O S David Itkin, Anshel Brusilow Professor of Orchestral Studies Seventy-second program of the 2018-2019 season. Clay Couturiaux, Assistant Director of Orchestral Studies Kit-Yu Lo, Master’s Conducting Associate/Personnel Manager Charles Andersen, Master’s Conducting Associate/Operations Manager Jack Buddenhagen, Master’s Conducting Associate/Librarian I K S Ania Bard-Schwarz, violin James Ryon, oboe Steven Menard, trombone University of North Texas Julia Bushkova, violin Daryl Coad, clarinet David Childs, euphonium Philip Lewis, violin Deb Fabian, clarinet Jeff Baker, tuba Felix Olschofka, violin Kimberly Cole Luevano, clarinet Don Little, tuba CONCERT ORCHESTRA Maria Schleuning, violin Phillip Paglialonga, clarinet Christopher Deane, percussion Susan Dubois, viola Gregory Raden, clarinet Mark Ford, percussion Daphne Gerling, viola Jorge Cruz, bassoon Paul Rennick, percussion Clay Couturiaux, conductor Eugene Osadchy, cello Kathleen Reynolds, bassoon Quincy Davis, drumset Nikola Ružević, cello Eric Nestler, saxophone Joseph Banowetz, piano Jeff rey Bradetich, double bass John Holt, trumpet Steven Harlos, piano Gudrun Raschen, double bass Caleb Hudson, trumpet Pamela Mia Paul, piano Jaymee Haefner, harp Raquel Rodriquez, trumpet Gustavo Romero, piano with Mary Karen Clardy, fl ute Stacie Mickens, horn Vladimir Viardo, piano Elizabeth McNutt, fl ute Natalie Young, horn Adam Wodnicki, piano James Scott, fl ute Tony Baker, trombone Terri Sundberg, fl ute Natalie Mannix, trombone C M A Liudmila Georgievskaya, piano John W. Richmond - Dean Warren H. Henry - Senior Associate Dean, Academic Aff airs Jon Christopher Nelson - Associate Dean, Operations Emilita Marin - Assistant Dean, Business and Finance Raymond Rowell - Assistant Dean, Enrollment Management and External Aff airs Benjamin Brand - Director, Graduate Studies Jaymee Haefner - Director, Undergraduate Studies Joel D. Wiley - Director, Admissions

U E Wednesday, September 26, 2018 Oct. 7, 4:00 pm - Symphony Orchestra Gala (Metamorphosis) with student vocalists 7:30 pm Oct. 12 - Baroque Orchestra & Collegium Singers (The Four Elements) Winspear Hall Oct. 24 - Concert Orchestra with violinist Julia Bushkova Oct. 31, 5:00 pm - Symphony Orchestra with student conductors Murchison Performing Arts Center Nov. 19 - Concert Orchestra with oboist James Ryon, clarinetist Phillip Paglialonga, hornist Stacie Mickens, bassoonist Kathleen Reynolds, trumpeter Raquel Rodriquez Nov. 28 - Symphony Orchestra (with pianist Sará Medková; pre-concert lecture at 6:30 pm) Nov. 30 - Baroque Orchestra & Collegium Singers (Musica Bohemia) Dec. 3, Bass Performance Hall - Fort Worth Symphony Orchestra with UNT A Cappella Choir and soloists (Handel’s Messiah) Dec. 7 - Concert Orchestra & Combined Choirs (Festival of Carols & Holiday Classics) music.unt.edu/orchestra - concerts begin at 7:30 pm in Winspear Hall, unless noted

