University of Iowa Symphony Orchestra

Ensemble and Faculty Concert: 2019-10-30 -- University of Iowa Symphony Orchestra

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Scroll to see Program PDF University of Iowa Symphony Orchestra Professor David E. Becker, Interim Director of Orchestral Studies SCHOOL OF All UISO students rotate part assignments and seating throughout the year

VIOLIN 1 CELLO BASSOON MUSIC Allen, Nicole Airhart, Emily Hockett, Keegan (principal) Anderson, Amy Conroy, Eden Morales, Clara (cbsn) Barker, Lou Escalada, Alex Seguin, Shawn (cbsn) Harmon, Sarah Fruhling, Caleb Helmkamp, Amalia Gomez, Adrian HORN Hontilâ, Luciana (co-principal 2nd violin) Hansen, Sarah (principal) Hajek, Delaney Maddaleno, Megan Huang, Bennet Halbert, Katey (co-principal) McCourt, Madeline Kaut, Oskar Olson, Zoe Palazzolo, Joshua (concertmaster) Meikle, Lydia Tang, Yi-Hsun (co-principal) Staub, Ryan Richards, Eva TRUMPET Valencia, Caitlyn Steele, Brooke Wemmie, Sasha Buhr, Matt VIOLIN 2 Wibe, Dean Krist, Ciarra (co-principal) Bean, Bailee McCall, Claire Binosi, Eddie BASS Powell, Bryan (co-principal) Bonder, Anna Hilliard, Garrett (principal) Talukder, Kamal Johnson, Maddie Kundel, Lauren TROMBONE Leahy, Anna Montgomery, Tyler Li, Rachel Vance, Cescily Fjeldheim, Karissa Pinski, Hannah Whitford, Abigail Kelley, Tom (principal) Soemadi, Arielle Williams-Yee, Abigail Truax, Kiersten Thompson, Kendra Yager, Will TUBA Zerpa, Simon (co-principal) FLUTE Mercedes, David VIOLA Bardwell, Greg (co-principal) PERCUSSION Archambeau, Dominique Lampkin, Christian Anderson, Matthew Beaty, Marissa (co-principal piccolo) Cooke, Jilly Han, Donghee Mizzi, Paul Eisenstein, Yoni Hoherz, Anton (co-principal and piccolo) Lapage, Connor Lastra, Fernanda Smith, Trevor timpani Miller, Ruth OBOE Moses, Anna Doremus, Lexi (co-principal) HARP Rybarczyk, Daniela Sehmann, Jenna (co-principal) Pamela Weest-Carrasco Schenck, Jill Wallace, LaBarrin (Eng. horn) Vig, Zachary CLARINET Wilson, Samantha (principal) Cassisa, Kim (co-principal) UI ORCHESTRA STAFF ENSEMBLE CONCERT Edvenson, Arianna (co-principal) Simón Zerpa, orchestra manager UI Symphony Orchestra Fernanda Lastra, head librarian Professor David E. Becker, Director of Orchestral Studies Adrian Gomez Hernandez, For the most up to date listing of concerts and wind librarian Megan Maddaleno, recitals please visit arts.uiowa.edu string librarian Wednesday, October 30, 2019 at 7:30 p.m. Sung Hun, attendance Voxman Music Building, Concert Hall communities, Fernanda Lastra created “La Trama Ensamble,” an interesting project she led for four UI Symphony Orchestra years as artistic and musical director. David E. Becker, Interim Director of Orchestral Studies Fernanda Lastra holds an undergraduate music degree from La Plata University, Argentina, in Fernanda Lastra, Simón Zerpa Carballo, Megan Maddaleno, Graduate Orchestra Conductors orchestral and choral conducting and a master’s degree in orchestral conducting from Penn State University. She is currently pursuing a doctorate in orchestral conducting at the University of Iowa under the tutelage of Maestro David Becker. MEGAN MADDALENO Maddaleno received her Bachelor of Music Education degree with emphasis in instrumental studies from Webster University located in St. Louis, Missouri. During her time there, she was the PROGRAM recipient of the Peggy Fossett Endowed Scholarship Fund for Music, the Buder Foundation Music Performance Scholarship, and was inducted into Omicron Delta Kapp — The National Leadership Honors Society. In the summer of 2013, Maddaleno worked as an editing and logistics intern for Jonathan Kozol’s Institute for Public Education in Cambridge, Massachusetts, providing research on Rienzi Overture Richard WAGNER recent developments in the world of music education for a world-renowned social justice and public (1813–1883) education fgure. She graduated in 2014 with departmental and academic honors. Fernanda Lastra, conductor Maddaleno then worked in the Columbia Public School District as the director of orchestras for both West Middle School and Hickman High School, directing students grades 7–12. Her students Symphony No. 5, C Minor, Op. 67 Ludwig van BEETHOVEN have won honors from such organizations as MMTA, MTNA, State Solo and Ensemble, District Allegro con brio (1770–1827) Large Ensemble, All-State Orchestra, and COMP. While in Columbia, Missouri, Maddaleno was a Andante con moto conducting student of Maestro Kirk Trevor and acted as musical assistant of the Missouri Symphony Simon Zerpa Carballo, conductor Society Conservatory. Since leaving Columbia, Maddaleno has been involved in festivals and Allegro workshops including those by The International Conducting Institute and Miami Music Festival. Allegro Megan Maddaleno, conductor SIMÓN ZERPA Simón Zerpa is an energetic and charismatic orchestra conductor who was trained as a violinist in the National System of Youth Orchestras and Choirs of Venezuela. Most recently, Zerpa has been named to serve as the 2019 Karen Smuda Emerging Conductor at the Peninsula Music Festival. ——— Intermission ——— In recent years, Mr. Zerpa has maintained an active conducting schedule throughout the United States and abroad. In 2015, he co-produced and conducted an orchestral festival in Mérida, Venezuela, Orquesta Jóvenes de Mérida. The same year, Simón collaborated with American composer and Tales of Hemingway for Cello and Orchestra (2015) Michael DAUGHERTY Pulitzer Prize winner David Land, conducting his work Pierced at the composer’s Festival at the 1. Big Two-Hearted River (1954) University of Shenandoah. 