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VOYAGES

SATURDAY, NOVEMBER 19, 2022

7:00 pm


The musicians of MYSO's Senior Symphony present VOYAGES.


Shattuck Music Center Auditorium, Carroll University

PROGRAM

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 

    1. "Ingrid’s Lament"
    2. "Arabian Dance"
    3. "Peer Gynt’s Homeward Journey"
    4. "Solvieg’s Song"

Intermission

Nikolai Rimsky-Korsakov (1844 - 1908)

Scheherazade, Op. 35 

  1. "The Sea and Sinbad's Ship"
  2. "The Tale Prince Kalandar"
  3. "The Young Prince and the Princess"
  4. "The Festival at Bagdad; The Sea; The Ship Goes to Pieces on a Rock"
SENIOR SYMPHONY MUSICIANS

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.

TEACHING ARTISTS | SENIOR SYMPHONY STAFF

Thank you to those who regularly work with our Senior Symphony musicians!

In addition, we are grateful to these teaching artists who coached the orchestra:

PROGRAM NOTES by Roger Ruggeri © 2022

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.

  1. 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.
  2. 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.
  3. 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.
  4. 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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Image for VOYAGES
VOYAGES

SATURDAY, NOVEMBER 19, 2022

7:00 pm


The musicians of MYSO's Senior Symphony present VOYAGES.


Shattuck Music Center Auditorium, Carroll University

PROGRAM

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 

    1. "Ingrid’s Lament"
    2. "Arabian Dance"
    3. "Peer Gynt’s Homeward Journey"
    4. "Solvieg’s Song"

Intermission

Nikolai Rimsky-Korsakov (1844 - 1908)

Scheherazade, Op. 35 

  1. "The Sea and Sinbad's Ship"
  2. "The Tale Prince Kalandar"
  3. "The Young Prince and the Princess"
  4. "The Festival at Bagdad; The Sea; The Ship Goes to Pieces on a Rock"
SENIOR SYMPHONY MUSICIANS

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.

TEACHING ARTISTS | SENIOR SYMPHONY STAFF

Thank you to those who regularly work with our Senior Symphony musicians!

In addition, we are grateful to these teaching artists who coached the orchestra:

PROGRAM NOTES by Roger Ruggeri © 2022

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.

  1. 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.
  2. 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.
  3. 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.
  4. 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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Fran Richman
Alexander & Jill Casper

Steven Rindt
Carl & Kay Richter

Noor Salameh
Charles & Janet Simoneau

Michael Seybold
Patricia J. Seybold

Carter Simmons
Scott K. Tisdel

Alison Singewald
Scott F. Singewald

Cheryl Strommen
Ellen Strommen

Siena Stull
Janet Stull

Jack Sutte
William & Lorraine Buehler

Suzanne & John
Patricia Bailey Gartner

Peter Thomas
Richard & Susi Stoll

Cort Vande Walle
Thomas & Pauline Schultz

Titus Veldhouse
Terry & Ladene Veldhouse

Les Weil
Rebecca & William Komisar

Gifts in Memory of:

Coreen Ali
Jeremy & Afton Baier

Brenda Crowley
Ascaris Mayo

Ronald DeVillers
Dale & Barbara Pforr

Frank & Nancy Dominguez
Peter & Susan Dominguez

Mr. Dross
Robert & Anne Kosky

Anne Fitzgerald
Dean Fitzgerald
Jayne Jordan

Jerry Franke
Karen Franke
Alexander George

John Hemauer
Mary Hoerth

Pauline Hoff
Jayne Jordan

Robert Kramlich
Emma & Alexander R. Kunz

Ronald Melby
Sam & Kay Belich
Shelby & Janet Dixon

Roy Gardner Mercer
Verne & Susan Cowles

Doris H. Nadolny
Peggy Bremner
Margaret Stinehart Craney
Daniel & Adele Duranso
Steven & Mary Duranso
Ann Gillmore
Sandra Grosskreutz
Betty Herring
Mary Jablonowski
Michaelene Jansen
David Jung
Mary Beth Koski
Kathleen Luty
Laurel A. Meyer
Milwaukee Retired Fire & Police Association
Patrice Nadolny
Bosko & Sue Nikolic
Michael & Susan Raap
Martha Reid
Dan & Sharon Schmid
Darell & Sue Stachelski
Mary Stryck
Rachele Wehr
Patrice Wickert

Roger Nelson
Sara Wagner

Dr. Marc Edward Ritsema
Mieka Ritsema

William H Rochon
Daniel Dale

Bobbie Jo Rondeau
The Rondeau Family

Carrie Rondeau
The Rondeau Family
William N. & Janice V. Godfrey Family Foundation

Colleen Rose
Kathleen Koch
Gary & Connie Kolpin
Norma E. Osterndorf
Ben & Cindy Zieroth

Jennifer Sengpiel
Allen & Diane Sengpiel

Bernard Stepner
Daniel Stepner
Paul Thorgaard

Richard Tula
Chloe & Francesco Tula/Lecce-Chong

Dylan Vietz
George & Sandy Dionisopoulos

Milton Weber
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