Lawrence University Symphony Orchestra

Special Thanks to the Lawrence University Conservatory Instrumental Artist Faculty

Samantha George, violin Wen-Lei Gu, violin Lawrence University Matthew Michelic, viola Janet Anthony, cello Mark Urness, string bass Erin Lesser, flute Symphony Orchestra Suzanne Jordheim, flute Howard Niblock, oboe David Bell, clarinet Steve Jordheim, saxophone Octavio Más-Arocas, Music Director/Conductor Jesse Dochnahl, saxophone James DeCorsey, horn Carl Rath, bassoon Jeffrey Stannard, trumpet John Daniel, trumpet Kate Hardt, trombone Nick Keelan, trombone Marty Erickson, tuba Dane Richeson, percussion Kathrine Handford, organ Guest Artist: Ian Koziara, tenor (co-winner of the 2012-13 Catherine Kautsky, piano Anthony Padilla, piano Michael Mizrahi, piano LSO Concerto Competition)

Upcoming Performances:

Thursday, May 30, 2013 Lawrence Symphony Orchestra Composer Forum 7:30 P.M. Lawrence Memorial Chapel

Saturday, May 25, 2013 8:00 p.m. Lawrence Memorial Chapel

“This concert is supported, in part, by The Avenue 91.1.”

As a courtesy to the artists and to those in attendance, please be aware that sounds such as whispering and the rustling of programs and cellophane wrappers are magnified in the hall. Please turn off all watch alarms, pagers, and cellular telephones. And please no flash photography. Fanfare Matt Gunby, LU ’14 LSO Stage Crew Team: World Premiere, LSO Fanfare Project (b. 1990) Harrison Keeshin, coordinator Bridget Schumann Sieben frühe Lieder (Seven Early Songs) Alban Berg Zack Suechting Nacht (Night) (1885-1935) Schilflied (Song of the reeds) Die Nachtigall (The nightingale) LSO Librarians: Traumgekrönt (Crowned in a dream) Im Zimmer (In the chamber) Ruby Brallier Liebesode (Ode to Love) Trevor Litsey Sommertage (Summer days) Gabrielle Rakidzich Kajsa Schneider, coordinator Ian Koziara, tenor (co-winner of the 2012-13 LSO Concerto Competition) LSO Advisory Committee:

Introduction to G. Mahler’s Symphony by Aric Lee, LU ’14 Ruby Brailler Heather Gandre Elizabeth Knutowski Symphony No. 1 in D Major (“Titan”) Gustav Mahler Morgen Moraine Langsam. Schleppend (1860-1911) Greg Riss Kräftig bewegt, doch nicht zu schnell Helen Rowe Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

Flute Horn Tuba Ian Koziara

Mahler Mahler Alex Norris Ian Koziara hails from Itasca, Illinois, and is pursuing a double major in Leo Sussman Zach Aniel Choral/General Music Education and Vocal Performance, studying under Hallie Houser Taylor Scott Teresa Seidl. Previously, he studied for two and a half years with Steven Sam Golter Elizabeth Schmidt Percussion Paul Spears. Other major musical mentors of Ian’s include Stephen Sieck, Caitlynn Winkler Valerie Miller Phillip Swan, Bonnie Koestner, and Emily Ellsworth. Having performed Berg Heath Ugoretz Greg Riss on four continents, Ian most recently attended La Musica Lirica’s Opera Sam Golter Dakota Williams Eli Edelman Program in Novafeltria, Italy. He has performed in masterclasses for Caitlynn Winkler Rachelle Huffman Claire Fassnacht conductors such as Stewart Robertson and Joe Rescigno, as well as for Nicoletta Pignatello, asst. Justin Gingrich singers and coaches whilst at Lawrence. Interested equally in the academic Berg Alec Robinov side of music, Ian has excelled in the classroom at Lawrence, earning the Oboe Taylor Scott Dan Reifsteck Pi Kappa Lambda Prize for the highest Conservatory GPA in 2011. He Valerie Miller has also placed three times at the Annual Wisconsin NATS auditions. Mahler Dakota Williams Ian aspires for a career in either performance or education, and plans on Allison Shinnick Rachelle Huffman Harp applying to graduate schools in performance next year. Maia Perez Alica Tape Leila Ramagopal Pertl < Stephen Weikel Trumpet Berg Alica Tape Mahler Celesta Stephen Weikel Morgen Moraine Becca Shuman Daniel Kuzuhara Marshall Yoes Clarinet Henry Gergen Stephanie Sundberg Mahler Berg Val Neff Stephanie Sundberg Heather Gandre Dylan Younger Linnea Garcia Trombone Berg Heather Gandre Mahler Linnea Garcia Tristan Barron Nathaniel Miller Justin Coyne Elena Grijalva, bass John Morrow Bassoon Berg Shauna McFaul Thomas Malm Elena Grijalva Jacob Fernandez Ryan Kessler, contra Program Notes Lawrence Symphony Orchestra The LSO personnel does rotate throughout the season Symphony No. 1 in D Major, “Titan” notes by Octavio Más-Arocas Katherine Kilburn, rehearsal conductor