CONCERT ORCHESTRA PROGRAM

VIOLIN 1 VIOLONCELLO HORN Leonore Overture No. 3, Alma Bulibekova+ Zoltan Csikos* Nicholas Bragg* Opus 72b (1806) ...... Ludwig van Beethoven (1770-1827) Meng Xu Alexander Paradis Sarah Bryant* Janice Shieh Chan Young Seo Trenton Carr Charles Latimer Alina Park Allison Rau Prelude and Liebestod, Clarissa Tamara Amy Sanders Caroline Brunce Katelin Smathers Laura Milanes TRUMPET Tristan und Isolde (1863) ...... Richard Wagner (1813-1883) Nicholas Hasapes Caleb Park Olivia Funkhouser* Richard Brochetti Brynne Taft Luke Harju* Sara Holtgrewe Earnest Brandon Lucio Ethan Berkebile --Intermission-- Antonella Quintana Hinseo Rhee Emmanuel Flores Stephen Gomez Amber Schwister TROMBONE Isabel Castillo BASS Patrick Anderson* Piano Concerto No. 5 in E-fl at Major, Teresa Lee Andrew Dunlap* Samuel Penon “Emperor,” Opus 73 (1811) ...... Ludwig van Beethoven VIOLIN II José Saavedra Elvis Moreno I. Allegro Diego Villamil Gomez* Yueming Xia TUBA II. Adagio un poco mosso Audria Fogarty-Ramirez Lap Kan Leong Manuel Cardona III. Rondo (Allegro) Collins McLaughlin Zoe Czarnecki HARP Melody Stevens Josue Reyes Kaitlin Miller Diana Zavala Huixian Su TIMPANI Liudmila Georgievskaya, piano Kimberly Lamb Hope Hocutt Chad Beebe Leanna Butler FLUTE Sherry Su Won Lee* Joseph Reding Charles Gibb* Ciana Rosenblad Linda Jenkins Robert Nance Karena Pezzullo, piccolo Iris Quezada OBOE Kai Tze Chua Clayton Williams* David Nasr Jo Glover*, English horn VIOLA Meghan Dunn Krista Windingland CLARINET Nicolas Valencia Julia Warrick* Ke Zhang Michael Thompson*, bass Patrick Hayes clarinet + Concertmaster Phoebe Haun Raylin Hooks * Principal Johnna Bandy Besnik Abrashi LIBRARIAN Megan Oshiro BASSOON Jack Buddenhagen Kalista Nguyen Matthew Emanuelson* PERSONNEL MANAGER Kit-Yu Lo Kathryn Hinton Draven Simmons* OPERATIONS MANAGER Meredith Wilder Samantha Lawson Charles Andersen The UNT College of Music - serving our diverse musical culture with excellence, integrity, and imagination. OPERATIONS ASSISTANT Olivia Hahn Andy Brooks Chin-Tze (Tivan) Lee Kwan Wai (Kenny) Lung Photography and videography are prohibited. PROGRAM NOTES CONDUCTOR BIOGRAPHY

Ludwig van Beethoven (1770-1827) Clay Couturiaux is the assistant director of orchestral studies at the University of North Leonore Overture No. 3, Opus 72b (1806) Texas where he currently teaches orchestral conducting and is conductor of the UNT Concert Orchestra. The 2018-19 season marks Couturiaux’s seventh season as music Beethoven completed only one opera, and it has a complicated history. Fidelio, also director and conductor of the Richardson Symphony Orchestra and his fi fteenth season as known as Leonore, oder der Triumph der ehelichen Liebe (Leonore, or the Triumph music director and conductor of the Monroe Symphony Orchestra in Louisiana. of Married Love) was fi rst performed in 1805 and subsequently revised in 1806 and Maestro Couturiaux has accumulated over two decades of experience conducting 1814. While all three versions of the opera are based on the same libretto, it has professional symphony orchestras and teaching at the university level. His career has become customary to refer to the 1805 and 1806 settings of the opera as Leonore taken him across the United States, Europe, and Asia including concerts with the Vietnam and the fi nal 1814 version as Fidelio. Beethoven preferred the title Leonore, but National Symphony Orchestra, Ho Chi Minh City Symphony Orchestra, Milano Classica the Theater an der Wien insisted on Fidelio from 1806 onward to avoid confusion Orchestra da Camera, and National Taiwan Normal University Symphony Orchestra. with the 1805 version. Each version of the opera came with its own overture, and Other professional conducting engagements include performances with the Abilene the numbering of overtures has become even more complicated. Leonore Overture Philharmonic, Arkansas Symphony, Austin Symphony, Metropolitan Classical Ballet, No. 1 was originally thought to be associated with the fi rst performance, but later East Texas Symphony Orchestra, Texas Chamber Orchestra, and Wichita Falls Symphony was shown to come from a planned but unrealized performance in Prague in 1807; Orchestra. it is not known to have been performed in Beethoven’s lifetime. Leonore Overture No. 2, then, corresponds to the fi rst performance in 1805, Leonore Overture No. 3 Further highlights include conducting the University of North Texas Symphony Orchestra in concert for an audience of 37,000 at Cowboys Stadium in a major collaboration with the comes from the 1806 performance of a revised version, and the Fidelio Overture North Texas XLV Super Bowl Host Committee, NFL Films, and Tim McGraw. He also has was composed for the 1814 production of the opera, which had undergone further recorded with the UNT Chamber Orchestra on the Crystal Records label. revisions, although the overture was not ready until the second performance. In addition to his professional schedule, Maestro Couturiaux regularly serves as a guest Fidelio tells the story of a woman, Leonore, whose husband, Florestan, has been conductor/clinician, including concerts with several Texas All-Region Honors Orchestras. imprisoned by Pizarro for unspecifi ed political reasons. Leonore assumes the In March 2013 the Northeast Louisiana Arts Council named Maestro Couturiaux the disguise of Fidelio and becomes the assistant jailer to Rocco in an eff ort to free recipient of the Edmund Williamson Artist of the Year Award. The award is presented to her husband. All of this has taken place before the opera begins. As the opera an artist who the selection committee feels has made the most signifi cant contribution to progresses, Leonore/Fidelio makes her way into the prison and confi rms that the improvement of the quality of life for Northeast Louisiana. her husband is being held there. Pizarro receives a letter announcing the visit of a minister to investigate prisoners being held without cause, and begins to plan Dr. Couturiaux began his musical studies at the age of eight in violoncello and piano. He holds degrees in both conducting and violoncello performance from the University of Florestan’s murder. Leonore and Rocco enter Florestan’s subterranean cell, charged North Texas. In addition, he developed his conducting skills at the world-renowned Pierre with the task of fi nding a place to bury him. When Pizarro enters to commit the Monteux School for Conductors and Orchestra Musicians in Maine and at the National murder, Leonore reveals her true identity and stops him with a pistol. The trumpet Arts Centre Conductors Programme in Ottawa, Canada. The long list of distinguished sounds off stage announcing the arrival of the minister, forcing Pizarro and Rocco conductors with whom Couturiaux studied includes Anshel Brusilow, Jorma Panula, to leave the cell to greet him. In the next scene, the minister recognizes his friend Michael Jinbo, Hugh Wolff , Neal Gittleman, Carl Topilow, and Harold Farberman. Florestan and orders Pizarro arrested on the spot. All praise Leonore’s bravery.

