54th Annual Concert 2012–13 Season Sunday 14 April 2013 598th Concert Miller Auditorium 3:00 p.m.

UNIVERSITY Bruce Uchimura, Conductor Jeffrey Spenner, Graduate Assistant Conductor Ahmed Anzaldúa, Guest Graduate Student Conductor D. GILES SIMMER, Soprano Soloist YOUYANG QU, Violin Soloist MINGYUAN YANG, Soloist

Giuseppe Verdi to La forza del destino 1813–1901

Gaetano Donizetti “Quel guardo il cavaliere” from Don Pasquale 1797–1848 D. Giles Simmer, Soprano Ahmed Anzaldúa, Conductor

Jean Sibelius in Opus 47 1865–1957 I. Allegro II. Adagio di molto III. Allegro, ma non tanto Youyang Qu, Violin

intermission

Johann Nepomuk Hummel in 1778–1837 I. Allegro moderato Mingyuan Yang, Bassoon Jeffrey Spenner, Conductor Symphony Number 5 in Opus 107 1809–1847 (“Reformation”) I. Andante: Allegro con fuoco II. Allegro vivace III. Andante IV. Andante con moto – Allegro vivace – Allegro maestoso

The WMU Orchestra thanks Jennet Ingle and Robert Whaley (Professor Emeritus) for their expertise in preparation for this concert. We are also grateful to all of the WMU School of Music faculty and staff for their musical contributions and support to the WMU Symphony Orchestra.

Building em ergencies will be indicated by the flashing exit lights and sounding of alarm s within the seating area. Please walk, DO NO T RUN, to the nearest exit. Ushers w ill be located near exits to assist patrons. Please turn off all cell phones and other electronic devices during the perform ance. Because of legal issues, any video or audio recording of this perform ance is prohibited without prior consent from the School of M usic. Thank you for your cooperation. PROGRAM NOTES

Verdi, Overture to La Forza del Destino Sibelius, Violin Concerto in D Minor

Fate and destiny knock on life’s door with a bold In no violin concerto is the soloist’s first note, delicately statement by the orchestra brass section, of three dissonant and off the beat, so beautiful. Indeed, in declamatory notes at the beginning of ’s September 1902, Sibelius wrote to his wife that he had tragic opera La forza del destino (The Force of Destiny). just had “a marvelous opening idea” for a concerto. At Premiered in 1862 and then again in 1869 with a the beginning of 1904 Sibelius had time to put the revised version, the work contains all the essentials of late finishing touches to his Violin Concerto in D Minor. The romantic Italian opera. La forza del destino is a tragic first public performance of the concerto was on February story of love, betrayal, misunderstanding, and 8, but the soloist Viktor Novácek could not convince the hopelessness. audience of the value of the work. Sibelius withdrew the concerto; he condensed it and made the solo part easier. The overture is one of Verdi’s most popular concert On October 19, 1905, the concerto received its premiere works. Composed in distinct and separate sections, each in its final form in . The piece had been episode portrays some emotional aspect of the opera’s re-dedicated to the Hungarian child prodigy, Franz von tragedies. It is a fantastic and engaging overture that will Vecsey, who was at the time only 12-years old. Vecsey keep the audience begging to hear the plots and championed Sibelius’ concerto, and first performed it at emotions that will follow in the opera. Verdi was also an age 13. Shortly afterwards, Sibelius’ friend Rosa incredible orchestrator and uses his instruments in a very Newmarch told him that “in fifty years’ time, your personal and recognizable style. concerto will be as much a classic as those of Beethoven, – Bruce Uchimura Brahms and Tchaikovsky.” How right she was!