“A symphony must be like the world. It must contain everything.” Violin I Viola Gustav Mahler Helen Rowe, concertmaster < Abigail Wagner, principal < Gustav Mahler was one of the leading conductors of his generation. He Sofie Yang, assistant concertmaster < Berrit Goodman, assistant principal < held important conducting positions in opera houses in Europe where he Abbey Roemer < Elizabeth Knutowski < was the director of the Vienna Court Opera (Hofoper) and in the USA Josie Moe < Mya Hunt < where he held conductorship positions with the Metropolitan Opera Bailey Poesnecker and the New York Philharmonic. Mahler converted to Catholicism from Edward Li < Kajsa Schneider < Elizabeth Myhre < Judaism to secure his conducting career and experienced regular opposition Corby Johnson < and hostility from the anti-Semitic press. Nonetheless, his insistence on the Martha McDonnell < Marisa Sheppard < Elizabeth Vaughan highest performance standards and his innovative productions guaranteed Nicolas Bizub < him a position as one of the greatest conductors of his time. Graycen Gardner Olivia Legan < Kate Mueller Kyle Stalsberg < Mahler considered himself a part-time composer and he completed most Hallie Hillemann < of his works during his summer vacations. While he was mostly an opera Laura Deneckere Tyler Kundinger conductor he never composed an opera and he devoted most of his work Anastasia A. Skliarova to the art of composing symphonies and songs. Gustav Mahler is now Amelia Bemis considered one of the most important composers of all time whose work Cello is frequently performed. Nevertheless, during the composer’s lifetime his music was often considered controversial, was criticized, and even Violin II Ruby Brallier, principal < neglected. However, after 1945 his music was rediscovered and championed Calvin Armstrong, assistant principal < by a new generation of musicians and conductors who saw Mahler as the Francie Weberpal, principal < Aric Lee < innovative composer he was. Eventually, Gustav Mahler became one of the Mary Kate Smith, assistant principal Genevieve Schooler < most frequently performed and recorded of all composers. Isabel Dammann < Mariantonia Longhi < Andrea Johnson < Jacob Bedroske Gustav Mahler conducted the premiere of his first symphony in Budapest Rachel Lindley < Cameron Murdock on November 20, 1889. The work was first presented as a Symphonic Poem Bandin Kreuder < John Kasper < in Two Parts. Initially, this symphonic poem consisted of five movements Gabrielle Rakidzich < Sarah Coffman of which Mahler eventually dropped the second. Although this second Marina Gittins < Miles Link movement has been included in some recent performances of the piece, the Sarah Wagner < Grant Forsythe symphony is more often performed in its four-movement version, as you will hear it tonight. The premiere of the piece was by no means a success; Sylvia Middleton Susan Lee < people in the audience booed after the performance and critics discouraged Bass Mahler’s attempts at composing. Hannah Geniesse < Sarah Golden Annabelle Tsai Zack Suechting, principal < Of the five movements of this Symphonic Poem, the one that disrupted Harrison Keeshin, assistant principal < the audience the most in that first performance was the fourth, the third Ryan Hays < movement in the final version. In this movement, not only did Mahler transform the innocent and joyful children’s song Frère Jacques into a Curran Carlile funeral march but also he gave the first strains of the melody to the string Nicholas Allen < bass, bassoon, tuba, and bass clarinet while the timpani plays a dark Charlie Hornbogen ostinato. Although the string bass and the tuba can produce exceptionally < Denotes