ARTIST BIOGRAPHY PROGRAM NOTES (cont’d)

Liudmila Georgievskaya has performed as a recitalist in Russia, Italy, Uzbekistan, Leonore Overture No. 3 is as exciting and dramatic as any of Beethoven’s purely Ukraine, France, The Netherlands, England, Hungary, Panama and the United States. instrumental works. The very drama that makes the overture an exciting instrumental Winner of top prizes in more than a dozen national and international piano competitions, work makes it less than ideal as an overture. The fi nal version, the Fidelio Overture, her performances have been broadcast on radio and television programs in Russia, the is smaller in scale and better suited for the purpose. Leonore Overture No. 3 has since United States, Uzbekistan, Italy and Vatican City. She appeared as soloist with the Dubna found a home on the concert stage, where it has come to express the revolutionary Symphony Orchestra (Russia), Turkeston Symphony Orchestra (Uzbekistan), National Symphony Orchestra of Uzbekistan and with some American orchestras including zeal Beethoven felt in 1803 and his later rage at Napoleon’s destruction of the Meadows Symphony Orchestra, Las Colinas Symphony, Garland Symphony Orchestra French Republic. The overture captures the dark despair of Florestan’s situation at and Concert Artists of Baltimore. the beginning, the hope announced by the off stage trumpet, and through a fi ery and heroic recapitulation, his ultimate rescue. Active also as a chamber musician, she is a member of Voices of Change, one of the most distinguished new music ensembles in the United States. She often performs in piano duos with her husband Thomas Schwan and with her sister Olga Georgievskaya. Her Richard Wagner (1813-1883) solo CD with music by Beethoven and Schumann (Odradek Records, 2013) was received Prelude and Liebestod, Tristan und Isolde (1863) enthusiastically by the international press and won two Global Music Awards. She is currently on faculty at the University of North Texas and Southern Methodist University Wagner wrote Tristan und Isolde in 1858 and 1859. It was not performed in its and has been giving masterclasses worldwide, including Italy, Hungary, Uzbekistan, United entirety until 1865, although the Prelude was performed in Paris in 1860. The States, The Netherlands and Panama. Prelude was fi rst performed with the Liebestod, which concludes the opera, in 1863. An inheritor of the Russian piano school, she studied in Moscow with Tatiana Galitskaya Tristan und Isolde tells the ancient Celtic story of Tristan, the nephew of King and Liudmila Roschina, both former students of the legendary Russian pianist and Mark, sent to retrieve Isolde as Mark’s bride from a conquered people. Isolde plots composer Samuil Feinberg, Alexander Goldenweiser’s pupil and disciple. She graduated to poison Tristan and then herself, but her attendant out of desperation switches the from the Moscow State Tchaikovsky Conservatory cum laude. She also completed her poison for a love potion. Tristan and Isolde fall deeply and helplessly in love. In post-graduate studies with Sergio Perticaroli at the Santa Cecilia National Academy in Act 2, King Mark has gone hunting with his men, and Isolde signals to Tristan that Rome (Italy), followed by the artist certifi cate at Southern Methodist University with it is safe for him to visit her. They greet each other ecstatically and eventually sing Joaquín Achúcarro and the doctor of musical arts in piano performance at the University of their love duet, “O sink hernieder, Nacht der Liebe,” also called the Liebesnacht North Texas with Pamela Mia Paul. (love night, or night of love). King Mark returns early and confronts them, and one of the king’s soldiers, Melot, grievously wounds Tristan. At the beginning of Act 3, he is delirious but still alive. Tristan’s loyal servant, Kurwenal, is taking care of him and has sent for Isolde. She arrives, and Tristan dies in her arms. King Mark, who now recognizes the inevitability of the love between Tristan and Isolde, arrives on a second ship with Melot and others. Kurwenal strikes Melot dead but is fatally wounded in the attack. King Mark laments all the deaths, after which Isolde sings the Liebestod. “Liebestod” literally translates as “love-death”: through her love and grief, Isolde is transfi gured and rejoins her beloved in the afterlife. PROGRAM NOTES (cont’d) PROGRAM NOTES (cont’d)

