OtO CarrillO hOrn - music.depaul.edu

OtO CarrillO, hOrn

Saturday, September 18, 2021 • 8:00 PM

Faculty Artist Series

Mary Patricia Gannon Concert Hall2330 North Halsted Street • Chicago

Saturday, September 18, 2021 • 8:00 PM Gannon Concert Hall

OtO CarrillO, hOrnFaculty Artist Series

PatriCk GOrOn, PianO

rOnG-Yan tanG, viOlin

SunGhee ChOi, viOla

YOuminG Chen, viOla

daniel katz, CellO

PrOGram

Václav Nelhýbel (1919-1996) Scherzo Concertante (1966)

Jane Vignery (1913-1974) Sonata for Horn and Piano, Op. 7 (1942)

I. AllegroII. Lento ma non troppoIII. Allegro ben moderato

Reinhold Gliére (1875-1956) Intermezzo, Op. 35, No. 11 (1908)

- Intermission -

Paul Basler (b. 1963) Serenade for Horn and Piano (1997)

Wolfgang Amadeus Mozart (1756-1791)Horn Quintet in E-flat Major, KV 407 (1781)

I. AllegroII. AndanteIII. Rondo Allegro

Masks must be worn at all times. As a courtesy to those around you, please silence all cell

phones and other electronic devices. Flash photography is not permitted. Thank you.

OtO CarrillO, hOrn • September 18, 2021

Oto Carrillo was appointed to the Chicago Symphony Orchestra (CSO) horn section by Daniel Barenboim in 2000. A native of Guatemala, Carrillo grew up in Chicago admiring the CSO and its wonderful horn section while receiving a Bachelor’s Degree in Music Performance from DePaul University and a Master’s Degree in both Music Performance and Musicology from Northwestern University. His teachers were Jon Boen, principal horn of the Lyric Opera of Chicago, and Gail Williams, former associate principal of the CSO. After graduating, he won positions with the Memphis and Cedar Rapids Orchestras, and was able to continue playing in Chicago for two seasons as a member of the Civic Orchestra, coached by the legendary retired principal horn of the CSO, Dale Clevenger. He also has performed with the Boston Symphony Orchestra, and the Metropolitana Orchestra of Lisbon, Portugal, as well as having had featured roles in Chicago based ensembles such as the Chicago Sinfonietta, the Chicago Philharmonic, the Lyric Opera of Chicago, and Music of the Baroque, where he is now principal horn. In addition, Oto has played in various summer festivals with such orchestras as the National Repertory Orchestra, the National Orchestral Institute, the Tanglewood Music Center Orchestra, the Grant Park Orchestra, the Mostly Mozart Festival in Woodstock, Illinois, and the Grand Teton Music Festival Orchestra. Prior to his appointment to the CSO, Carrillo held positions in the South Bend and Southwest Michigan Symphony Orchestras.

Oto has collaborated with numerous chamber groups such as Civitas, Dempster Street Pro Musica, The Chicago Chamber Musicians, musicians from the Music Now series, and as a member of the Millar Brass Ensemble. Carrillo has been a soloist with various groups in and outside the Chicago area performing works by Bach, Strauss, Mozart, Britten, and Gliére, as well as giving the Chicago premiere of Augusta Read Thomas’ Silver Chants the Litanies for horn and chamber orchestra. Recently, Oto gave a series of recitals in Vancouver, Canada, and served as guest principal horn of the Orquesta Sinfónica Nacional de México, as well as the Utah Symphony. He has collaborated with his colleagues in the CSO horn section to perform Schumann’s Konzertstücke For Four Horns with the Chicago Youth Symphony, the Civic Orchestra, and most recently, the CSO.

As an instructor, Carrillo has given many master classes around the globe. He has been on faculty at DePaul University since 2003 and in 2013, was awarded its Distinguished Alumnus Award. In addition, he served as the horn professor for 10 years at the Pacific Regional International Summer Music Academy (PRISMA), formerly SOAP, a unique summer training program for aspiring young orchestral musicians set in British Columbia. Outside of playing horn, Oto enjoys savoring and occasionally brewing excellent craft beer, woodworking, playing sports of all types, traveling to beautiful places around the world, and the company of his wife Sarah, a free-lance trumpet player, and their two college-aged children, Lucas and Isabelle.