The opening movement employs , modified Donizetti, “Quel Guardo il Cavaliere” from Don in that a succinct for the soloist replaces the Pasquale usual development section. The exposition consists of three theme groups — a doleful melody announced by The aria “So anch’io la virtù magica” can be found in the soloist over murmuring strings, a yearning theme the first act of ’s opera Don Pasquale. initiated by and cellos with rich Donizetti was born into a very poor family with little accompaniment, and a bold, propulsive strophe in musical influence. Through his own hard work, as a march rhythm. The development-cadenza is built on the young boy Donizetti received scholarship to further opening motive and leads directly into the recapitulation his musical studies. His studies eventually lead to of the exposition themes, here considerably altered from contracts in Naples, Rome, Milan, and Austria. Don their initial appearances. A coda, filled with flashing Pasquale is considered one of Donizetti’s most famous figurations for the soloist, closes the movement. operas and a masterpiece in the opera buffa style. It was written for and premiered in Paris in 1843 by four of the The second and third movements proceed from another most famous singers of the time. This aria is our first level of ambition, which does not mean, however, that glimpse of the young widow, Norina, who has been the Adagio is anything other than one of the most conspiring with Dr. Malatesta to teach Don Pasquale a moving pages Sibelius ever achieved. Between its lesson for being so foolish to think that he could get introductory measures and the main theme there is a married at such a belated age. In this scene, Norina is fascinating disparity. and in pairs alone and reading a book from which she recites a suggest an idea of rather tentative tone (and surprisingly passage only to toss the book aside as she laughs at the Wagnerian cast), a gentle beginning leading to the entry situation she describes. This gives a great deal of insight of the solo violin and to a melody of vast breadth. It is to into Norina’s own feelings that men are very easily be played sonoro ed espressivo. It speaks in tones we deceived by her many charms, which she describes as know well and that touch us deeply. Sibelius himself she continues to wait for Dr. Malatesta’s arrival. never found, perhaps never sought such a melody again: – D. Giles Simmer this, too, is farewell. Very lovely, later in the movement, is the sonorous fantasy that accompanies the melody (now in and bassoon) with scales, all pianissimo, broken octaves moving up in the violin, and the soft rain of slow scales in and plucked strings. It was not until the late 1930s that Sibelius’ Violin Mendelssohn, Symphony Number 5 in D major Concerto began to be accepted into concert repertoire, largely championed by the late Jascha Heifitz. Earlier the The late opus number 107 and the title Symphony distinguished scholar Sir Donald Tovey had described Number 5 imply that this was Mendelssohn’s last this movement, rather unkindly, as a “Polonaise for Polar symphony. Indeed, “The Reformation Symphony” was bears,” which tended to reflect reactionary opinion not performed until 1868 after his more popular current some eighty years ago. True also that Sibelius is “Scottish” and “Italian” . In reality, this was one of the really smashing virtuoso . It would be Mendelssohn’s first large scale and full orchestral a mistake, though, to associate it with the merely virtuosic symphony. He began composing it in 1829, intending to tradition. The concerto has highly diverse ideas and the finish it in time for the 300th year celebration of Martin unity that bond them into one. Its daring substitute for a Luther’s Augsburg Confession in 1830. Through a string conventional development, its recapitulation that of unfortunate events, the “Reformation” Symphony was continues to explore, rearrange, and develop, its not completed and performed until many years later. It is wedding of violinistic brilliance to compositional played much more today than it was in Mendelssohn’s purposes of uncommon originality, is one in which the lifetime. breath of the symphonist — one who was to become perhaps the greatest symphonist since Brahms — is not Felix Mendelssohn was of Jewish heritage but was raised to be mistaken. a Lutheran. The “Reformation” Symphony was clearly a – Youyang Qu tribute to his Lutheran faith and his deep respect for and the Baroque era of music. Hummel, Bassoon Concerto in F Major Mendelssohn was largely responsible for the revival of Bach’s music, which had been dormant until this time. was an Austrian pianist, , and conductor. Hummel was a child prodigy The first movement begins with an Andante that presents and when Mozart noticed his superb skills, he taught the the “Dresden Amen” theme in the strings and sets a young boy without compensation. During a concert tour prayerful mood. This is contrasted by a more to England, Hummel met Franz , with declamatory motive for the woodwinds and brass. The whom he later studied. Hummel went on to become the following Allegro con fuoco is a contrapuntal battle Konzertmeister at the court of Prince Nikolaus Esterhazy between these two presentations in various rhythmic (he was Haydn’s successor), and was Kappelmeister in guises. Stuttgart and Weimar. In his lifetime, Hummel was widely recognized as an exceptional soloist, teacher, The second movement is a scherzo and trio with less conductor, and composer. His most celebrated student apparent musical struggle then in the outer movements. was , but he also influenced Chopin, The woodwinds present a folk-like theme attached to a Schumann, and Liszt. Although he wrote ballets, operas, charming and danceable rhythm. The oboes play a several concertos and solo keyboard works, these waltz-like melody in the contrasting trio section. It is a remain largely forgotten. His most famous work is the joyful respite to the inextinguishable musical battle of the Concerto, which is still widely performed. first movement.