2. For Whom the Bell Tolls In 2017, he toured in Argentina with the orchestra of the Shenandoah Conservatory as assistant 3. The Old Man and the Sea director to the Venezuelan conductor Jan Wagner and had the opportunity to conduct in multiple 4. The Sun Also Rises cities of the tour. Anthony Arnone, cellist Zerpa made his opera debut conducting Mozart’s Magic Flute with the Shenandoah Conservatory Opera in April 2017. Then, by the end of that year, Simón was invited to conduct at the most important music education conference in the United States, the Midwest Clinic, with the Sartartia Middle School Orchestra whose live recordings can be found on the Amazon platform. In 2018, Mr. Zerpa was engaged as assistant conductor at the National Music Festival with Maestro Richard Rosenberg. Simón Zerpa is currently pursuing his doctorate in orchestral conducting at the University of Iowa under the tutelage of Maestro David Becker and also serves as the orchestra artistic director of the College Community Orchestra at Central College in Pella.

In consideration of our performers and guests, please take a moment to turn off your cell phone. A native of Honolulu, Mr. Arnone received his bachelor of music degree from the New England PROGRAM NOTES Conservatory of Music, where he studied with Colin Carr. He left graduate studies with Bonnie Hampton at the San Francisco Conservatory to accept a position with the Orchestré Philharmonique Rienzi Overture (Richard Wagner) de Nice, France, where he remained for two years, continuing his studies with Paul and Maude In 1837 Wagner encountered Edward Bulwer-Lytton’s novel, Rienzi, the Last of the Roman Tortelier. He later returned to the United States to complete his master’s degree in conducting at Tribunes, which inspired him to create a libretto for a grand opera. The composer had completed Wichita State University. two acts of music before he left his position at a theater in Riga in 1839, escaping his creditors Before coming to the University of Iowa, Mr. Arnone was principal cellist of the Madison Symphony by being smuggled aboard a ship with his wife. He ended up in Paris, where he continued to and taught at Ripon College in Wisconsin. He has also taught and performed at the Madeline Island struggle fnancially. With help from Giacomo Meyerbeer, Rienzi fnally premiered at the Dresden Music Camp, Eastern Music Festival, the Stonybrook Music Camp, the Spoleto Festival in Charleston, Hoftheater in 1843, where it was well received, even though it lasted from six o’clock until well SC., and the Festival Dei Due Mondi in Spoleto, Italy, where he was co-principal cellist for seven years. after midnight. MICHAEL DAUGHERTY Wagner strongly identifed with the work’s central character, who rises to power in fourteenth- Multiple GRAMMY Award-winning composer Michael Daugherty was born in Cedar Rapids, Iowa century Rome; Rienzi is, according to Thomas Grey, “a charismatic demagogue with a messianic in 1954. He is the son of a dance-band drummer and the oldest of fve brothers, all professional sense of his own mission.” Adolf Hitler was also taken with Rienzi and remarked, cryptically, that musicians. Daugherty has achieved international recognition as one of the ten most performed his attendance at the opera around 1906 was “where it all began.” Rienzi was revived in Berlin American composers of concert music, according to the League of American Orchestras. His and Frankfurt in 1933 after he came to power. The autograph score was in Hitler’s possession at orchestral music, recorded by Naxos over the last two decades, has received six GRAMMY Awards, his death and is thus presumed lost. including Best Contemporary Classical Composition in 2011 for Deus ex Machina for piano and Wagner’s goal of “sumptuous extravagance” is apparent in Rienzi’s opulent overture, composed orchestra and in 2017 for Tales of Hemingway for cello and orchestra. after the rest of the opera had been completed. The three-note trumpet call, which is heard later As a young man, Daugherty studied composition with many of the preeminent composers of the 20th in the opera, represents Rienzi’s revolutionary fervor; the hymn-like melody introduced by strings century including Pierre Boulez at IRCAM in Paris and Betsy Jolas at the Paris Conservatory (1979), is taken from his prayer in Act 5. An energetic Allegro dominated by brassy fanfares follows the Jacob Druckman, Earle Brown, Bernard Rands, and Roger Reynolds at Yale (1980–82), and György meditative introduction; the lone trumpet calls are heard again before the return of its opening Ligeti in Hamburg (1982-84). Daugherty was also an assistant to jazz arranger Gil Evans in New York material. (Marian Wilson Kimber) from 1980-82. After teaching composition for fve years at Oberlin College, Daugherty joined the University of Michigan School of Music, Theatre and Dance in 1991 as Professor of Composition, Symphony no. 5, in C Minor, op. 67 (Ludwig van Beethoven) where he is a mentor to many of today’s most talented young composers. He is also a frequent guest Beethoven’s best known work, indeed, a symphony that has come to defne classical music, began of professional orchestras, festivals, universities, and conservatories around the world. with mere sketched fragments in 1804. The composer developed these ideas further in 1807, fnishing the piece in 1808. He appears to have paired the propulsion and pathos of his Fifth Symphony Daugherty’s music is published by Michael Daugherty Music, Peermusic Classical, and Boosey & with the calmer, pastoral Sixth, in a set of linked opposites. Both Symphonies were debuted on an Hawkes. For more information on Michael Daugherty and his music, see michaeldaugherty.net and overly long, late December concert, marred by lack of rehearsal and insuffcient heating. Composer his publisher’s websites. Johann Friedrich Reichardt recalled that the audience sat “in the bitterest cold from 6:30 to 10:30 FERNANDA LASTRA and experienced the truth that one can easily have too much of a good thing.” By 1810, critic E.T.A. Originally born in Mar del Plata, Argentina, Fernanda Lastra is a passionate conductor with an Hoffman recognized the Fifth Symphony’s Romantic power and hailed its expression of a spiritual energetic and creative personality applied in her leadership roles as an artistic and musical director. infnite that “unveils before us the realm of the mighty and the immeasurable.” In June 2019, Fernanda was awarded with the Eastman-Yamaha Fellowship to participate in the The famous four opening notes comprise a compressed motto that dominates the entire Eastman Leadership Academy at Eastman School of Music. In July 2018, she was awarded with the Symphony. Although the work has no written program, Beethoven cryptically described that “fate First Prize in the Conducting Competition organized by Opera de Bauge, France. knocks on the door,” and many factors, including the minor key, create the work’s sense of deep struggle and its suffering to triumph paradigm. (The “fate” motive even came to symbolize Allied As a musical director, Fernanda Lastra is currently co-conductor of All University String Orchestra victory during World War II.) Unlike most classical symphonies, the Fifth begins only to come to (AUSO) and Assistant conductor of the two most important orchestras at the University of Iowa: an immediate stop, before the motive is repeated and the music surges forward. The later return Symphonic and Chamber Orchestras. In addition, Fernanda serves as assistant conductor for the of the opening is interrupted by a surprise oboe cadenza to prevent a frm arrival. The Andante UI Opera program. In April 2018, she participated as assistant conductor for Cavalleria Rusticana’s is a set of alternating variations on two themes, the frst of which shares a rhythmic profle with production in Neuchatel, Switzerland. During the 2016–2017 season, she served as principal the fate motive, as does the main theme of the Scherzo. After two vigorous trios and a long conductor for CPYO (Central Pennsylvania Youth Orchestra) and, from 2008–2012, as professor of mysterious passage, the Scherzo elides with a glorious, heroic Allegro. In bright C major, the fnale orchestral activities at “El Sistema,” Argentina. From 2005–2016, she worked as Assistant Professor is enhanced by the frst appearance of trombones, piccolo, and contrabassoon. The piece looks at La Plata University, Argentina. back briefy with the return of Scherzo material before its jubilant close. (Marian Wilson Kimber) In 2013, moved by a strong conviction about the important role that classical music has in our Tales of Hemingway for cello and orchestra (Michael Daugherty) IV. The Sun Also Rises (1926, Pamplona, Spain) Tales of Hemingway for cello and orchestra was commissioned by the Nashville Symphony and a The main character in this ground-breaking novel is Jake Barnes, bitter and wounded by war, living consortium consisting of: the Asheville Symphony, the Detroit Symphony Orchestra, the El Paso in Paris as an unhappy expatriate journalist. Aimless in life, he makes a journey to the Festival in Symphony Orchestra, the Erie Philharmonic, the Redwood Symphony, the South Florida Orchestra, Pamplona, Spain. Along the way, he is joined by other adrift souls of the “Lost Generation,” such and the Virginia Symphony. The world premiere was on April 17, 2015, with the Nashville Symphony as Lady Brett, a promiscuous divorcée with whom Barnes was involved before the war. For the fnal Orchestra under the direction of Giancarlo Guerrero, with Zuill Bailey, solo cello, at the Schermerhorn movement of the concerto, I have created an exciting and dramatic sound world where I imagine Symphony