Patrick Godon made his debut as soloist with the Chicago Symphony Orchestra (CSO) in May 2007, playing one of the solo piano parts, along with Mary Sauer, in Colin McPhee’s Tabuh-Tabuhan: Toccata for Orchestra and Two Pianos, with Alan Gilbert conducting. Since 2016 Patrick has performed the Principal Keyboardist duties regularly with the CSO on piano, celesta, organ, and synthesizer. He is in

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demand as a collaborative pianist and has performed many live broadcasts on Chicago classical station WFMT. In April 2018, he was the piano soloist in Beethoven’s Choral Fantasy with the Symphony of Oak Park and River Forest (SOPRF) at Orchestra Hall. In July of 2011, Patrick became the Music Director of The Tower Chorale, based out of Western Springs.

Patrick Godon is artistic director and pianist for the International Chamber Artists (ICA), a chamber music ensemble that he founded in 2006. ICA showcases a diverse group of professional musicians and performs a wide variety of repertoire.

In August 2018, Patrick was named the new Organist/Choirmaster at the Church of the Holy Spirit in Lake Forest, IL. He oversees the music program and leads both the St. Gregory’s youth choir and Senior Choir. From July 2003 to August 2018 Patrick was the Director of Music at St. Gregory the Great Church in Chicago. He led the parish choir on performance tours to Panama, France, Spain, Italy, Ireland, Greece and Turkey, and within the United States to Louisiana.

A native of Fargo, North Dakota, Patrick Godon began his studies with Chicago Symphony principal piano Mary Sauer in 1997. He holds both Bachelor of Music and Master of Music degrees in Piano Performance from DePaul University. He and his wife Keri are the proud parents of Gilbert, Oliver, and Atticus.

Rong-Yan Tang was appointed to the first violin section of the Chicago Symphony Orchestra by Daniel Barenboim in 2003. After graduating from the Shanghai Conservatory of Music, she came to the United States on full scholarship to study with Camilla Wicks at Louisiana State University and Donald Weilerstein at the Cleveland Institute of Music. Prior to joining the CSO, Tang’s career included several titled orchestral positions, most recently associate concertmaster of the Fort Wayne Philharmonic. As a soloist, she has performed in China, Hong Kong, and France, as well as with several U.S. orchestras.

As a protégée of lsaac Stern, Tang plays on a violin from Stern’s private collection, and by his invitation, performed at Carnegie Hall’s Weill Recital Hall. Tang also has extensive experience as a chamber musician. As first violin of the Fry Street Quartet, her performances include appearances as part of Carnegie Hall’s Rising Stars series, The New School’s Schneider Concert series, and at New York City’s famed 92nd Y. A winner of numerous awards and competitions, Tang considers the Fischoff National Chamber Music Competition’s Millennium Grand Prize and first prize in the Yellow Springs National Chamber Music Competition her most notable.

Tang currently performs as a chamber musician on the CSO’s chamber music series and for educational concerts at Chicago Public Schools. She has appeared in recital at the Art Institute of Chicago and on Chicago WFMT-FM radio broadcasts, and also as a soloist with regional orchestras.

Violist Sunghee Choi was appointed to the Chicago Symphony Orchestra in September of 2015 by Music Director Riccardo Muti.

OtO CarrillO, hOrn • September 18, 2021 biOgraphieS

A native of South Korea, she made her solo debut with the Seoul Symphony Orchestra at the age of 12. She also appeared as soloist with the Sunhwa Symphony Orchestra. After graduating from Seoul National University, she continued her studies at New England Conservatory where she obtained her master’s degree and graduate diploma. Later she studied with Choong-Jin Chang and Arnold Steinhardt at Rutgers University where she won the Rutgers Symphony Concerto Competition. Choi has won numerous other accolades while studying in the U.S., including the Kumho Young Artists Award, Korean-American Young Artists Competition and Nanpa Awards for Strings. Choi is currently a member of Beaubliss Quartet with whom she won the Plowman Chamber Music Competition in 2009.

