111220 University Philharmonia

THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents

THE UNIVERSITY PHILHARMONIA Alexander Jiménez, Music Director and Conductor Nathan Haines, Assistant Conductor

Thursday, November 12, 2020 Seven-thirty in the Evening Opperman Music Hall Live: wfsu.org/fsumusic

PROGRAM Overture to The Creatures of Prometheus, Op. 43

Nathan Haines, conductor On the Banks of Green Willow

Nathan Haines, conductor

Ludwig van Beethoven (1770–1827)

George Butterworth (1885–1916)

— Pause — Symphony No. 2 in D Major

Allegro presto Andante Presto

Joseph Bologne, Chevalier de St. Georges (1745–1799)

— Pause — Simple Symphony, Op. 4

I. Boisterous Bourrée

II. Playful Pizzicato

III. Sentimental Sarabande

IV. Frolicsome Finale

Benjamin Britten (1913–1976)

— Pause — L’Arlesienne Suite No. 2 Pastorale Intermezzo Minuet Farandole

Georges Bizet (1838–1875)

Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members.

Thank you for your cooperation.

MUSIC DIRECTOR AND CONDUCTOR Alexander Jiménez serves as Professor of Conducting, Director of Orchestral Activities, and String Area Coordinator at the Florida State University College of Music. He has served on the faculties of San Francisco State University and Palm Beach Atlantic University. He has degrees from Baylor University (BM) and the Florida State University (MM, MME, and DM). Jiménez studied with Phillip Spurgeon, Michael Haithcock, and the late Anton Guadagno. As a former percussionist and timpanist, he studied with Gary Werdesheim, Larry Vanlandingham, Keiko Abe, and Cloyd Duff.

Under his direction the FSU Orchestras have continued their long tradition of excellence.

Both the undergraduate University Philharmonia and the University Symphony Orchestra under Dr. Jiménez have championed new music and collaborated with such composers as Krzysztof Penderecki, Martin Bresnick, Anthony Iannaconne, Christopher Theofanidis, Ellen Taaffe Zwilich, Chen Yi, Zhou Long, and Ladislav Kubik. In 2007 the USO was featured in the PBS special Peanuts Gallery® which was awarded Best Performance of 2007 by the National Educational Telecommunications Association. Jiménez has recorded with the Mark, CBC/Ovation, Col Legno, Neos, and Naxos labels. In 2016 the USO was chosen as the featured orchestra at the National Conference of the American String Teachers Association.

Jiménez is active as a guest conductor, teacher, and adjudicator throughout the United States, Europe, and the Middle East, where he has appeared in Austria, Belgium, the Czech Republic, Italy, and Israel. Since 2009 he has served on the international jury panel of the European Festival of Music for Young People in Neerpelt, Belgium, and in 2013 was named International Festival Ambassador. Dr. Jiménez is in demand conducting honor and all-state orchestras throughout the U.S. and is conductor of the Blue Lake Arts Camp Festival Orchestra. In Tallahassee, he appears regularly as guest conductor of the Tallahassee Symphony Orchestra and served as the music director of the Tallahassee Youth Orchestras from 2000-2017.

Dr. Jiménez is a past president of the College Orchestra Directors Association. He holds memberships in the College Orchestra Directors Association, the National Association for Music Education, the Florida Orchestra Association, and the League of American Orchestras.

NOTES ON THE PROGRAM Beethoven: Overture to Creatures of Prometheus, Op. 43 We tend not to think of Beethoven as a theatrical composer. We think symphonies, we think sonatas, we think string quartets and piano trios and concertos. After all, he wrote only one opera (Fidelio) plus a smattering of incidental music.

And there’s a ballet: The Creatures of Prometheus, written for the Vienna Court Theater. We don’t know very much about the production. What we have is an overture, an introduction, fifteen dance numbers, and a finale, written about the same time as Beethoven’s first symphony.

The Overture is a jim-dandy bit of orchestral magic that opens with a resounding wallop and continues to a passage of dignified nobility, then erupts into high-spirited muscularity.

Beethoven packed a lot of music into the overture’s approximately five minutes.

Nota bene: one of the Prometheus dance numbers is a modest little contredanse that went on to great things: Beethoven re-purposed it for the finale of the Eroica symphony, in which he cultivated that modest nugget of a tune into a towering edifice of Western music.