Center, Nashville, Tennessee. Jake Barnes, his entourage (and Hemingway) in Pamplona at the Fiesta, watching the running of Tales of Hemingway evokes the turbulent life, adventures, and literature of American author and the bulls and reveling in the spectacle of the bullfghts. We also hear musical illuminations of the journalist Ernest Hemingway (1899–1961). His terse, direct, accessible writing style, combined with novel’s enigmatic epigraph, “the sun also ariseth, and the sun goeth down, and hasteth to the a mastery of dialogue and brilliant use of omission and repetition, made him one of the most place where he arose.” (Michael Daugherty) infuential and original writers of the twentieth century. Hemingway’s distinctive body of work was also informed by his larger-than-life experiences. In his youth in Oak Park, Chicago, Hemingway was surrounded by music. His mother was a prominent music teacher and he played the cello in school orchestras. Hemingway’s family owned a remote BIOGRAPHIES summer home on Walloon Lake near Petoskey, Michigan, where hunting, fshing, and camping were a family ritual. As an adult, Hemingway’s passion and expertise for deep-sea fshing in the Florida Keys and Cuba, big game hunting in Africa, bullfghting in Spain, and boxing were legendary. ANTHONY ARNONE Called “a cellist with rich tonal resources, fne subtlety and a keen sense of phrasing” (Gramophone), Hemingway experienced the horrors and ironies of war as a Red Cross ambulance driver in World cellist Anthony Arnone enjoys a varied career as a soloist, chamber musician, conductor, recording War I (1918) and as a journalist on the front lines of the Spanish Civil War (1937) and World War artist, composer, and teacher throughout the country and around the world. Mr. Arnone is associate II (1944-–45). In the 1920s, Hemingway was part of Gertrude Stein’s “Lost Generation” in Paris, professor of cello at the University of Iowa School of Music and is also on the faculty of the Preucil and he haunted the bars and cafés with F. Scott Fitzgerald. During his lifetime, many of his works School of Music in Iowa City, where he teaches and conducts. were made into Hollywood flms, and his journalism and literature was syndicated in magazines and newspapers around the world, making Hemingway an international celebrity and a household Mr. Arnone has collaborated with many of today’s great chamber ensembles and artists including name. Twenty-fve minutes in duration, my cello concerto is divided into four movements, which are members of the Pro Arte Quartet, Cypress Quartet, Fry Street Quartet, and Arianna Quartet. inspired by one of Hemingway’s short stories or novels: Performances have taken him around the United States, Europe, and Asia to many of the leading concert venues as soloist, chamber musician, and conductor. Mr. Arnone’s recordings with Albany I. Big Two-Hearted River (Seney, Michigan, 1925) and VAI have received acclaimed reviews in prominent music journals and online classical sights. In this story, Nick Adams is an emotionally scarred and disillusioned soldier from World War I who An avid performer of the Bach Suites, Mr. Arnone wrote and self-published his own edition of the treks to Northern Michigan for a camping/fshing trip to try to regain control of his life. I have 6 Cello Suites with a composed second cello “Continuo” part to aid in teaching and performance. composed serene and passionate music that evokes a leitmotif in Hemingway’s writing: his belief that one can be healed by the power of nature through exploring isolated outdoor terrains. As a cello soloist and chamber musician, Mr. Arnone was a founding member of the Meridien Trio and the Sedgewick String Quartet, which performed regularly at the Spoleto Festival in II. For Whom the Bell Tolls (1940, Spanish Civil War) Charleston. He was also part of the Matisse Trio, a faculty trio at The University of Iowa, which Hemingway tells the tale of the last three days in the life of Robert Jordan, an American teacher played throughout the United States. Mr. Arnone is also regularly featured as soloist with orchestras turned demolition expert who has joined the anti-fascist Loyalist guerillas in Spain. Jordan accepts including performances with the Madison Symphony, Dubuque Symphony, Orchestra Iowa, Knox/ a suicide mission to blow up a bridge only to fall in love with Maria, a young Spanish woman Galesburg Symphony, and the Kamuela Philharmonic among others. of the Loyalist guerilla camp. The cello strums and plucks, leading the martyr’s march to battle the Fascists and to Jordan’s eventual death. As the chimes explode at the conclusion of the Mr. Arnone’s love of teaching has taken him throughout the country to give master classes, including movement, the epitaph of the novel rings forth: “And therefore never send to know for whom the Oberlin College, Eastman School, the Cleveland Institute of Music, and San Francisco Conservatory. bell tolls; it tolls for thee.” At home, Mr. Arnone brings celebrated teachers and performers to The University of Iowa for the annual “Cello Daze,” a weekend of lectures, concerts, and