The Prelude and Liebestod have become a traditional pairing in symphonic The concerto’s title “Emperor” originated in Beethoven’s time, but it did not come repertoire. The prelude introduces several leitmotifs—short musical ideas associated from Beethoven. While the composer had once had faith in Napoleon and in the with a person, object, idea, situation, or emotion—that recur throughout the music Jacobins as potentially leading France through the revolution to democracy, his drama. The fi rst two measures of the Prelude introduce the sound of the yearning hopes were crushed when Napoleon crowned himself emperor of France and sought that will be expressed throughout the music drama. The cello opens with a rising to control all of Europe. Regarding possible sources of the “Emperor” nickname, minor sixth that descends a semitone and then leads to the so-called Tristan chord, one frequently cited story is that a French soldier, upon hearing the work’s premiere, often considered a pivotal moment in tonal music. Although the chord contains the stood in the crowd and shouted “l’Empereur.” same notes as a half-diminished seventh chord, it presents a challenge for tonal analysis because Wagner’s voice leading subverts listeners’ expectations. Scholars One reason for the persistence of the title is the concerto’s character; it is the and composers including Arnold Schoenberg and Hugo Riemann have discussed the grandest and most symphonic of Beethoven’s piano concertos. The opening chords Tristan chord, frequently coming to divergent opinions. The subversion of expected recall the beginning of the Eroica Symphony, and the primary theme has a triadic tonal stability through extreme chromaticism and the avoidance of resolution to a character and sounds martial, again like that symphony. The piano passages are tonic persists throughout the Prelude. In the Liebestod, Isolde’s music is fi lled with virtuosic and quite technically demanding. Breaking away from Classical tradition, expressions of grief, this grief insistently pushing the music to new places. The Beethoven wrote out all of the cadenzas and went so far as to direct the soloist foundation of the Liebestod is the music from the Liebesnacht, but while the night not to add cadenzas. When the music arrives at the accentuated six-four chord of love is violently interrupted, here Isolde’s love brings her into spiritual union that signals cadenzas in concertos, Beethoven writes, “Non si fa una Cadenza, with Tristan. Ultimately, the stability and closure absent throughout much of the ma s’attacca subito il seguente” (There is no cadenza; instead, proceed directly opera grows out of Isolde’s song as she is transfi gured through her music and, in with the following). Perhaps this was because Beethoven could not perform the death, is reunited with her love. concerto himself and wanted to retain artistic control; in any case, it foreshadows the Romantic tradition of writing out all cadenzas rather than leaving them to be improvised by performers. The second movement is based on a chorale-like Ludwig van Beethoven (1770-1827) theme. After the orchestra plays the chorale once, the piano plays variations on Piano Concerto No. 5 in E-fl at Major, “Emperor,” Opus 73 (1811) it, after which the orchestra fi nally plays the chorale accompanied by the piano. The third movement arises out of the second without pause. After coming to rest, In 1809, Napoleon’s army was descending on Vienna for the second time in four the bassoons move down a half-step and the third movement begins. The piano years. Tied to Vienna by his aristocratic supporters, Beethoven wrote to his publisher starts the theme in a slower tempo before launching into the fi nale proper. Soon describing the scene in the city, saying “What a destructive and disorderly life I the orchestra joins in, and the Rondo emerges as a vibrant, dance-like movement. see and hear around me, nothing but drums, cannons, and human misery in every Just before the close of the concerto, the piano and timpani begin to fade softly into form.” Amid this tumult, and with only the last vestiges of his hearing remaining, nothing, when suddenly the piano bursts forth from the silence with a virtuosic lead Beethoven wrote his fi fth and fi nal piano concerto. Although he fi nished the work in in to the fi nal coda.--Brian Anderson under the direction of Margaret Notley 1809, it would be two years before the concerto received its premiere. Alone among Beethoven’s piano concertos, it was not performed with the composer as soloist; his hearing loss was too great, and he had begun to retire from public performances. The world premiere, which took place in Leipzig, had as soloist Friedrich Schiller, a church organist.