– Scott Foglesong

Butterworth: On the Banks of Green Willow Butterworth was a great English composer who never fulfilled his potential because his life was cut tragically short in the First World War. However, the prevailing view among music historians is that this was a young man who had much, much more to offer the world of classical music. He wasn’t the only significant loss suffered by the world of the arts during the Great War. The composer Granados famously perished at sea, his ship torpedoed by a German U-boat in 1916. The poet Edward Thomas, a member of the same regiment as Butterworth, died in the Battle of Arras in 1917. By then, Butterworth himself was already dead; a trench is named after him between Gloster and Munster alleys. What seems to make Butterworth’s case so much more tragic is the fact that he destroyed many of his existing manuscripts in 1914, before going to war.

The Banks of Green Willow was written in 1913, a short pastoral idyll. It is loosely based on the song that Vaughan Williams had lovingly recorded on one of his folk safaris in 1909. It has become almost a symbol of that long-lost halcyon Edwardian age, as if Butterworth were transcribing the disappearing world around him.

Saint-Georges: Symphony No. 2 in D Major The story of Joseph Bologne, Le Chevalier de Saint-Georges, is worthy of a great novel.

Sadly, too little is known about this remarkable man.

Born in Guadeloupe, Chevalier de Saint-Georges enjoyed a career that inspired fictional embellishment. The son of a French planter and a slave of Senegalese origin, he settled with his parents in France, where his father, in 1757, was ennobled as Gentilhomme ordinaire de la chambre du roi. He was raised by his father to excel as a swordsman, an art in which he won an international reputation. At the same time he emerged as a virtuoso violinist and as a composer. He directed the Concert des Amateurs and then the Concert de la Loge Olympique, for which symphonies were commissioned from Haydn. He was in the service of the old Duke of Orléans, after whose death he spent some time in England (where he was involved in a fencing match with the transvestite Chevalier d’Eon). He returned to join the entourage of the new Duke of Orléans, known as Philippe Égalité. He was later a captain in the Guarde Nationale in Lille before founding his Légion Nationale des Américains et du Midi. Imprisoned during the days of The Terror, he spent his final years in Paris, where he tried to revive the instrumental music in which he had been so successful.

Saint-Georges wrote music for the theatre, including operas and works involving dance and song. His instrumental music includes Symphonies concertantes for two violins and a number of solo violin concertos. His chamber music includes quartets and violin sonatas. Tonight’s work, the Symphony No. 2 in D, is actually music from an overture from the comic opera and ballet, L’Amant Anonyme, which was first performed 8 March 1780.

Britten: Simple Symphony In his last year as a student at the Royal College of Music, the twenty-year-old Britten won a modest travelling scholarship as a result of which he intended to study under Alban Berg in Vienna. Such was the reaction against serial music at the time that he was eventually dissuaded by both the College and his parents. Quelling his disappointment, he started work instead on the Simple Symphony, which was dedicated to his viola teacher and was first performed in Norwich on 6th March, 1934.

The work consists of movements or excerpts from a number of early childhood pieces written between the ages of nine and twelve, which Britten re-scored and supplemented as necessary to produce a work which, despite the somewhat flippant titles of the movements, is of considerable stature and a good example of Britten's ability to invest the commonplace with new freshness and spontaneity.

The first movement, "Boisterous Bourree," is a brisk contrapuntal allegro, built mainly from two contrasting motives, one spiky and the other more lyrical. The "Playful Pizzicato" which follows is effectively a scherzo and trio, marked as fast as possible and played pizzicato throughout. The ensuing slow Saraband is a movement of haunting eloquence, with many of Britten's characteristic harmonic touches. The "Frolicsome Finale" is built from a powerful upthrusting phrase, first given in unison. The development of this simple idea is astonishingly bold and eventful.

– Richard Thompson Used with permission of The Brandon Hill Chamber Orchestra of Bristol, UK

Bizet: L’Arlésienne Suite No. 2 L’Arlésienne was a short story by Alphonse Daudet, included in his 1869 collection “Letters From My Windmill,” which depicts life in Southern France. In the story, Jan, a young man from the village, has fallen in love with a woman from the larger, coastal town of Arles (near Marseille). More cosmopolitan (perhaps), she has had other lovers, and the townspeople disapprove - he is forbidden to see her. (So is the audience - she never appears in the play!)

Heartbroken, Jan commits suicide, a very common plot point in the Romantic era, with its penchant for tragic romantics. Bizet, himself, was to die at 36.

From the 27 pieces of incidental music he wrote for the play form of L’Arlésienne, Bizet arranged an orchestral suite (Suite No. 1.) After Bizet’s death, his friend Ernest Guiraud arranged a “Suite No. 2 from L’Arlésienne.” Guiraud actually took one movement, the Menuetto, from another work, Bizet’s opera The Fair Maid of Perth.

