PROGRAM
Concerto for Oboe and Small Orchestra Richard Strauss
Allegro moderato (1864–1949)
Andante
Vivace
— Brief Pause —
Ein Deutsches Requiem, Op. 45 (A German Requiem) Johannes Brahms Selig Sind, die da Leid tragen (Blessed are they that have sorrow) (1833–1897)
Denn alles Fleisch est ist wie Gras (For all flesh is as grass)
Herr, lehre doch mich (Lord, let me know)
Wie lieblich sind diene Wohnungen (How lovely are thy dwelling places)
Ihr habt nun Traurigkeit (You now have sorrows)
Denn wir haben hie keine bleibende Statt (For we have no abiding city)
Selig sind die Toten (Blessed are the dead)
Meg Schiliro, soprano
Logan C. Kenison, baritone
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.
Eric Ohlsson, oboe
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Alexander Jiménez serves as Professor of Conducting, Director of Orchestral Activities, and String Area Coordinator at the Florida State University College of Music. Prior to his appointment at FSU in 2000, Jiménez served on the faculties of San Francisco State University and Palm Beach Atlantic University. Under his direction, the FSU orchestral studies program has expanded and been recognized as one of the leading orchestral studies programs in the country. Jiménez has recorded on the Naxos, Neos, Canadian Broadcasting Ovation, and Mark labels. Deeply committed to music by living composers, Jiménez has had fruitful and long-term collaborations with such eminent composers as Ellen Taafe Zwilich and the late Ladisalv Kubík, as well as working with Anthony Iannaccone, Krzysztof Penderecki, Martin Bresnick, Zhou Long, Chen Yi, Harold Schiffman, Louis Andriessen, and Georg Friedrich Haas. The University Symphony Orchestra has appeared as a featured orchestra for the College Orchestra Directors National Conference and the American String Teachers Association National Conference, and the University Philharmonia has performed at the Southeast Conference of the Music Educators National Conference (now the National Association for Music Education). The national PBS broadcast of Zwilich’s Peanuts’ Gallery® featuring the University Symphony Orchestra was named outstanding performance of 2007 by the National Educational Television Association.
Active as a guest conductor and clinician, Jiménez has conducted extensively in the U.S., Europe, and the Middle East, including with the Brno Philharmonic (Czech Republic) and the Israel Netanya Chamber Orchestra. In 2022, Jiménez led the Royal Scottish National Orchestra in a recording of works by Anthony Iannaccone. Deeply devoted to music education, he serves as international ambassador for the European Festival of Music for Young People in Belgium, is a conductor of the Boston University Tanglewood Institute in Massachusetts and serves as Festival Orchestra Director and artistic director of the Blue Lake Fine Arts Camp in Michigan. Jiménez has been the recipient of University Teaching Awards in 2006 and 2018, The Transformation Through Teaching Award, and the Guardian of the Flame Award which is given to an outstanding faculty mentor. Jiménez is a past president of the College Orchestra Directors Association and served as music director of the Tallahassee Youth Orchestras from 2000-2017.
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Kevin Fenton, Professor of Choral Conducting and Ensembles and Director of the FSU University Singers and Men’s Glee (Collegians), has conducted the Virginia Tech Meistersingers (1998), the University Singers (2002, 2003, 2006, 2007 and 2013), and the Festival Singers of Florida (2012 and 2018) in performances at regional and national conventions of ACDA and NAfME. He has served as a Fulbright Specialist to SubSaharan Africa, teaching choral conducting and conducting pedagogy at Kenya’s Conservatory of Music. In fall 2019, Fenton taught conducting at the Universitas Pelita Harapan in Jakarta, Indonesia. As co-founder of AVoice4Peace, Fenton has held AVoice4Peace events in Kenya, Indonesia, Ireland, China, and for the Florida and Southern Region ACDA conventions. Fenton has conducted choirs in 35 states, including twenty-nine all-state choirs. Internationally, Fenton was a featured conductor for the International Choral Festival and Conference in Xi’an (2017) and Beijing (2007), South Africa’s National Youth Choir (2016), and the Dublin International Choral Festival (2016). A champion of new music, Fenton has conducted over thirty premiere performances.
