THE UNIVERSITY OF TEXAS UNIVERSITY ORCHESTRA

Tuesday, February 27, 2018, 7:30 PM

Bates Recital Hall

This concert will last approximately two hours with one intermission

CONDUCTORS

Tamara Dworetz

Anders Grobey

PIANO

Martin Kesuma

SOPRANO

Julia Taylor

Mikhail Glinka Overture to Ruslan and Ludmilla (1842)

(1804–1857)

Dmitri Shostakovich Piano Concerto No. 2, Op. 102 (1957)

(1906–1975) Allegro

Andante

Allegro

Martin Kesuma, piano

Tamara Dworetz, conductor

Intermission

Samuel Barber Knoxville: Summer of 1915, Op. 24 (1947)

(1910–1981) Julia Taylor, soprano soloist

Antonín Dvořák The Noonday Witch, Op. 108/B. 196 (1896) (1841–1904) Anders Grobey, conductor

PROGRAM

PLEASE SILENCE YOUR ELECTRONIC DEVICES

Overture to Ruslan and LudmillaMikhail Glinka

Born: June 1, 1804, Novospasskoye, Russia

Died: February 15, 1857, Berlin, Germany

Composed: 1837-1842

Premiered: November 27, 1842, Bolshoi Kamenny Theatre, Saint Petersburg

Duration: 5 minutes

Instrumentation: two flutes, two oboes, two clarinets, two bassoons,

contrabassoon, four horns, two trumpets, three trombones, timpani, strings

Glinka’s iconic overture is one of the most prolific symphonic pieces to

foreshadow a movement in Russian classical music that would find its

full development in the music of Mussorgsky, Rimsky-Korsakov, and later,

Stravinsky’s “Russian” ballets. The music—composed at roughly the same

time such conservative works as Schumann’s first and Mendelssohn’s

third symphonies, respectively, is noticeably forward looking; harmonic

progressions derived from whole-tone scales mark a new direction in

Russian music, which had hitherto fallen more or less in lockstep with

contemporary music trends in Europe at large.

In the opera, as in later dramatic works by Wagner, Stravinsky, and

Rimsky-Korsakov, more experimental harmonies are associated with the

supernatural and with sorcery, where the calmer and purer harmonies are

associated generally with humanity and the side of good. The overture itself

is an orchestral showpiece, contrasting brilliant cascades of rapid eighth

notes with long, luscious lines from the strings. Its mastery of construction,

memorable melodies, and exciting conclusion make it a favorite selection

from the repertoire.

ABOUT THE PROGRAM

Piano Concerto No. 2Dmitri Shostakovich

Born: September 25, 1906, Saint Petersburg, Russia

Died: August 9, 1975, Moscow, Russia

Composed: 1957

Premiered: May 10, 1957, Maxim Shostakovich with the USSR State

Symphony conducted by Nikolai Anosov

Duration: approximately 23 minutes

Instrumentation: three flutes (one doubling piccolo), two oboes, two

clarinets, two bassoons, four horns, timpani, snare drum, solo piano, strings

Dmitri Shostakovich is one of a handful of essential composers from the

Soviet era, and considered by many to be most essential, possessive

of music that is at once so autobiographical while at the same time

representative of a kind of collective Russian attitude. Shostakovich also

is one of the longest-lived composers of this era, witnessing the October

Revolution at the age of only eleven; making his early living as a theatre

pianist; living through the nightmarish years of Stalin with the threat of

imprisonment, exile, or death; and moving into a decreased period of

compositional activity before his death in the 1970s. His second piano

concerto dates from a period of perhaps unprecedented freedom and joy

in Shostakovich’s music; Stalin had died some three years earlier, and it is

likely not without significance that celebratory works such as the Festive

Overture, and this concerto, date from this period, while at the same time,

Shostakovich explored compositional ideals that would likely have not been

permitted under the tyrant, such as in the Symphony No. 10. Written for

his son’s graduation from the Moscow Conservatory, the Second Concerto

is a work of light-hearted simplicity, partially informed by the exercises

pianists occasionally use for technical practice. Key areas and phrase

structures are perspicuous and well-defined; yet there is a characteristically

sarcastic “warping” of tonalities present even in this piece, a hallmark of

Shostakovich’s compositional style. The second movement is a heart-

wrenching, uncomplicated elegy. The last movement is a cheerful romp,

making partial use of a Mediterranean dance rhythm in uneven meter.

Knoxville: Summer of 1915Samuel Barber

Born: March 9, 1910, West Chester, Pennsylvania

Died: January 23, 1981, New York City

Composed: 1947

Premiered: April 9, 1948, Eleanor Steber with the Boston Symphony

conducted by Serge Koussevitzky

Duration: 15 minutes

Instrumentation: flute (doubling piccolo), oboe (doubling English horn),

clarinet, bassoon, two horns, trumpet, triangle, harp, soprano soloist, strings

Knoxville: Summer of 1915 is one of Samuel Barber’s most oft-performed

and well-beloved works. The text, excerpted from a larger work by James

Agee, is a dream-like depiction of a childhood in the American south. The

year 1915 was significant for Agee, who would have then been aged five

years. It was his last year with his family intact: the following year, he lost

his father in an automobile accident. Barber opted for a pictorial score,

setting a soprano soloist as the voice of Agee’s self as a young boy, and

attempting to encapsulate in music the wonderment young people feel over

simple things—the stars in the sky, a streetcar, the rhythm of porch swings,

and the childlike personification of personal belongings. The most intense

music occurs around the narrator’s prayer for his people. Agee’s text itself

was composed in ninety minutes as an experiment in free-form writing.