The Bassoon Concerto in F Major was probably The religious sounding and reflective third movement is premiered in 1805, although there is no record of the brief and acts as a bridge to the Finale. The violins first performance. According to the title page, the piece dominate this “musical prayer” with an expressive and is dedicated to Signor Griesbacher of , who beautiful musical line that resembles an operatic clearly was a virtuoso bassoonist. The piece is recitative. reminiscent of concertos written by Mozart and Haydn, adhering to classical forms, but as indicated by the title, The beginning of the Finale quotes the famous Lutheran elevated to almost symphonic dimensions. The first chorale “Ein’ feste Burg ist unser Gott” (A mighty fortress movement is comprised of exacting runs and demanding is our God) played by woodwinds and brass instruments. leaps, and is considered by many to be the most difficult This gives way to an energetic Allegro maestoso that also work for bassoon from the Classical era. quotes a fugue theme from one of Bach’s Solo Violin – Mingyuan Yang Sonatas and other familiar motives. The movement ends triumphantly and optimistically with a regal statement of the opening chorale. – Bruce Uchimura 2013 CONCERTO SOLOISTS

Soprano D. Giles Simmer is a graduate student music festivals in China, Italy, Korea, Russia, and majoring in performance; she studies with Dr. the United States. In Italy she won the concerto Karen Kness. She received a Bachelor of Arts in competition prize at the Orfeo Music Festival. In music from Hillsdale College in Hillsdale, Russia, she was awarded the “best performance” Michigan, where she was a Howard Music prize and won first place in the concerto Scholar and an L.A. Weichselfelder Scholar. A competition at the New Star International Music native of Atlanta, Georgia, Simmer won second Festival. In 2011 she won Best Classical Soloist by place at the 2013 National Association of DownBeat magazine as part of the publication’s Teachers Singing (NATS) regional competition and student music awards competition. Qu serves as was a semi-finalist at the 2012 Harold Haugh concertmaster of the University Symphony Light Opera Competition. Simmer has performed Orchestra, plays regularly as a chamber musician, with the Arbor Opera Theatre, Opera Grand and has performed with various ensembles, Rapids, Rackham Symphony Chorus, Comic including WMU’s Collegium Musicum and Opera Opera Guild, and the Michigan Opera Theatre. Workshop. Her performances have included Le Nozze di Tutte, The Red Mill, , Lucia di Lammermoor, The Grand Duchess of Gerolstein, Bassoonist Mingyuan Yang is a freshman Die Fledermaus, La Boheme, Carmen, and The majoring in performance; he studies with Dr. Mikado. Simmer was recently accepted into two Wendy Rose. He is a WMU Diether H. Haenicke summer vocal programs, OperaMaya in Tulum, Scholar. Yang graduated from The Affiliated High Mexico and the American Institute of Musical School of Wuhan Conservatory of Music in Studies (AIMS), in Graz, Austria. She has been a Wuhan, China. As a student at Wuhan, Yang staff singer at St. John’s Episcopal Church in presented a solo bassoon concert, the first of its Detroit since 2009, and was previously a staff kind since the Conservatory’s founding in 1920. singer at both Christ Church Cransbrook at West Yang has been invited to perform for master Bloomfield and All Saints Episcopal Church in classes at the International Bassoon Festival in Atlanta. Simmer is also an active member of Beijing, China in 2009 and 2012. Sigma Alpha Iota, the international music fraternity for women, serving as the Vice President of Membership for the Detroit Alumnae Chapter from 2008–10. When she is not in Kalamazoo, Simmer lives in Detroit with her husband, Dean, and dog, Bear.