Fenton has taught graduate and undergraduate courses in choral literature and choral conducting at Florida State University since 2000, and his textbook, Foundations of Choral Conducting, is being used in beginning conducting classes throughout the country. He is a recipient of the Florida State University Teaching Award for Excellence, the Gamma Mu Chapter of Delta Omicron Music Professor of the Year Award, and the Wayne Hugoboom Distinguished Florida Service Award. Fenton is Artistic Director of the Festival Singers of Florida, who are celebrating their 12th season.
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Michael Hanawalt is the Associate Professor of Choral Conducting and Music Education at Florida State University, where he conducts the Chamber Choir, teaches graduate courses in conducting and choral literature, and serves as Artistic Director for the Tallahassee Community Chorus. Hanawalt was a founding member of the professional male vocal ensemble Cantus, serving as both its Executive Director and singing as part of the touring ensemble. Throughout his tenure with the organization, he recorded 12 CDs and performed in or oversaw the booking of over 500 concerts, including collaborations with the King’s Singers, the Boston Pops, the St. Paul Chamber Orchestra, and the Minnesota Orchestra. Dr. Hanawalt is active as a tenor soloist and has won competitions sponsored by the Schubert Club and Thursday Musical. Recent solo performances include Mozart’s Requiem at Tarleton State University (TX) and Westfield State University (MA), Evangelist in Bach’s Matthäus-Passion at the Bethany College Messiah Festival of the Arts, and Beethoven’s Ninth Symphony with the Wichita Symphony Orchestra. He regularly serves as guest conductor for honor choirs, and
his choral arrangements are published by Boosey & Hawkes, the Niel A. Kjos Music Company, and Colla Voce. Hanawalt holds the BM in Vocal Performance from St. Olaf College, the MM in Choral Conducting from Michigan State University, and the PhD in Choral Music Education from Florida State University.
ABOUT THE FEATURED SOLOISTS
Eric Ohlsson enjoys a significant musical career that is varied and far reaching in scope. He is dedicated to both performing and teaching on a national and international scale. His primary position is as the Charles O. DeLaney Professor of Oboe in the College of Music at Florida State University, a post he has held since 1986.
Ohlsson performs regularly as principal oboist of the Tallahassee Symphony, the Palm Beach Opera Orchestra, and in the summer months, with the Brevard Music Center Orchestra, where he has been a member of the Artist Faculty since 1994.
He was formerly principal oboe of the Naples Philharmonic (1986-96), the Columbus Symphony (1975-80), the Augusta Symphony (1982-86), and the South Carolina Philharmonic (1980-86). Additionally, he has played in the same capacity as a guest performer with groups such as the Charlotte Symphony, the Florida Orchestra, and the Jacksonville Symphony.
He has many engagements to his credit as a recitalist and chamber musician the US, Canada, Europe, and South America, and has given solo and chamber recitals at venues such as Weill Recital Hall in New York City, Teatro Colon in Buenos Aires, the Brevard Music Festival in North Carolina, with the City Music Chamber Orchestra in Cleveland, at the Casa Rui Barbosa in Rio, at the Philharmonic Center for the Arts in Naples, Florida, and at the Grand Castle of Vianden in Luxembourg, to name a few. He has performed at Conferences of the International Double Reed Society on ten separate occasions.
Ohlsson has been a featured soloist with the Naples Philharmonic, the Tallahassee Symphony, the Augusta Symphony, the Pro Musica Chamber Orchestra, City Music Cleveland, the Brevard Music Center Festival Orchestra and Brevard Sinfonia, the South Carolina Philharmonic, the South Carolina Chamber Orchestra, the Florida State Chamber Orchestra, and the University Orchestras of Florida State University and The Ohio State University. His repertoire includes the concertos of Haydn, Mozart, Strauss, Francaix, Martinu, Vaughan-Williams, and Zwilich.