– Reuben Blundell

University Philharmonia Personnel

Alexander Jiménez, music director and conductor Nathan Haines, assistant conductor Violin Alexa Lang ‡ Alyssa Orantes ‡ Abbie Ringdahl ‡ Mackenzie Nies* Samantha Satizabal-Prieto* Alaina Barnett Sean Hartman Michael Mesa Tyler Tran Max Vanhoeij Max Warren Elliott Weeks Viola Marina Akamatsu* Joshua Singletary* Alejandra Irizarry Calen Willis Cello Jenna Bachmann* Clare Bevensee* Tiffany Peterson* Mary Katherine Gelasco Grace Lege

Bass Alejandro Bermudez* Alex Gay* Allen Cadet-Civil Payton Liebe Christian Maldonado Chase Rowe Harp Jillian Rawlins Flute Julia Sills* Heeseo Han Oboe Jennifer McHenry* Gennavieve Wrobel* Clarinet Hunter Robertson* Christina Trombly Bassoon Emmalee Odom* Harrison Cody

Saxophone Jason Shimer Horn JP Collins* Xander Hellhake* Trumpet Vance Garven* Zachary Price* Trombone Madison Selent Timpani/Percussion Ashlee Allaire Orchestra Manager Amanda Frampton Librarian Nathan Haines Kyara Nelsen Administrative Assistant Willow Larson

† Concertmaster * Principal

UNIVERSITY MUSICAL ASSOCIATES 2019-2021 Gold Circle Drs. Charles and Sharon Aronovitch Jelks Family Foundation * Tom Denmark * Emory and Dorothy Johnson Avon and Louie Doll * Bob Parker Patrick and Kathy Dunnigan Jerry and Ann Price Maximilian and Gale Etschmaier * Charles and Persis Rockwood Kevin and Suzanne Fenton Jim and Betty Ann Rodgers Fred and Linda Hester Francis and Karen Skilling Glenn Hosken Bret Whissel Benefactors * Tom and Cathy Bishop Michael and Judy Sheridan Karen Bradley Dr. James C. and Elizabeth Smith * Jimmie and Donna Callaway Michael and Jennifer Thrasher DeLos F. DeTar Bill and Sally Wendt Richard Dusenbury and Kathi Jaschke * Teresa Beazley Widmer John and Mary Geringer Marilynn Wills COL Reid Jaffe and Ms. Susan Z. Cornwell Kathy D. Wright Claire Kelly Lifetime Members Les and Ruth Ruggles Akers Sally and Fred Kreimer John and Willa Almlof Beverly Locke-Ewald Florence Helen Ashby Ralph and Sue Mancuso Mrs. Reubin Askew Meredith and Elsa L. McKinney Nancy Bivins Ermine M. Owenby Ramona D. Bowman Mike and Judy Pate André and Eleanor Connan Jane Quinton Russell and Janis Courson David D. Redfield * Ginny Densmore Laura and Sam Rogers, Jr. Nancy Smith Fichter and Robert W. Fichter Connie Sauer-Adams and Len Adams Stan and Carole Fiore Jean T. Souter Patricia J. Flowers Drs. Louis and Julia St. Petery Jane E. Hughes Sharon Stone Hilda Hunter Elaine Swain Julio Jiménez Catherine Tharpe Kirby W. and Margaret-Ray Kemper Brig. Gen. and Mrs. William B. Webb Patsy Kickliter Rick and Joan West Anthony M. and Mallen E. Komlyn John L. and Linda M. Williams *University Musical Associates Executive Committee

Corporate Sponsors Beethoven & Company Peter Boulware Toyota

Business Sponsors WFSU Public Broadcast Center

Sustainers Kathryn M. Beggs * Marc and Kathryn Hebda James and Rochelle Davis Greg and Margo Jones Floyd Deterding and Kelley Lang Annelise Leysieffer Diane and Jack Dowling * Lisa and John Rutledge Grady Enlow and June Dollar Dr. Gayle and Dr. Douglass Seaton William Fredrickson and Suzanne Rita Byrnes Denise Von Glahn and Michael Broyles Larry Gerber

Joyce Andrews Tom and Christine Ballinger Patricia and Buddy Barker Marty Beech Greg and Karen Boebinger John and Eileen Boutelle Kathryn Karrh Cashin Pete and Bonnie Chamlis Causseaux-Young Robert and Linda Clickner Malcolm Craig Jim and Sandy Dafoe Margaret and Russ Dancy Joy and James Frank Bryan and Nancy Goff John and Pat Goldinger Marylee and Tina Haddon Louis V. and Kathryn T. Hajos Ocie and JoElla Harris Myron and Judy Hayden Dottie and Jon Hinkle Todd Hinkle Jonathan Jackson and Greg Springer