Berg Maximilian Simmons Liebesode Ode to Love beautiful sounds, we probably wouldn’t associate those instruments Otto Erich Hartleben (1864-1905) with this typically cheerful tune. Moreover, the composer interlaced this dark version of this otherwise happy song with sardonic tunes played by Im Arm der Liebe schliefen wir selig ein, In the arms of love we fell blissfully bohemian bands. During the premier of the piece, the audience found asleep; Mahler’s burlesque reflection somewhat sordid and even offensive. Am offnen Fenster lauschte der at the open window the summer wind Sommerwind, listened Mahler presented his first symphony in four movements four years after Und unsrer Atemzüge Frieden trug er and carried the peacefulness of our this unsuccessful event. He named the symphony Titan after the novel breath by Jean Paul and gave descriptive titles to each movement hoping that hinaus in die helle Mondnacht. out into the bright, moonlit night. the work would be understood. The symphony was structured in two Und aus dem Garten tastete zagend sich And out of the garden, feeling its way parts: the first part with the title From the Days of Youth consisting of three randomly, ein Rosenduft an unserer Liebe Bett the scent of roses came to our bed of love movements: Spring without End, Blumine, and Under Full Sail. The second Und gab uns wundervolle Träume, and gave us wonderful dreams, part was entitled Commedia humana and consisted of two movements: Träume des Rausches, so reich an dreams of intoxication, rich with Funeral March after the Manner of Callot, and D’all Inferno al Paradiso. Even Sehnsucht. yearning. with this programmatic approach Mahler's first symphony was still not understood. Critics either complained about the program or the lack of it. No other work gave the composer so much trouble as his first symphony; Sommertage Summer days he was constantly revising the work. By 1894 Mahler abandoned the use Paul Hohenberg (1885-1956) of titles and simply called the work Symphony in D Major (No. 1), and in 1896 the Blumine movement was permanently discarded, organizing the Nun ziehen Tage über die Welt, Now the days drag through the world, symphony in its current four movements. Gesandt aus blauer Ewigkeit, sent forth from blue eternity; Im Sommerwind verweht die Zeit. time dissipates in the summer wind. The first movement begins "like a sound of nature," with fanfares and Nun windet nächtens der Herr Now at night the Lord weaves birdcalls sounding from the distance. A cuckoo eventually extends the Sternenkränze mit seliger Hand with blessed hand wreaths of stars sounds of nature into a lovely, rolling melody. This tune comes from the Über Wander- und Wunderland. above the wandering wonderland. second song from Mahler’s Songs of a Wayfarer entitled Ging heut' Morgen O Herz, was kann in diesen Tagen In these days, o my heart, what can über’s Feld (I went through the fields this morning). Mahler reinvents Dein hellstes Wanderlied denn sagen your brightest wanderer's song then say the song as he goes, reshuffling phrases and motives so that the music Von deiner tiefen, tiefen Lust: about your deep, deep pleasure? continually sounds fresh. Im Wiesensang verstummt die Brust, In meadowsong the heart falls silent; Nun schweigt das Wort, wo Bild um Bild now there are no words, and image upon The second movement is a brief scherzo; a foot-stomping dance extracted image from Mahler’s song Hans und Grete. In the middle of this tumultuous and Zu dir zieht und dich ganz erfüllt. visits you and fills you entirely. joyful dance there is a gracious trio that would be the delight of any café audience. Then the vigorous ländler resumes with even more impetus.

