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