master classes. Past guests include III. The Old Man and the Sea (1952, Cuba) Richard Aaron, Colin Carr, Steven Doane, Hans Jensen, Paul Katz, Bonnie Hampton, Joel Krosnick, In this Hemingway Nobel Prize-winning novella, Santiago is a poor, old fsherman whose luck Norman Fischer, Marc Johnson, Anthony Ross, and Robert DeMaine as well as non classical guests changes when he takes his small boat deep into the Gulf Stream. After an epic struggle, he including Mark Summer, Natalie Haas and Alastair’s Fraser, German Marcano, and Matt Turner. catches a gigantic marlin, the largest fsh of his career. As he makes the long journey home, sharks relentlessly attack his boat and devour the marlin. As a musical response, I have composed an Mr. Arnone is due to release his book “The Art of Listening-Conversations with Cellists” (Peter Lang elegy to the struggle of life and death between man and nature. The cello represents the old Publishing) in the Fall of 2020. It is a detailed book of interviews with fourteen of the great cello fsherman’s journey as he searches for the truths of man’s existence with dignity and grace. teachers in the U.S. and U.K. Tales of Hemingway for cello and orchestra (Michael Daugherty) IV. The Sun Also Rises (1926, Pamplona, Spain) Tales of Hemingway for cello and orchestra was commissioned by the Nashville Symphony and a The main character in this ground-breaking novel is Jake Barnes, bitter and wounded by war, living consortium consisting of: the Asheville Symphony, the Detroit Symphony Orchestra, the El Paso in Paris as an unhappy expatriate journalist. Aimless in life, he makes a journey to the Festival in Symphony Orchestra, the Erie Philharmonic, the Redwood Symphony, the South Florida Orchestra, Pamplona, Spain. Along the way, he is joined by other adrift souls of the “Lost Generation,” such and the Virginia Symphony. The world premiere was on April 17, 2015, with the Nashville Symphony as Lady Brett, a promiscuous divorcée with whom Barnes was involved before the war. For the fnal Orchestra under the direction of Giancarlo Guerrero, with Zuill Bailey, solo cello, at the Schermerhorn movement of the concerto, I have created an exciting and dramatic sound world where I imagine Symphony Center, Nashville, Tennessee. Jake Barnes, his entourage (and Hemingway) in Pamplona at the Fiesta, watching the running of Tales of Hemingway evokes the turbulent life, adventures, and literature of American author and the bulls and reveling in the spectacle of the bullfghts. We also hear musical illuminations of the journalist Ernest Hemingway (1899–1961). His terse, direct, accessible writing style, combined with novel’s enigmatic epigraph, “the sun also ariseth, and the sun goeth down, and hasteth to the a mastery of dialogue and brilliant use of omission and repetition, made him one of the most place where he arose.” (Michael Daugherty) infuential and original writers of the twentieth century. Hemingway’s distinctive body of work was also informed by his larger-than-life experiences. In his youth in Oak Park, Chicago, Hemingway was surrounded by music. His mother was a prominent music teacher and he played the cello in school orchestras. Hemingway’s family owned a remote BIOGRAPHIES summer home on Walloon Lake near Petoskey, Michigan, where hunting, fshing, and camping were a family ritual. As an adult, Hemingway’s passion and expertise for deep-sea fshing in the Florida Keys and Cuba, big game hunting in Africa, bullfghting in Spain, and boxing were legendary. ANTHONY ARNONE Called “a cellist with rich tonal resources, fne subtlety and a keen sense of phrasing” (Gramophone), Hemingway experienced the horrors and ironies of war as a Red Cross ambulance driver in World cellist Anthony Arnone enjoys a varied career as a soloist, chamber musician, conductor, recording War I (1918) and as a journalist on the front lines of the Spanish Civil War (1937) and World War artist, composer, and teacher throughout the country and around the world. Mr. Arnone is associate II (1944-–45). In the 1920s, Hemingway was part of Gertrude Stein’s “Lost Generation” in Paris, professor of cello at the University of Iowa School of Music and is also on the faculty of the Preucil and he haunted the bars and cafés with F. Scott Fitzgerald. During his lifetime, many of his works School of Music in Iowa City, where he teaches and conducts. were made into Hollywood flms, and his journalism and literature was syndicated in magazines and newspapers around the world, making Hemingway an international celebrity and a household Mr. Arnone has collaborated with many of today’s great chamber ensembles and artists including name. Twenty-fve minutes in duration, my cello concerto is divided into four movements, which are members of the Pro Arte Quartet, Cypress Quartet, Fry Street Quartet, and Arianna Quartet. inspired by one of Hemingway’s short stories or novels: Performances have taken him around the United States, Europe, and Asia to many of the leading concert venues as soloist, chamber musician, and conductor. Mr. Arnone’s recordings with Albany I. Big Two-Hearted