The funeral-march version of Frère Jacques takes place in the third

movement as explained above. The sardonic march is overstated with dance-band music representative of Gypsy festivities.

The finale is a stormy battle that eventually ends with resonant triumph. Mahler retreats from battle several times before the conclusion to offer beautiful, delicate and very passionate breaths before the final culmination.

Gustav Mahler’s inspiring symphony is considered a monumental work of music and is one of the most successful and original first symphonies of all time, a true expression of an entire musical world. Texts and Translations Die Nachtigall The Nightingale Theodor Storm (1817-1888) Sieben frühe Lieder (Seven Early Songs) Das macht, es hat die Nachtigall It happened because the nightingale Nacht Night Die ganze Nacht gesungen; sang the whole night long; Ferdinand Max Hauptmann (1858-1921) Da sind von ihrem süßen Schall, from her sweet call, Da sind in Hall und Widerhall from the echo and re-echo, Dämmern Wolken über Nacht und Tal, The clouds embrown the night and Die Rosen aufgesprungen. roses have sprung up. valley; Sie war doch sonst ein wildes Blut, She was but recently a wild blossom, Nebel schweben, Wasser rauschen sacht. the mists float above, the water rushing Nun geht sie tief in Sinnen, and now she walks, deep in thought; gently. Trägt in der Hand den Sommerhut she carries her summer hat in her hand, Nun entschleiert sich's mit einemmal: Now all at once they unveil themselves: Und duldet still der Sonne Glut enduring quietly the heat of the sun, O gib Acht! Gib Acht! o listen! pay heed! Und weiß nicht, was beginnen. knowing not what to begin. Weites Wunderland ist aufgetan. A broad land of wonder has opened up. Silbern ragen Berge, traumhaft groß, Silver mountains rise up, fantastically huge, Traumgekrönt Crowned in a dream Stille Pfade silberlicht talen silent paths lit with silver Rainer Maria Rilke (1875-1926) Aus verborg'nem Schoß; from the hidden lap of the valley; Und die hehre Welt so traumhaft rein. and the noble world is so dreamily pure. Das war der Tag der weißen That was the day of the white Stummer Buchenbaum am Wege steht A mute beech stands by the path, Chrysanthemem, chrysanthemums, Schattenschwarz, ein Hauch vom fernen black with shadows; a breeze from a Mir bangte fast vor seiner Pracht... I was almost intimidated by its glory... Hain distant, Und dann, dann kamst du mir die And then, then you came to take my soul Einsam leise weht. lonely grove wafts gently by. Seele nehmen Und aus tiefen Grundes Düsterheit And from the deep darkness of the valley Tief in der Nacht. deep in the night. Blinken Lichter auf in stummer Nacht. flash lights in the silent night. Mir war so bang, und du kamst I was so worried, and you came so Trinke Seele! Trinke Einsamkeit! Drink, my soul! Drink in this solitude! lieb und leise, lovingly and quietly, O gib Acht! Gib Acht! O listen! pay heed! Ich hatte grad im Traum an dich I had just thought of you in a dream. gedacht. Du kamst, und leis' wie eine You came, and softly the night resounded Schilflied Song of the Reeds Märchenweise Nikolaus Lenau (1802-1850) Erklang die Nacht. like a fairy tale song.