Choi has appeared at a number of music festivals throughout the U.S. including the Beethoven Institute at New School, Sarasota Chamber Music Festival, Heifetz Institute, Spoleto Music Festival, Grand Teton Music Festival, as well as appearing in Europe at the Kuhmo Chamber Music Festival in Finland and Music Alps in France.Prior to joining the CSO, Choi was a member of Lyric Opera of Chicago Orchestra for two years and the Grant Park Orchestra for five years. She has also performed with New York Philharmonic, the Philadelphia Orchestra, New Jersey Symphony, and the Chamber Orchestra of Philadelphia and served as principal violist of New York Classical Players.

Taiwanese born violist Youming Chen (pronounced YO-ming) was appointed by Music Director Riccardo Muti to join the Chicago Symphony Orchestra in its 125th season. Dr. Chen served as Associate Principal Viola of the Kansas City Symphony, and was a member of the Grant Park Music Festival. He also performs with International Chamber Artists in the Chicago area. He has previously participated in Pacific Music Festival, Aspen Music Festival, Prussia Cove, and Music@Menlo. He received his Bachelor of Music from University of Michigan, Master of Music from Juilliard School, and Doctor of Musical Arts from University of Missouri-Kansas City.

A Chicago native, Daniel Katz was appointed to the Chicago Symphony Orchestra in 2011 by Music Director Riccardo Muti. Prior to joining the Orchestra, he was a regular substitute with the CSO and the Cleveland Orchestra, and also was a member of the Grant Park Symphony Orchestra. Under the guidance of Hans Jensen, he received a doctor of musical arts degree with honors from Northwestern University, a master’s degree from the New England Conservatory under Laurence Lesser, and a bachelor’s degree from Northern Illinois University with Marc Johnson. Other teachers include Paul Katz, Richard Hirschl, and Gilda Barston. As a dedicated teacher, Katz serves on the faculty at Roosevelt University’s Chicago College of Performing Arts and maintains a private studio. Previously, he was an adjunct assistant professor and artist-in-residence at the University of Notre Dame. Katz has participated in a number of major music festivals, including Tanglewood, Verbier, Sarasota, and Norfolk. He also has performed for live solo and chamber music broadcasts on WFMT-FM Chicago. Recently, Katz recorded an album of works by Victoria Bond (Naxos) and a disc of James Stephenson’s works (Liquid Melancholy: Clarinet Music of James M. Stephenson, Cedille), both with the ensemble Chicago Pro Musica.


Václav Nelhýbel (1919-1996) Scherzo Concertante (1966)Duration: 3 minutesCzech composer Václav Nelhýbel was a prolific composer of more than 400 published works, many of them for band and wind instruments. Having started his musical training in Prague, Nelhýbel immigrated to the United States in 1957 where he remained until the end of his life. At the time of his death, he was the composer-in-residence at the University of Scranton, which is significant in that he wrote many of his works for student performers. It has been said that Nelhýbel “had the gift of writing music that makes the performer look and sound good.”

In this work, Nelhýbel employs a motoric interplay between the horn and the piano. Sudden outbursts of color and articulation are prominent within the opening and closing sections which frame a more elegant and lyrical middle section. The primary motives are repeated continuously, often with syncopation and subtle variation which lends to a ceaseless momentum that by the end, leaves the listener (and performers) gasping for air.

Jane Vignery (1913-1974) Sonata for Horn and Piano, Op. 7 (1942)Duration: 18 minutesAmong Jane Vignery compositional works, this Sonata for Horn and Piano is perhaps the best known and most widely performed. Vignery was born in Ghent, Belgium, where she not only began her musical studies, but also finished her career as a professor of harmony. She also spent time in Paris studying viola and violin performance, as well as harmony with the acclaimed Nadia Boulanger. For this Sonata, Vignery was awarded the Prix Emile Mathieu from the Royal Belgian Academy.