Violinist Youyang Qu is a senior majoring in performance; she studies with Professor Renata Artman Knific. She is a member of WMU’s Lee Honors College and is a Nancy Monsour-Michael Shubeck College of Fine Arts Distinguished Scholar and a Kalamazoo Symphony Orchestra/Western Michigan University Artist Scholar. Qu, from Changchun, Jilin, China, is a graduate of the China Conservatory of Music. Accepted to WMU on a full scholarship in 2009, she won the School of Music’s concerto competition as a freshman and performed with the University Orchestra as a soloist. A highly skilled and prize-winning violinist, Qu has attended UNIVERSITY SYMPHONY ORCHESTRA Bruce Uchimura, Conductor Jeffrey Spenner, Graduate Assistant Conductor

Violin I Clarinet ÏÑ Melissa Taddie, Concertmaster, Strongsville OH Õ Margaret Albrecht, Beverly Hills Sophie Petroski, Boise ID Elisabeth Waldburger, Grainger IN ÎÏ Liang Dong, Beijing, CHINA Stephanie Torok, Plymouth Audrey Jansma, Fremont Ruth Daley, Kalamazoo (assisting) Ð Ariele Macadangdang, Kalamazoo ÎÏ Shu Wang, Beijing, CHINA Bassoon Rachel Mostek, LaGrange Park IL Josh Hart, Principal, Mattawan Erin Zuchniewicz, Novi Whitney Miller, Assistant Principal, Dumfries VA Mingyuan Yang, Zhengzhou, CHINA Violin II Joseph Swift, Howell (assisting) Charlotte Munn-Wood, Principal, South Bend IN Michelle Bessemer, Port St. Lucie FL Trumpet Lindsey Mroczek, Mattawan Adam Phillips, Co-Principal, Kalamazoo Veronica Cieri, Dearborn Adam Stowe, Co-Principal, Clarklake Nick Voyt, Newaygo Mitchell Curry, West Chester OH Thomas Hanawalt, Grass Lake Brandon Pacheco, Mount Morris Anne Rhode, Farmington Hills Luke Walton, Palmyra NY Nathan Bagby, Tecumseh Elizabeth Glasser, Kalamazoo Mackenzie Harris, Portage Viola Ö Molly Zebell, St. Joseph Josh Holcomb, Principal, Kalamazoo Amanda Smith, Wayland Ï Laura Boekeloo, Portage Anibal Hernandez, Principal, Hatillo, PUERTO RICO Kristin Benes, Downers Grove IL Luke Marlowe, Byron Center Janay Hughes, Oak Park × Evan Clifton, Bass Trombone, Howell Jonathan Boyd, Farmington Hills Rebecca Dube, Ray Township Lukas Stanley, Midland Travis Netzer, Kalamazoo Katelyn Herring, Shelbyville Cello Christopher Guthrie, Principal, Portage Willis Koa, Principal, West Bloomfield Ò Warren Oja, Royal Oak Percussion Ó Carrie Brannen, Wyoming Andrew Maxbauer, Principal, Traverse City Allyson Perez, Santo Domingo, DOMINICAN REPUBLIC Ø Skye Hookham, Ann Arbor Katie Nicholls, Beverly Hills Amber Feltrin, White Lake Brittany Harris, Rochester Taylor Crow, Saint Joseph Harp Samantha Hickey, Clarkston Alison Reese (assisting) Matthew Heyboer, Holland

Double Bass Orchestra Staff Î Brett Armstrong, Co-Principal, Grand Rapids × Evan Clifton, Manager Steven Fernandez, Co-Principal, Farmington Hills × Paul Clifton, Librarian Andrew Rose, Kalamazoo Craig Kowalsky, Commerce Kyle Pitcher, Dorr Mike Horrigan, Grand Rapids Î KSO/WMU Artist Scholar Ï Rhea Yeager Fetzer Scholar Ð Julius & Esther Stulberg Scholar Sandra Fernandez, Principal, Guayaquil, ECUADOR William & Fiona Denny Scholar Jory King, Westland Ò Herbert Butler Scholar Ô Maria Eugenia Vallejo, Quito, ECUADOR Ó Carroll Haas Scholar Ô John & Patricia Schaefer Scholar Õ Tucky & Charles Elliott Scholar Lucas Florin, Principal, St. Clair Shores Ö Beulah & Harold McKee Scholar Kayla Pingel, Farmington × Russell Brown Scholar Michael Wessels, English Horn, Wayland Ø Harper C. Maybee Scholar