River (Seney, Michigan, 1925) and VAI have received acclaimed reviews in prominent music journals and online classical sights. In this story, Nick Adams is an emotionally scarred and disillusioned soldier from World War I who An avid performer of the Bach Suites, Mr. Arnone wrote and self-published his own edition of the treks to Northern Michigan for a camping/fshing trip to try to regain control of his life. I have 6 Cello Suites with a composed second cello “Continuo” part to aid in teaching and performance. composed serene and passionate music that evokes a leitmotif in Hemingway’s writing: his belief that one can be healed by the power of nature through exploring isolated outdoor terrains. As a cello soloist and chamber musician, Mr. Arnone was a founding member of the Meridien Trio and the Sedgewick String Quartet, which performed regularly at the Spoleto Festival in II. For Whom the Bell Tolls (1940, Spanish Civil War) Charleston. He was also part of the Matisse Trio, a faculty trio at The University of Iowa, which Hemingway tells the tale of the last three days in the life of Robert Jordan, an American teacher played throughout the United States. Mr. Arnone is also regularly featured as soloist with orchestras turned demolition expert who has joined the anti-fascist Loyalist guerillas in Spain. Jordan accepts including performances with the Madison Symphony, Dubuque Symphony, Orchestra Iowa, Knox/ a suicide mission to blow up a bridge only to fall in love with Maria, a young Spanish woman Galesburg Symphony, and the Kamuela Philharmonic among others. of the Loyalist guerilla camp. The cello strums and plucks, leading the martyr’s march to battle the Fascists and to Jordan’s eventual death. As the chimes explode at the conclusion of the Mr. Arnone’s love of teaching has taken him throughout the country to give master classes, including movement, the epitaph of the novel rings forth: “And therefore never send to know for whom the Oberlin College, Eastman School, the Cleveland Institute of Music, and San Francisco Conservatory. bell tolls; it tolls for thee.” At home, Mr. Arnone brings celebrated teachers and performers to The University of Iowa for the annual “Cello Daze,” a weekend of lectures, concerts, and master classes. Past guests include III. The Old Man and the Sea (1952, Cuba) Richard Aaron, Colin Carr, Steven Doane, Hans Jensen, Paul Katz, Bonnie Hampton, Joel Krosnick, In this Hemingway Nobel Prize-winning novella, Santiago is a poor, old fsherman whose luck Norman Fischer, Marc Johnson, Anthony Ross, and Robert DeMaine as well as non classical guests changes when he takes his small boat deep into the Gulf Stream. After an epic struggle, he including Mark Summer, Natalie Haas and Alastair’s Fraser, German Marcano, and Matt Turner. catches a gigantic marlin, the largest fsh of his career. As he makes the long journey home, sharks relentlessly attack his boat and devour the marlin. As a musical response, I have composed an Mr. Arnone is due to release his book “The Art of Listening-Conversations with Cellists” (Peter Lang elegy to the struggle of life and death between man and nature. The cello represents the old Publishing) in the Fall of 2020. It is a detailed book of interviews with fourteen of the great cello fsherman’s journey as he searches for the truths of man’s existence with dignity and grace. teachers in the U.S. and U.K. A native of Honolulu, Mr. Arnone received his bachelor of music degree from the New England PROGRAM NOTES Conservatory of Music, where he studied with Colin Carr. He left graduate studies with Bonnie Hampton at the San Francisco Conservatory to accept a position with the Orchestré Philharmonique Rienzi Overture (Richard Wagner) de Nice, France, where he remained for two years, continuing his studies with Paul and Maude In 1837 Wagner encountered Edward Bulwer-Lytton’s novel, Rienzi, the Last of the Roman Tortelier. He later returned to the United States to complete his master’s degree in conducting at Tribunes, which inspired him to create a libretto for a grand opera. The composer had completed Wichita State University. two acts of music before he left his position at a theater in Riga in 1839, escaping his creditors Before coming to the University of Iowa, Mr. Arnone was principal cellist of the Madison Symphony by being smuggled aboard a ship with his wife. He ended up in Paris, where he continued to and taught at Ripon College in Wisconsin. He has also taught and performed at the Madeline Island struggle fnancially. With help from Giacomo Meyerbeer, Rienzi fnally premiered at the Dresden Music Camp, Eastern Music Festival, the Stonybrook Music Camp, the Spoleto Festival in Charleston, Hoftheater in 1843, where it was well received, even though it lasted from six o’clock until well SC., and the Festival Dei Due Mondi in Spoleto, Italy, where he was co-principal cellist for seven years. after midnight. MICHAEL DAUGHERTY Wagner strongly identifed with the work’s central character, who rises to power in fourteenth- Multiple GRAMMY Award-winning composer Michael Daugherty was born in Cedar