own mind.
After the introduction of the Sultan and Sultana, the first movement describes the adventures of "The Sea and Sinbad's Ship." An oriental ambiance permeates the second section, "The Story of the Kalandar Prince," while a romantic tale is suggested in "The Young Prince and the Princess." Opening with a reminiscence of the Sultan and Scheherazade, the finale continues with the fierce intensity of the "Festival at Baghdad." Amid this tumult, "The Sea" makes its presence known as Sinbad’s ship tosses in a violent storm just outside the harbor; ultimately, "The Ship Goes to Pieces Against a Rock Surmounted by a Bronze Warrior." (Perhaps it should be assumed that poetic license has surmounted actual geography, since Baghdad is situated on the Tigris River, well upstream from the Persian Gulf.) At the height of the turmoil, trombones sound the Sultan’s theme and the storm subsides. A happy ending is achieved as the solo violin answers the Sultan’s theme and the two melodies blend into tranquility.
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William Hienz
Judie Wille
Gerald Wille
In-Kind Supporters
Allen Edmonds
Frank Almond
Bartolotta Restaurants
Battle House Tactical Laser Tag
Joanna Beamon
Brian & Laurel Bear
Benihana
Betty Brinn's Children Museum
Blackshoe Hospitality
Bonefish Grill Brookfield
Brewers Community Foundation, Inc.
Bill & Tracy Brodd
Gregory & Kathy Brown
BVK
Chick Fil A
ComedySportz
Concord Chamber Orchestra
CVS Health
Dubbel Dutch Hotel
Thomas Dvorak
Linda Edelstein
Glaze
Green Bay Packers Give Back
Grimaldi Pizzeria
Sigrid Gullickson Jablonka
Hal Leonard LLC
Paul Hauer
Michelle Hoffman
Ian's Pizza
ICOMBAT Waukesha
Indulgence Chocolatiers
Jacki Easlick
Jewish Museum Milwaukee
Kendra Scott
Kenosha Public Museum
Robert Kern
Kilwins Milwaukee-Bayshore
Knit Pick
Koss Stereophones
Kwik Trip
La Colombe Coffee Roasters
La Diva
Lake Geneva Ziplines
Lakefront Brewery
Lakeshore Chinooks Baseball
Let's Roam Scavenger Hunt
Light the Hoan
Lynden Sculpture Gardens
ManpowerGroup Foundation Inc.
Marcus Theatres Corporation
Jennifer Mattes
Milwaukee Admirals
Milwaukee Art Museum
Milwaukee Chamber Theater
Milwaukee County Parks
Milwaukee Film
Milwaukee Jazz Institute
Milwaukee Opera Theatre
Milwaukee Public Museum
Milwaukee Repertory Theater
Milwaukee Wave
Milwaukee Youth Arts Center
Molson Coors Beverage Company
Robert & Barbara Monnat
Navy Pier
Neroli Salon & Spa
Next Act Theater
Noodles & Company
North Point Light House
Andy Nunemaker
ORO di Olivia
Outpost Natural Foods
Rebecca Owen
The Pfister Hotel
Pizza Shuttle
Purple Door Ice Cream
Qdoba Mexican Eats
Racine Zoological Society
Steven Rindt
Saint Kate - The Arts Hotel
Saz's Hospitality Group
Sharon Lynne Wilson Center for the Arts
Six Flags Great America
Skyzone Indoor Trampoline Park
Sprecher Brewing Company
Summerfest Foundation, Inc.
Total Wine & More
Trader Joe's
Unique Sentiments
Waukesha County Parks
Benjamin Whitcomb
Wisconsin Philharmonic
Wisconsin State Fair
Wisconsin Timber Rattlers Baseball Team
Zoological Society of Milwaukee