As a pedagogue, Ohlsson has taught hundreds of young oboists at FSU, Brevard Music Festival, and at the Vianden International Music Festival. Many of these students now hold important positions as university professors, symphonic performers, and educators
across the country. He has also taught at the University of South Carolina, the South Carolina Governors School of the Arts, Otterbein College, and Denison University.
His degrees are from The Ohio State University (DMA and MM) and James Madison University (BME). His most influential teachers are John Mack, William Baker, James Caldwell, Ben Wright and Travis Cox.
Soprano Meg Schiliro graduated from the University of Kansas with her Bachelor’s Degree in Voice Performance. She continues her education at FSU for a Master’s Degree in Voice Performance under the tutelage of Professor Marcy Stonikas. Recent FSU performances include Hänsel in Hänsel und Gretel and Angelina in La Cenerentola. Other roles include Eugenia in Il Filosofo di Campagna with the Festival of International Opera in Urbania, Italy and Amor in L’incoronazione di Poppea with KU Opera. Schiliro is extremely grateful to be able to work with FSU’s talented creative team. She wouldn’t be here without the constant support of her friends and family and hopes you enjoy the performance.
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Logan C. Kenison is a Tallahassee-based baritone studying at Florida State University in the studio of David Okerlund. A Virginia native, Kenison received the Bachelor of Music degree in Vocal Performance from Old Dominion University in 2022. Kenison has competed and ranked in the top three up to the state and regional level in the National Association of Teachers of Singing Competition, and advanced to compete in the National Competition in 2018 in Las Vegas, Nevada. At the collegiate level, Kenison featured in many roles, including as Mr. Gobineau in The Medium, and Geronimo in Il Matrimonio segreto, and the Lord Chancellor in Iolanthe. Kenison made his professional debut in 2023 as the commissionario in the Virginia Opera’s production of La Traviata. Kenison will be featured as Father Trulove in FSU’s upcoming production of The Rake’s Progress. Choral engagements have included work with Virginia Chorale and the Virginia Symphony. When not singing, Kenison is an amateur student of history, enjoys cooking for his friends and family, and is a lifelong Trekkie.
Strauss: Concerto for Oboe and Small Orchestra
The mobilization of the American people during World War II was nearly universal, and this included musicians. Among those recruited into the Allied effort was John de Lancie, then principal oboist of the Pittsburgh Symphony under Fritz Reiner. He joined the United States Army Band and later served as an intelligence operative in occupied Germany. After the war, he would become one of America’s most prominent oboists, performing in the Philadelphia Orchestra and running the famed Curtis Institute of Music. (His son, incidentally, would become an actor, portraying the character “Q” on Star Trek: The Next Generation.)
Shortly after the war had ended, while he was still stationed in Germany, de Lancie heard that the elderly composer Richard Strauss was living in the Bavarian resort town of Garmisch-Partenkirchen. Curious, the oboist-soldier decided to pay the composer a visit, and Strauss, eager to maintain good relations with occupying American forces, received his fellow musician kindly. Over the course of their conversation, de Lancie asked a burning question: had the old master ever thought about writing an oboe concerto? Strauss answered with a simple, “No.”
To be sure, it was kind of an odd question: oboe concertos are rare, and the 81-yearold Strauss, most famous for his grandiloquent tone poems and operas, had written only three concertos in total (two of them for horn, his father’s instrument). But in any case, de Lancie’s ended up being a very consequential question: shortly thereafter Strauss completed his Concerto for Oboe and Small Orchestra, explaining publicly that he had written it at an American soldier’s suggestion. De Lancie learned of the piece’s existence in the newspaper.
The resulting piece provides an illuminating glimpse into the end of an intriguing and influential musical career. Strauss was first credited with initiating the musical shockwaves of the early twentieth century: this was the composer who burst into the international music scene with the overwhelming flourish of Don Juan in 1888 and scandalized the world with his salacious, harmonically adventurous opera Salome in 1905. But he also began to show a less revolutionary, more nostalgic side as early as 1911 with his comic opera Der Rosenkavalier, set in mid-eighteenth century Vienna (one might almost imagine the opera being performed in the Redoutensaal!). By the 1940s, he had composed himself firmly back into the nineteenth century, with works like Metamorphosen for string orchestra, the Four Last Songs, and his oboe concerto. This regression was a disappointment to those who had deigned him the standard-bearer of atonality, but a welcome development for mid-twentieth-century audiences still eager for the trappings of romanticism.