Agee referred to his process in relation to jazz and improvised creative art.

The piece begins with a solemn prayer in the woodwinds, and moves next

to a recurring “porch swing” music, before moving to the aggressive, edgy

sounds of a streetcar. Later, a simple song accompanies an evening scene

in the backyard. After a climactic prayer, the simple music of the beginning

returns as the author—a child—is put to bed.

The Noonday WitchAntonín Dvořák

Born: September 8, 1841, Nelahozeves, Czech Republic

Died: May 1, 1904, Prague, Czech Republic

Composed: 1896

Premiered: November 21, 1896, London, conducted by Henry Wood

Duration: 14 minutes

Instrumentation: two flutes, piccolo, two oboes, two clarinets, bass clarinet,

two bassoons, four horns, two trumpets, three trombones, tuba, timpani,

bass drum, triangle, cymbals, glockenspiel, strings

This late tone poem is an explicit narration in music, similar to the tone

poems of Richard Strauss, and dates from a style period in Dvořák’s output

characterized by extended harmonies and formal innovation; pieces from

this period are drastically different from more familiar works like the eighth

and ninth symphonies and the Slavonic Dances. Dvořák, who, in defiance of

common wisdom of the day, remained “Antonin” when advised to change

his name to the more Germanic (and therefore cosmopolitan) “Anton”,

remained true to his Czech roots even during his stay in America (1892-

5), and revisited them in his music upon his return to Bohemia. The Noon

Witch is a mythical folklore creature common to Slavic Europe, probably

invented to protect crops: the witch, variously a hag, beautiful woman, or

young girl, confronts field workers or children and asks them questions,

which are punished with death if left unanswered; or, in some traditions, she

is merely a personification of heatstroke. Dvořák’s account follows Erben’s

poem Polednice and is a more vivid account: a mother admonishes her son

to behave, else the Noon Witch will abduct him; he misbehaves, and the

witch, likely to the mother’s surprise, appears; the witch gives chase to the

pair, and the mother faints; and finally, the father finds the child dead in his

mother’s arms, she having smothered him while unconscious.

Paul Grobey is a candidate for the Doctor of

Musical Arts degree in orchestral conducting at the

University of Texas. Under the tutelage of Gerhardt

Zimmermann, Paul serves as music director of the

UT University Orchestra and assistant conductor to

the UT Symphony. Additionally, Paul is an assistant

conductor with the Austin Symphony Orchestra,

and serves as an associate choral conductor at

Redeemer Presbyterian Church in east Austin. Originally hailing from the

Pacific Northwest, Mr. Grobey’s musical studies began at age nine with

instruction in piano and violin. He holds degrees in violin performance and

orchestral conducting from, respectively, the University of North Texas

and Ithaca College. In addition to his continued activities as a violinist and

conductor, Paul is also a composer and student of music theory.

ABOUT THE CONDUCTORS

Tamara Dworetz is pursuing an M.M. in Orchestral

Conducting at the University of Texas at Austin. She

serves as Conductor of the UT University Orchestra

and the UT String Project’s Chamber Orchestra.

She is an Assistant Conductor for the Austin

Symphony under Peter Bay, and a Cover Conductor

for the UT Symphony Orchestra under Gerhardt

Zimmermann. In June 2016, Tamara was selected

as an apprentice conductor for the PRISMA Music Festival in British

Columbia. There, she had the opportunity to conduct the PRISMA Brass,

including musicians from the Vancouver Symphony, Victoria Symphony

and Netherlands Philharmonic. She has guest conducted the DeKalb

Symphony Orchestra, Emory Youth Symphony Orchestra and the Indiana

University Brass Choir. From 2013-2016, Tamara served as the Director

of Orchestras at Lakeside High School where she initiated Sectional

Days and a Private Lesson Program with instructors from the Atlanta

Symphony and Atlanta Opera Orchestras.

ABOUT THE SOLOISTS

Soprano Julia Taylor, has most recently performed

the role of Frasquita in Austin Opera’s Carmen and

appeared as a soloist with Austin Symphony Orchestra

in Bruckner’s Te deum. Other highlights include her

company debut as Curley’s Wife in Austin Opera’s

Of Mice and Men and a performance of Ginastera’s

String Quartet No.3 with the Miró Quartet.  Upcoming

engagements include a concert of ‘Opera’s Greatest

Hits’ with the Round Rock Symphony and soprano soloist with UT Rio

Grande Valley in Orff’s Carmina Burana. She has been recognized as “Best

Singer” by the Austin Critics’ Table Awards for the roles of Mimì in La

femme bohème with LOLA Opera and Beatrice in Jake Heggie’s Three

Decembers with the Butler Opera Center.  Past engagements include a solo

recital with the Puccini Foundation, Königin der Nacht in Die Zauberflöte

with the Butler Opera Center and soprano soloist in Handel’s Messiah with

Austin Symphony Orchestra and Chorus Austin.