Even though this work was written in a period of historical angst and turmoil, it is imbued with a sunny, non-discordant outlook that reminisces the harmonic language of Claude Debussy and Francis Poulenc. Immediately, we are confronted with Vignery’s bold use of the horn as it proclaims a muscular yet dexterous theme against a lush piano accompaniment. The use of hand stopping, whereby the horn player uses their right hand to occlude the opening of the bell to produce a nasally and sometimes jeering tone, is exploited throughout the first movement and the rest of the work both to achieve a tonal effect as well as to highlight a change of mood. As in many classical sonatas, the second theme is much more lyrical and full of romantic yearning. This leads into the development section, where themes coalesce and motivic involvement between the acrobatic and elegant becomes more saturated. A return to

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OtO CarrillO, hOrn • September 18, 2021 prOgram nOteS

the opening and secondary themes arrives as expected and after a brief, brooding section, which calls to mind an impressionistic painting of gauzy outlines and ambiguous forms, the music rouses our reverie with a tumultuous and heroic coda.

The second movement is far removed from the spirited end of the first movement, as its minor key and slow moving melody relay a somber heaviness and nostalgia. Here, the writing is thick and full of darker shadings and yet, there are moments where light is sprinkled in. The melody appears three times: at the end beginning in a plaintive state, in the middle where it is much stronger and declamatory, and at the end where it is similarly strong but now with less chiaroscuro effect as the movement ends at peace with its shadowy nature.

The third movement is everything that the second movement is not: swift of foot, airy in texture, and full of light. The horn writing is athletic and whimsical, and the interplay with the piano makes for an energetic dialogue throughout. In the final bars, there is an abrupt change of direction as the music bursts forward and catapults to an agitated yet satisfying conclusion.

Reinhold Gliére (1875-1956) Intermezzo, Op. 35, No. 11 (1908)Duration: 3 minutesHorn players owe Gliére a true debt of gratitude for enriching their repertoire, not only with one of the great concertos of the 20th century, but also with the short works contained in the Op. 35 set.

The Russian and later Soviet composer was considered one of the “last representatives of the pre-revolutionary national Russian School.” His teacher’s teacher was Rimsky-Korsakov and Gliére seemingly inherited a similar compositional style which was highly tonal, resplendently colorful, and pervasive in the use of folk tunes. This Intermezzo is one of 11 short works for solo instrument and piano, two of which were originally composed for horn. In this piece, the primary motif of a rising interval with a subsequent falling triplet is used throughout and firmly etches a tension and release arc that brings to mind a bygone romantic era. The lyricism of Gliére’s writing is on full display and the horn acts as a seductive protagonist enticing the listener with rhapsodic intervallic leaps and velvety phrases.


Paul Basler (b. 1963) Serenade for Horn and Piano (1997)Duration: 8 minutesIt is always a treat to play horn music that is written by horn players. The attention to the smallest detail, the knowledge of how and when to exploit the most sonorous tones, the ability to craft phrases that coincide with natural breathing, and the understanding that limitations of technique and expression can be overcome with both risk and mindfulness, are all aspects that are expertly handled by someone intimately acquainted with the instrument.

I first came upon the music of Paul Basler, who is a horn performer and professor of horn and composition at University of Florida at Gainesville, when a local church’s music director asked if I could play with their choir on his Songs of Praise, which are psalm settings for horn, choir, and piano. I was immediately struck by this ostensibly “easy on the ears music,” which put the horn player in a role oftentimes used in movie music: to convey strength, beauty, and awe. In this Serenade, written for and dedicated to performer and professor of horn at Virginia Commonwealth University Patrick Smith, Basler writes:

This is a work about flight, travel, motion, new opportunities; closing chapters and opening new doors, defining the moment at which it was written. While the surface appears light and breezy (and it is to a certain extent), the piece contains deep spiritual and personal messages – of completion and anticipation.