Rapids, Iowa century Rome; Rienzi is, according to Thomas Grey, “a charismatic demagogue with a messianic in 1954. He is the son of a dance-band drummer and the oldest of fve brothers, all professional sense of his own mission.” Adolf Hitler was also taken with Rienzi and remarked, cryptically, that musicians. Daugherty has achieved international recognition as one of the ten most performed his attendance at the opera around 1906 was “where it all began.” Rienzi was revived in Berlin American composers of concert music, according to the League of American Orchestras. His and Frankfurt in 1933 after he came to power. The autograph score was in Hitler’s possession at orchestral music, recorded by Naxos over the last two decades, has received six GRAMMY Awards, his death and is thus presumed lost. including Best Contemporary Classical Composition in 2011 for Deus ex Machina for piano and Wagner’s goal of “sumptuous extravagance” is apparent in Rienzi’s opulent overture, composed orchestra and in 2017 for Tales of Hemingway for cello and orchestra. after the rest of the opera had been completed. The three-note trumpet call, which is heard later As a young man, Daugherty studied composition with many of the preeminent composers of the 20th in the opera, represents Rienzi’s revolutionary fervor; the hymn-like melody introduced by strings century including Pierre Boulez at IRCAM in Paris and Betsy Jolas at the Paris Conservatory (1979), is taken from his prayer in Act 5. An energetic Allegro dominated by brassy fanfares follows the Jacob Druckman, Earle Brown, Bernard Rands, and Roger Reynolds at Yale (1980–82), and György meditative introduction; the lone trumpet calls are heard again before the return of its opening Ligeti in Hamburg (1982-84). Daugherty was also an assistant to jazz arranger Gil Evans in New York material. (Marian Wilson Kimber) from 1980-82. After teaching composition for fve years at Oberlin College, Daugherty joined the University of Michigan School of Music, Theatre and Dance in 1991 as Professor of Composition, Symphony no. 5, in C Minor, op. 67 (Ludwig van Beethoven) where he is a mentor to many of today’s most talented young composers. He is also a frequent guest Beethoven’s best known work, indeed, a symphony that has come to defne classical music, began of professional orchestras, festivals, universities, and conservatories around the world. with mere sketched fragments in 1804. The composer developed these ideas further in 1807, fnishing the piece in 1808. He appears to have paired the propulsion and pathos of his Fifth Symphony Daugherty’s music is published by Michael Daugherty Music, Peermusic Classical, and Boosey & with the calmer, pastoral Sixth, in a set of linked opposites. Both Symphonies were debuted on an Hawkes. For more information on Michael Daugherty and his music, see michaeldaugherty.net and overly long, late December concert, marred by lack of rehearsal and insuffcient heating. Composer his publisher’s websites. Johann Friedrich Reichardt recalled that the audience sat “in the bitterest cold from 6:30 to 10:30 FERNANDA LASTRA and experienced the truth that one can easily have too much of a good thing.” By 1810, critic E.T.A. Originally born in Mar del Plata, Argentina, Fernanda Lastra is a passionate conductor with an Hoffman recognized the Fifth Symphony’s Romantic power and hailed its expression of a spiritual energetic and creative personality applied in her leadership roles as an artistic and musical director. infnite that “unveils before us the realm of the mighty and the immeasurable.” In June 2019, Fernanda was awarded with the Eastman-Yamaha Fellowship to participate in the The famous four opening notes comprise a compressed motto that dominates the entire Eastman Leadership Academy at Eastman School of Music. In July 2018, she was awarded with the Symphony. Although the work has no written program, Beethoven cryptically described that “fate First Prize in the Conducting Competition organized by Opera de Bauge, France. knocks on the door,” and many factors, including the minor key, create the work’s sense of deep struggle and its suffering to triumph paradigm. (The “fate” motive even came to symbolize Allied As a musical director, Fernanda Lastra is currently co-conductor of All University String Orchestra victory during World War II.) Unlike most classical symphonies, the Fifth begins only to come to (AUSO) and Assistant conductor of the two most important orchestras at the University of Iowa: an immediate stop, before the motive is repeated and the music surges forward. The later return Symphonic and Chamber Orchestras. In addition, Fernanda serves as assistant conductor for the of the opening is interrupted by a surprise oboe cadenza to prevent a frm arrival. The Andante UI Opera program. In April 2018, she participated as assistant conductor for Cavalleria Rusticana’s is a set of alternating variations on two themes, the frst of which shares a rhythmic profle with production in Neuchatel, Switzerland. During the 2016–2017 season, she served as principal the fate motive, as does the main