Auf geheimem Waldespfade Along a secret forest path Schleich’ ich gern im Abendschein I like to creep in the evening light; Im Zimmer In the chamber An das öde Schilfgestade, I go to the desolate, reedy banks, Johannes Schlaf (1862-1941) Mädchen, und gedenke dein! and think, my maiden, of you! Wenn sich dann der Busch verdüstert, As the bushes grow dark, Herbstsonnenschein. Autumn sunlight. Rauscht das Rohr geheimnisvoll, the reeds hiss mysteriously, Der liebe Abend blickt so still herein. The lovely evening peers so quietly in. Und es klaget und es flüstert, and lament and whisper, Ein Feuerlein rot A little red fire Daß ich weinen, weinen soll. and thus I have to weep and weep. Knistert im Ofenloch und loht. crackles in the stove and flares up. Und ich mein’, ich höre wehen And I think that I hear wafting So, mein Kopf auf deinen Knie'n, And with my head upon your knee, Leise deiner Stimme Klang, the gentle sound of your voice, So ist mir gut. I am contented. Und im Weiher untergehen and down into the pond sinks Wenn mein Auge so in deinem ruht, When my eyes rest in yours, Deinen lieblichen Gesang. your lovely song. Wie leise die Minuten zieh'n how gently do the minutes pass! Texts and Translations Die Nachtigall The Nightingale Theodor Storm (1817-1888) Sieben frühe Lieder (Seven Early Songs) Das macht, es hat die Nachtigall It happened because the nightingale Nacht Night Die ganze Nacht gesungen; sang the whole night long; Ferdinand Max Hauptmann (1858-1921) Da sind von ihrem süßen Schall, from her sweet call, Da sind in Hall und Widerhall from the echo and re-echo, Dämmern Wolken über Nacht und Tal, The clouds embrown the night and Die Rosen aufgesprungen. roses have sprung up. valley; Sie war doch sonst ein wildes Blut, She was but recently a wild blossom, Nebel schweben, Wasser rauschen sacht. the mists float above, the water rushing Nun geht sie tief in Sinnen, and now she walks, deep in thought; gently. Trägt in der Hand den Sommerhut she carries her summer hat in her hand, Nun entschleiert sich's mit einemmal: Now all at once they unveil themselves: Und duldet still der Sonne Glut enduring quietly the heat of the sun, O gib Acht! Gib Acht! o listen! pay heed! Und weiß nicht, was beginnen. knowing not what to begin. Weites Wunderland ist aufgetan. A broad land of wonder has opened up. Silbern ragen Berge, traumhaft groß, Silver mountains rise up, fantastically huge, Traumgekrönt Crowned in a dream Stille Pfade silberlicht talen silent paths lit with silver Rainer Maria Rilke (1875-1926) Aus verborg'nem Schoß; from the hidden lap of the valley; Und die hehre Welt so traumhaft rein. and the noble world is so dreamily pure. Das war der Tag der weißen That was the day of the white Stummer Buchenbaum am Wege steht A mute beech stands by the path, Chrysanthemem, chrysanthemums, Schattenschwarz, ein Hauch vom fernen black with shadows; a breeze from a Mir bangte fast vor seiner Pracht... I was almost intimidated by its glory... Hain distant, Und dann, dann kamst du mir die And then, then you came to take my soul Einsam leise weht. lonely grove wafts gently by. Seele nehmen Und aus tiefen Grundes Düsterheit And from the deep darkness of the valley Tief in der Nacht. deep in the night. Blinken Lichter auf in stummer Nacht. flash lights in the silent night. Mir war so bang, und du kamst I was so worried, and you came so Trinke Seele! Trinke Einsamkeit! Drink, my soul! Drink in this solitude! lieb und leise, lovingly and quietly, O gib Acht! Gib Acht! O listen! pay heed! Ich hatte grad im Traum an dich I had just thought of you in a dream. gedacht. Du kamst, und leis' wie eine You came, and softly the night resounded Schilflied Song of the Reeds Märchenweise Nikolaus Lenau (1802-1850) Erklang die Nacht. like a fairy tale song.