Wolfgang Amadeus Mozart (1756-1791)Horn Quintet in E-flat Major, KV 407 (1781)Duration: 16 minutesWhen planning this recital, I knew that the capstone piece would ultimately be this Quintet. It is a work I’ve partially played many times with a school outreach ensemble (mvt. 3), but only once before as a complete work. The Quintet serves as our horn “feature,” and I tell the students who are listening that the work is unique for its instrumentation and is akin to a horn concerto. For those lucky enough to not yet listen to Mozart’s four horn concertos, they are for horn players, and here I will quote 70’s music R&B icon Barry White, “our first, our last, our everything.” Indeed, when auditioning for a symphony orchestra, most audition committees first listen to the candidates required Mozart concerto. This is also true for auditioning woodwind instruments and their respective Mozart concertos. The reason is obvious but difficult to describe. All the essentials are there,


begging to be realized: exquisite phrases, masterful changes in mood, beautiful melodies, silliness, sarcasm, vulgarity, reason, order, heroism, etc. It is not only the synthesis of all these factors, but also a host of other considerations, such as being able to sculpt and sing through to the ends of notes, connecting sound and silence, and delving into the myriad characters within the phrases that bring about the ethereal magic of his music.

In this Quintet, scored unusually with two violas rather than two violins, Mozart tantalizes the listener at every turn. In the first movement, the brilliant dialogue between the strings and the horn is laid out; the mood is full of mirth as the strings continuously interject their commentary within the wake of the sinuous horn The writing for the horn is full of deft flourishes which give the movement a wonderful feeling of continuous motion. Elegance always prevails in that if an impassioned fire is stoked within the character of the music, it is gracefully extinguished by a natural succumbing to lightheartedness.

With the second movement, Mozart gives us a simple yet beautiful opening phrase section played by the strings which is then taken up by the horn. The brushstrokes that Mozart paints with are full of color and delicacy. Again as in the first movement, the motion is continuous but never grows impatient. Rather, the mood is relaxed and uncomplicated. Most of the figures that the horn plays are legato or connected allowing the horn player to indulge in some glorious phrase crafting.

The final movement of this work is a tour de force of virtuosity for the horn, with nimble upon nimble passages that cascade up and down the horn’s entire register. Here, the Rondo theme gets thrown around almost casually and with unmistakable coordination by Mozart’s gifted writing. Near the end, each instrument takes its turn stating the theme in quick succession, with the horn having the final say.

Not much is known about this work, as it has a rather confused and contradictory history, but one thing is for certain, the horn player that Mozart wrote it for, in this case Joseph Leutgeb, who was also the recipient of Mozart’s concertos, was a master player. We are all fortunate that Mozart entrusted someone with this monumental creation that has been passed onto successive generations of musicians, and has become one of the greatest works in the horn literature.

Notes by Oto Carrillo


tiCketS and PatrOn ServiCeS

We hope you enjoy each and every concert experience you attend at the Holtschneider Performance Center (HPC). We encourage you to share your experiences when visiting our concert and recital halls. It’s our pleasure to answer any questions or concerns you may have when visiting or planning your visit. Please don’t hesitate to contact us with any questions or concerns:

HPC Box Office Information2330 North Halsted Street | Tuesday-Saturday | 10 AM–3 PM*

773-325-5200 | [email protected]*Seasonal hours apply, but we are always open 90 minutes prior to concert start times. Accessibility: HPC is dedicated to providing access for all patrons. We ask that you please contact the HPC Box Office at least two weeks prior to your performance date to request accessibility services.

Cameras and Recorders: The taking of photographs or the recording of concerts held at HPC is strictly prohibited. By attending this concert, you consent to be photographed, filmed and/or otherwise recorded. Your entry constitutes your consent to such and to any use, in any and all media throughout the universe in perpetuity, of your appearance, voice and name for any purpose whatsoever in connection with HPC and DePaul University School of Music.

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Late Seating: Late seating breaks usually occur after the first piece on the program or at intermission in order to minimize disturbances to other audience members and those performing on stage. Late patrons will be seated at appropriate breaks at the discretion of the house management staff.