Sponsors Alexander and Dawn JimÊnez Alan R. Kagan, MD Howard Kessler and Anne Van Meter Dennis G. King, Esq. Jeff and Nancy Lickson Linda and Bob Lovins William and Gayle Manley Helen and Tom Martineau Robert and Patricia McDonald Frank and Francesca Melichar Walter and Marian Moore Ann W. Parramore Robert and Caryl Pierce JoAnne and David Rasmussen Stephen and Elizabeth Richardson Dottie Roberts and Doug Bruce Ken and JR Saginario Annelise Sapp Bill and Ma’Su Sweeney Susan and Stephen Turner David and Jane Watson Michael and Patricia Wilhoit Candy and Barbara Williams

Don Beeckler Norma T. Benton Mary S. Bert Carl and Marcia Bjerregaard Paul and Alice Blackhall Kip and Joan Carpenter Adele Cunningham Mrs. Joseph C. D’Annunzio Pamala J. Doffek John S. and Linda H. Fleming Nicole Folkert Dr. Fred Frank L. Kathryn Funchess Bruce and Luisa Gillander Ruth Godfrey-Sigler Julie Griffith Jerry and Bobbi Hill Anne R. Hodges Sally and Lincoln Jarrett Judith H. Jolly J.F. and Barbara Jones Frances Kratt / Judith Flanigan John and Marty Larson Donna Legare and Jody Walthall Joan Macmillan Alan and Marilyn Marshall Emoryette McDonald Michael and Joanne Mendez Mike and Pat Meredith

Patrons Ann and Don Morrow Drs. William C. Murray and Toni Kirkwood-Tucker Albert and Darlene Oosterhof Mr. and Mrs. Clyde Palmer Chris and Cyndi Panzarino Ann E. Parker Karalee Poschman and Jana Sterling Gloria Priest Penny Ralston and Chester Davis Amy Recht Edward Reid Nancy Stone Ross John and Carol Ryor Paula S. Saunders Jeanette Sickel Carey Smith Pat St. Angelo Richard Stevens Lee and Ramona Stewart Judy and Mike Stone James Streem George and Jackie Sweat Marjorie Turnbull Dr. Ralph V. Turner Paul Van Der Mark Sylvia B. Walford Geoffrey and Simone Watts Art Wiedinger

Associates Sam and Norma Adams Jayme Agee Victoria Alberton Patricia Applegate Jim and Kitty Ball Karl and Melissa Barton Hillman and Lin Brannon Harriet R. Chase Margaret A. Chase David and Mary Coburn Carla Connors and Timothy Hoekman Joan and Dave Custis

Dr. Bob Cutlip * J. W. Richard Davis David Dickel John Dozier and Martha Paradeis Sena and Jody Finklea Betty Foltz Gigi Foster and Betty Serow Dr. Nancy Fowler Mildred L. Fryman and W. V. McConnell Jean Fuller Debbie Gibson Laura L. Glenn

Associates cont’d Deborah W. Glotzbach Harvey and Judy Goldman Sue Graham Margarita H. Grant Mary Anne Gray and Marcia Humphress Brenda Grindstaff and Steven Ferst Miriam R. Gurniak Mary Stuart Hartmann Donna H. Heald Madeleine Hirsiger-Carr Karolyn Holmes O. Dean Kindley Joseph Kraus Sylvia and John Labie Charles and Dian LaTour Ellen Lauricella William and Debora Lee John D. Lucasse Daniel and Arlene MacDonald Jerry and Terri Mast Jerry V. McBee Lealand and Kathleen McCharen Mr. and Mrs. Joe McGlothlin Leo L. Minasian, Jr. Marjorie M. Morgan Deborah Morningstar and Max Thompson The National Orchestral Association

Karen Randolph Robert Reardon / Janet Lenz David Reed Mark and Cynthia Repasky George Riordan and Karen Clarke Sanford Safron Drs. David and Winnie Schmeling Gerry Shubrick Sudarat Songsiridej and Mary Schaad Alice Spirakis Ted and Andréa Stanley Rick and Carole Stewart Joyce and Joe Toman Park and Linda Trammell C. Richard and Phrieda L. Tuten Steve Urse Vic and Mary Helen Venos Stephan von Molnár Scott and LaDonna Wagers Tom and Janie Weis Karen Wensing Erin Werner Adelaide Whitaker Barbara Wood Jeff Wright Doug Wussler

The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 644-4744.

The Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at (850) 644-3424 at least five business days prior to a musical event if accommodation for disability or publication in alternative format is needed.