Born in Indonesia, Martin Kesuma is prizewinner

in numerous competitions including the Dickinson

Piano Competition, Texas State International Piano

Festival Concerto Competition, Petroff College Piano

Competition, New York International Music Concours,

Texas State University Aria/Concerto Competition,

and the ASEAN International Concerto Competition.

Martin’s recent projects include a CD “Detours”

showcasing solo piano compositions from around the world, which will be

published by the Centaur Records later this year. Martin started his musical

studies at the age of six in Indonesia and moved to San Marcos at the age of

seventeen to study at Texas State University, where he received his Bachelor

of Music degree. He is currently pursuing his Master of Music degree at

University of Texas at Austin under the tutelage of Anton Nel.

THE UNIVERSITY OF TEXAS UNIVERSITY ORCHESTRA

VIOLIN ISarah Jiang

Concertmaster

Rebecca WangAssistant Concertmaster

Siddhartha Shetkar

Inki Lee

Saskia Gregg

Karen Yang

Becky Wang

Mia Rho

Selena Kim

Eric Sun

VIOLIN IIAlan Chen

Principal

Wilmer Rodriguez

Eric Liu

Michael Lange

Caleb Chuck

Gautam Sarathy

Kristina Rodrigues

Marie Scholch

Rachel Matthews

VIOLASMichael Langford

Principal

Hannah Warren

Katie Anderson

Brandon Falcona

Chris King

Bryan Leung

Nathan Dias

Drew Bromenshenkel

Nathan Nguyen

CELLOS

Andrew ArkhipovPrincipal

Russell Cannon

Melissa Cruz

Ashley Wang

Anmol Mathur

Parth Gupta

Shiri Spitz

Darrin Hui

Joanna Ross

Harrison Varvel

Diego Maceda

DOUBLE BASSESGriffin Glenn

Principal

Samir Epili

Xavier Saavedra

FLUTES

Jisu Jung

Abhijit Rao

Alexis Salim

PICCOLOAditi Rajgopal

OBOESPranav Subramanian

Rhiannon Pytlak

CLARINETSSofia Mock

Luis “Andy” Gonzalez

BASS CLARINETRohan Pillay

BASSOONSTiger You

Isaias Tristan

CONTRABASSOONKatia Osorio

FRENCH HORNSAlexander Dwyer

Ryan Billedo

Victor Liaw

Joseph Jackson

Raymond Lehmer

TRUMPETKevin Jacobsen

TROMBONESElizabeth Delaney

Adrian Silva

Hunter Stufflebeam

TUBAConrad Suen

TIMPANIAlex Staten

PERCUSSIONYorika Iwata

HARPKristen Posey

UPCOMING ORCHESTRA CONCERT

The University of Texas University OrchestraTuesday, February 27, 7:30 PM

Bates Recital Hall

ConductorsTamara Dworetz

Paul Grobey

Mikhail GlinkaOverture to Ruslan and Lyudmila

Dmitri ShostakovichPiano Concerto No. 2 in F major

Samuel BarberKnoxville: Summer of 1915

Antonín DvořákThe Noon Witch, Op. 108

This concert is free and open to public

UPCOMING ORCHESTRA CONCERT

The University of Texas Symphony OrchestraTuesday, April 3, 7:30 PM

Bass Concert Hall

ConductorGerhardt Zimmermann

Joined byThe University of Texas Choirs

Gustav MahlerSymphony No. 2 in C minor,

Resurrection

This concert is not available in our Subscription Package.

Tickets can be purchased at texasperformingarts.org

UPCOMING CONCERTS

THE UNIVERSITY OF TEXAS AT AUSTIN • COLLEGE OF FINE ARTS

Douglas Dempster, Dean

SARAH AND ERNEST BUTLER SCHOOL OF MUSIC

Mary Ellen Poole, Director

Tonight’s program notes written by Paul Grobey, program annotator for the Butler School

of Music.

For more information about Butler School of Music concerts and events, visit our online

calendar at music.utexas.edu/calendar.

Become a member of The Butler Society and help us successfully launch tomorrow’s

brightest performers, teachers, composers and scholars. Make a gift today at

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Shawna Pennock, saxophoneTuesday, February 27, 2018, 7:30 PM

Recital Studio, MRH 2.608

Butler Opera Center Presents

The Rape of Lucretia by Benjamin BrittenThursday, March 1, 2018, 7:30 PM

Saturday, March 3, 2018, 7:30 PM

Sunday, March 4, 2018, 4:00 PM

Performances in McCullough Theatre

Jonathan Gunn, clarinetwith Anton Nel, piano, and Bion Tsang, cello

Wednesday, March 7, 2018, 7:30 PM

Bates Recital Hall