Auf geheimem Waldespfade Along a secret forest path Schleich’ ich gern im Abendschein I like to creep in the evening light; Im Zimmer In the chamber An das öde Schilfgestade, I go to the desolate, reedy banks, Johannes Schlaf (1862-1941) Mädchen, und gedenke dein! and think, my maiden, of you! Wenn sich dann der Busch verdüstert, As the bushes grow dark, Herbstsonnenschein. Autumn sunlight. Rauscht das Rohr geheimnisvoll, the reeds hiss mysteriously, Der liebe Abend blickt so still herein. The lovely evening peers so quietly in. Und es klaget und es flüstert, and lament and whisper, Ein Feuerlein rot A little red fire Daß ich weinen, weinen soll. and thus I have to weep and weep. Knistert im Ofenloch und loht. crackles in the stove and flares up. Und ich mein’, ich höre wehen And I think that I hear wafting So, mein Kopf auf deinen Knie'n, And with my head upon your knee, Leise deiner Stimme Klang, the gentle sound of your voice, So ist mir gut. I am contented. Und im Weiher untergehen and down into the pond sinks Wenn mein Auge so in deinem ruht, When my eyes rest in yours, Deinen lieblichen Gesang. your lovely song. Wie leise die Minuten zieh'n how gently do the minutes pass! Liebesode Ode to Love beautiful sounds, we probably wouldn’t associate those instruments Otto Erich Hartleben (1864-1905) with this typically cheerful tune. Moreover, the composer interlaced this dark version of this otherwise happy song with sardonic tunes played by Im Arm der Liebe schliefen wir selig ein, In the arms of love we fell blissfully bohemian bands. During the premier of the piece, the audience found asleep; Mahler’s burlesque reflection somewhat sordid and even offensive. Am offnen Fenster lauschte der at the open window the summer wind Sommerwind, listened Mahler presented his first symphony in four movements four years after Und unsrer Atemzüge Frieden trug er and carried the peacefulness of our this unsuccessful event. He named the symphony Titan after the novel breath by Jean Paul and gave descriptive titles to each movement hoping that hinaus in die helle Mondnacht. out into the bright, moonlit night. the work would be understood. The symphony was structured in two Und aus dem Garten tastete zagend sich And out of the garden, feeling its way parts: the first part with the title From the Days of Youth consisting of three randomly, ein Rosenduft an unserer Liebe Bett the scent of roses came to our bed of love movements: Spring without End, Blumine, and Under Full Sail. The second Und gab uns wundervolle Träume, and gave us wonderful dreams, part was entitled Commedia humana and consisted of two movements: Träume des Rausches, so reich an dreams of intoxication, rich with Funeral March after the Manner of Callot, and D’all Inferno al Paradiso. Even Sehnsucht. yearning. with this programmatic approach Mahler's first symphony was still not understood. Critics either complained about the program or the lack of it. No other work gave the composer so much trouble as his first symphony; Sommertage Summer days he was constantly revising the work. By 1894 Mahler abandoned the use Paul Hohenberg (1885-1956) of titles and simply called the work Symphony in D Major (No. 1), and in 1896 the Blumine movement was permanently discarded, organizing the Nun ziehen Tage über die Welt, Now the days drag through the world, symphony in its current four movements. Gesandt aus blauer Ewigkeit, sent forth from blue eternity; Im Sommerwind verweht die Zeit. time dissipates in the summer wind. The first movement begins "like a sound of nature," with fanfares and Nun windet nächtens der Herr Now at night the Lord weaves birdcalls sounding from the distance. A cuckoo eventually extends the Sternenkränze mit seliger Hand with blessed hand wreaths of stars sounds of nature into a lovely, rolling melody. This tune comes from the Über Wander- und Wunderland. above the wandering wonderland. second song from Mahler’s Songs of a Wayfarer entitled Ging heut' Morgen O Herz, was kann in diesen Tagen In these days, o my heart, what can über’s Feld (I went through the fields this morning). Mahler reinvents Dein hellstes Wanderlied denn sagen your brightest wanderer's song then say the song as he goes, reshuffling phrases and motives so that the music Von deiner tiefen, tiefen Lust: about your deep, deep pleasure? continually sounds fresh. Im Wiesensang verstummt die Brust, In meadowsong the heart falls silent; Nun schweigt das Wort, wo Bild um Bild now there are no words, and image upon The second movement is a brief scherzo; a foot-stomping dance extracted image from Mahler’s song Hans und Grete. In the middle of this tumultuous and Zu dir zieht und dich ganz erfüllt. visits you and fills you entirely. joyful dance there is a gracious trio that would be the delight of any café audience. Then the vigorous ländler resumes with even more impetus.