theme of the Scherzo. After two vigorous trios and a long conductor for CPYO (Central Pennsylvania Youth Orchestra) and, from 2008–2012, as professor of mysterious passage, the Scherzo elides with a glorious, heroic Allegro. In bright C major, the fnale orchestral activities at “El Sistema,” Argentina. From 2005–2016, she worked as Assistant Professor is enhanced by the frst appearance of trombones, piccolo, and contrabassoon. The piece looks at La Plata University, Argentina. back briefy with the return of Scherzo material before its jubilant close. (Marian Wilson Kimber) In 2013, moved by a strong conviction about the important role that classical music has in our communities, Fernanda Lastra created “La Trama Ensamble,” an interesting project she led for four UI Symphony Orchestra years as artistic and musical director. David E. Becker, Interim Director of Orchestral Studies Fernanda Lastra holds an undergraduate music degree from La Plata University, Argentina, in Fernanda Lastra, Simón Zerpa Carballo, Megan Maddaleno, Graduate Orchestra Conductors orchestral and choral conducting and a master’s degree in orchestral conducting from Penn State University. She is currently pursuing a doctorate in orchestral conducting at the University of Iowa under the tutelage of Maestro David Becker. MEGAN MADDALENO Maddaleno received her Bachelor of Music Education degree with emphasis in instrumental studies from Webster University located in St. Louis, Missouri. During her time there, she was the PROGRAM recipient of the Peggy Fossett Endowed Scholarship Fund for Music, the Buder Foundation Music Performance Scholarship, and was inducted into Omicron Delta Kapp — The National Leadership Honors Society. In the summer of 2013, Maddaleno worked as an editing and logistics intern for Jonathan Kozol’s Institute for Public Education in Cambridge, Massachusetts, providing research on Rienzi Overture Richard WAGNER recent developments in the world of music education for a world-renowned social justice and public (1813–1883) education fgure. She graduated in 2014 with departmental and academic honors. Fernanda Lastra, conductor Maddaleno then worked in the Columbia Public School District as the director of orchestras for both West Middle School and Hickman High School, directing students grades 7–12. Her students Symphony No. 5, C Minor, Op. 67 Ludwig van BEETHOVEN have won honors from such organizations as MMTA, MTNA, State Solo and Ensemble, District Allegro con brio (1770–1827) Large Ensemble, All-State Orchestra, and COMP. While in Columbia, Missouri, Maddaleno was a Andante con moto conducting student of Maestro Kirk Trevor and acted as musical assistant of the Missouri Symphony Simon Zerpa Carballo, conductor Society Conservatory. Since leaving Columbia, Maddaleno has been involved in festivals and Allegro workshops including those by The International Conducting Institute and Miami Music Festival. Allegro Megan Maddaleno, conductor SIMÓN ZERPA Simón Zerpa is an energetic and charismatic orchestra conductor who was trained as a violinist in the National System of Youth Orchestras and Choirs of Venezuela. Most recently, Zerpa has been named to serve as the 2019 Karen Smuda Emerging Conductor at the Peninsula Music Festival. ——— Intermission ——— In recent years, Mr. Zerpa has maintained an active conducting schedule throughout the United States and abroad. In 2015, he co-produced and conducted an orchestral festival in Mérida, Venezuela, Orquesta Jóvenes de Mérida. The same year, Simón collaborated with American composer and Tales of Hemingway for Cello and Orchestra (2015) Michael DAUGHERTY Pulitzer Prize winner David Land, conducting his work Pierced at the composer’s Festival at the 1. Big Two-Hearted River (1954) University of Shenandoah. 2. For Whom the Bell Tolls In 2017, he toured in Argentina with the orchestra of the Shenandoah Conservatory as assistant 3. The Old Man and the Sea director to the Venezuelan conductor Jan Wagner and had the opportunity to conduct in multiple 4. The Sun Also Rises cities of the tour. Anthony Arnone, cellist Zerpa made his opera debut conducting Mozart’s Magic Flute with the Shenandoah Conservatory Opera in April 2017. Then, by the end of that year, Simón was invited to conduct at the most important music education conference in the United States, the Midwest Clinic, with the Sartartia Middle School Orchestra whose live recordings can be found on the Amazon platform. In 2018, Mr. Zerpa was engaged as assistant conductor at the National Music Festival with Maestro Richard Rosenberg. Simón Zerpa is currently pursuing his doctorate in orchestral conducting at the University of Iowa under the tutelage of Maestro David Becker and also serves as the orchestra artistic director of the College Community Orchestra at Central College in Pella.

In consideration of our performers and guests, please take a moment to turn off your cell phone. University of Iowa Symphony Orchestra Professor David E. Becker, Interim Director of Orchestral Studies SCHOOL OF All UISO students rotate part assignments and seating throughout the year