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DePaul University School of MusicAdvisory Board

EXECUTIVE COMMITTEERich Daniels

Shelley MacArthur FarleyMary Patricia Gannon

Sasha GerritsonColleen Ward Mayes

Mark Mroz

MEMBERSCraig Anderson

Janai Brugger-OrmanSamantha Denny Cohen

Robert D’AddarioOrbert Davis

Frank DeVincentisGraham V. Fuguitt

David HarpestDr. Geoffrey A. Hirt

Cary M. JacobsCarlotta LucchesiMary K. Marshall

Deane MyersJames Shaddle

Elizabeth K. WareCathy C. Williams

Rich Daniels, ChairMark T. Mroz, Co-Chair

DePaul University School of MusicEmeritus Board

Russell BachPatricia EwersVictor Faraci

Scott GolinkinSidney Kleinman

Jacqueline KrumpSamuel MagadFlorence Miller

Anthony PelusoNancy Petrillo

GALA COMMITTEECarlotta Lucchesi, Co-Chair

Mark T. Mroz, Co-ChairSamantha Denny Cohen

Robert D’AddarioGraham V. FuguittDr. Geoffrey A. Hirt

ALUMNI ENGAGEMENT COMMITTEEDavid Harpest, Co-Chair

Cary M. Jacobs, Co-ChairJanai Brugger-Orman

Mary K. MarshallElizabeth K. Ware

Mary Arendt, Staff Liaison

Ed WardMimi Wish

William Young


annual Spring gala

PLEASE SAVE THE DATE FOR THE

DePaul University School of Music

Annual Spring GalaTHE EVENING OF

Saturday, May 21, 2022

FEATURING

DePaul Symphony Orchestra, Cliff Colnot, Conductor DePaul Jazz Workshop, Dana Hall, Director

AND THE PRESENTATION OF THE

2022 DePaul Pro Musica Award to Mary Patricia Gannon

Join us for this festive evening – the School’s only fundraiser – celebrating the talents of our students and our 2022 Pro Musica Awardee. We look forward to welcoming you to this celebratory evening with all of the proceeds benefitting the students of the DePaul University School of Music.

For more information about the evening, please contact: [email protected]

You can make a difference by providing critical scholarship funding and other opportunities to the next generation of musicians. Make a gift

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years to come.

Visit give.depaul.edu/music today.

For more information, please contact:Bill Lynerd, Senior Director of Development

DePaul University School of [email protected]

(312) 362-5383

uPCOminG eventS dePaul univerSitY SChOOl Of muSiC

Ronald Caltabiano, DMA, Dean


enSembleS in reSidenCe

October 1 • 7:15 p.m.Gannon Concert HallEnsemble Dal Niente with Ensemble 20+*Performance is part of the Ear Taxi Festival

October 17 • 3:00 p.m.Allen Recital HallChamber Music Chicago

Holtschneider Performance Center 2330 North Halsted Street • Chicago

Gannon Concert Hall, Allen Recital Hall, Brennan Recital Hall • HPC First Floor

Dempsey Corboy Jazz Hall • HPC Second Floor

Sasha and Eugene Jarvis Opera Hall800 West Belden Avenue • Chicago

music.depaul.edu • 773.325.5200

For ticketing information and a complete list of concerts visit: go.depaul.edu/musicevents

hpC Chamber SerieS

February 25 • 8:00 p.m.Gannon Concert HallEmerson String Quartet

May 7 • 8:00 p.m.Gannon Concert HallImani Winds

SChOOl Of muSiC

October 1 • 3:00 p.m.Gannon Concert HallDePaul Wind Ensemble*Performance is part of the Ear Taxi Festival

October 5 • 7:00 p.m.Dempsey Corboy Jazz HallDePaul Jazz Workshop

October 7 • 8:00 p.m.Gannon Concert HallDePaul Symphony Orchestra

faCulty artiSt SerieS

November 5 • 7:00 p.m.Allen Recital HallAnn Marie Brink, viola

November 13 • 3:00 p.m.Allen Recital HallStephen Balderston, cello

February 12 • 7:00 p.m.Allen Recital HallJanet Sung, violin

804 West Belden AvenueChicago, IL 60614

773.325.7260music.depaul.edu

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OtO CarrillO hOrn - music.depaul.edu