The funeral-march version of Frère Jacques takes place in the third

movement as explained above. The sardonic march is overstated with dance-band music representative of Gypsy festivities.

Gustav Mahler’s inspiring symphony is considered a monumental work of music and is one of the most successful and original first symphonies of all time, a true expression of an entire musical world. Program Notes Lawrence Symphony Orchestra The LSO personnel does rotate throughout the season Symphony No. 1 in D Major, “Titan” notes by Octavio Más-Arocas Katherine Kilburn, rehearsal conductor

Mahler Mahler Alex Norris Ian Koziara hails from Itasca, Illinois, and is pursuing a double major in Leo Sussman Zach Aniel Choral/General Music Education and Vocal Performance, studying under Hallie Houser Taylor Scott Teresa Seidl. Previously, he studied for two and a half years with Steven Sam Golter Elizabeth Schmidt Percussion Paul Spears. Other major musical mentors of Ian’s include Stephen Sieck, Caitlynn Winkler Valerie Miller Phillip Swan, Bonnie Koestner, and Emily Ellsworth. Having performed Berg Heath Ugoretz Greg Riss on four continents, Ian most recently attended La Musica Lirica’s Opera Sam Golter Dakota Williams Eli Edelman Program in Novafeltria, Italy. He has performed in masterclasses for Caitlynn Winkler Rachelle Huffman Claire Fassnacht conductors such as Stewart Robertson and Joe Rescigno, as well as for Nicoletta Pignatello, asst. Justin Gingrich singers and coaches whilst at Lawrence. Interested equally in the academic Berg Alec Robinov side of music, Ian has excelled in the classroom at Lawrence, earning the Oboe Taylor Scott Dan Reifsteck Pi Kappa Lambda Prize for the highest Conservatory GPA in 2011. He Valerie Miller has also placed three times at the Annual Wisconsin NATS auditions. Mahler Dakota Williams Ian aspires for a career in either performance or education, and plans on Allison Shinnick Rachelle Huffman Harp applying to graduate schools in performance next year. Maia Perez Alica Tape Leila Ramagopal Pertl < Stephen Weikel Trumpet Berg Alica Tape Mahler Celesta Stephen Weikel Morgen Moraine Becca Shuman Daniel Kuzuhara Marshall Yoes Clarinet Henry Gergen Stephanie Sundberg Mahler Berg Val Neff Stephanie Sundberg Heather Gandre Dylan Younger Linnea Garcia Trombone Berg Heather Gandre Mahler Linnea Garcia Tristan Barron Nathaniel Miller Justin Coyne Elena Grijalva, bass John Morrow Bassoon Berg Shauna McFaul Thomas Malm Elena Grijalva Jacob Fernandez Ryan Kessler, contra Fanfare Matt Gunby, LU ’14 LSO Stage Crew Team: World Premiere, LSO Fanfare Project (b. 1990) Harrison Keeshin, coordinator Bridget Schumann Sieben frühe Lieder (Seven Early Songs) Alban Berg Zack Suechting Nacht (Night) (1885-1935) Schilflied (Song of the reeds) Die Nachtigall (The nightingale) LSO Librarians: Traumgekrönt (Crowned in a dream) Im Zimmer (In the chamber) Ruby Brallier Liebesode (Ode to Love) Trevor Litsey Sommertage (Summer days) Gabrielle Rakidzich Kajsa Schneider, coordinator Ian Koziara, tenor (co-winner of the 2012-13 LSO Concerto Competition) LSO Advisory Committee:

Special Thanks to the Lawrence University Conservatory Instrumental Artist Faculty

Upcoming Performances:

Thursday, May 30, 2013 Lawrence Symphony Orchestra Composer Forum 7:30 P.M. Lawrence Memorial Chapel

Saturday, May 25, 2013 8:00 p.m. Lawrence Memorial Chapel

“This concert is supported, in part, by The Avenue 91.1.”