– Jacob Bancks
Brahms: Ein Deutsches Requiem
“As for the title, I must admit I should like to leave out the word ‘German’ and refer instead to ‘Humanity.’”
– Johannes Brahms
Although the title of Brahms’s magnificent requiem did not change, his quote tells us all we need to know regarding his attitude about this work. In fact, the title “German Requiem” referred specifically to the language. Unlike the requiem of the Catholic church, which is a liturgical mass for the dead, Brahms went out of his way to avoid the words Jesus or Christ in an effort to avoid doctrine and, instead, to offer hope and comfort to those left behind (although the opening words, “Blessed are they that mourn,” are spoken by Jesus in the Beatitudes, which sets the tone for the entire work).
The musicologist Walter Frisch makes the case that Ein Deutsches Requiem was, for Brahms, a very necessary component in his rise as a symphonic composer, which may seem odd considering this is a choral work. Having been given the burden of being compared to Beethoven early in his career by Robert Schumann, Brahms took it upon himself to follow a specific trajectory towards becoming a composer of symphonies. With Ein Deutsches Requiem, his greatest choral-orchestral achievement, he established himself as a major composer and soon after he completed his first symphony. He also demonstrated his most mature writing for the orchestra up to that time. In 1865 he mentioned the idea of a German Requiem to Clara Schumann. In fact, he began assembling ideas for the work as far back as 1857. In 1866, Brahms began devoting his full compositional energy to the work and it was premiered at the Bremen Cathedral in 1868 on Good Friday. The fifth movement – possibly a tribute to his mother who died in 1865 – was added a short while later and the entire seven-part work was heard in Leipzig in 1869.
Although Brahms never attended church, he was very well acquainted with the Lutheran Bible and took his text from the Old and New Testaments and the Apocrypha. His ability to connect passages with complementary meanings from different parts of the Bible and set them so expertly and beautifully to music is a marvel.
The seven parts of the work:
Matthew 5:4: Opening Chorus; “Blessed are They that Mourn.”
The music is serene and calm, conveying resignation to the situation. There are no violins, piccolo, or clarinets, thus considerably darkening the orchestral palette.
I Peter: 1:24: “All is flesh is as the Grass.”
This is a funeral march over the timpani throbbing in triplets. An interlude “Now therefore be patient” offers respite (winds), and the march returns before a tranquil conclusion. Also included are quotes from James 5:7, Peter I:25, and Isaiah 35:10.
Psalm 39 4–7: “Lord, let me know that I must end” and the Wisdom of Solomon, 3:2.
This request for guidance includes a powerful fugue. It opens with a baritone solo in dialogue with the chorus.
Psalm 84: 1, 2, and 4: “How Lovely are Thy Dwelling Places.”
This text offers a meditation on the beauties of heaven and eternal life. It is possibly the most cherished section of the entire work and is the shortest movement in the Requiem.
John 16:22: “Ye now are sorrowful, but I will see you again.”
This section opens with a tender orchestral prelude and concludes on a note of exaltation. Rosa Newmarch observed “The music is logically linked up with the opening chorus by the reappearance of its basic theme and the codas of the first and last movements with the peaceful and conciliatory tones of the harp. Softly fading triplet figures are identical.”
Texts also used are from John 16:22, Isaiah 66:13, and Ecclesiastes 51:35.
Corinthians 15:51, 52, 54, and 55: “Behold I show you a mystery, we shall not all sleep, but we shall be changed, in the moment, in the twinkling of an eye… and the dead shall be raised incorruptible, and we shall be changed….”
Also, texts from Hebrews 13:14 are included at the beginning. This reads “For here we have no continuing city, but we seek one to come.”
Revelation 14:13: “Blessed are the dead which die in the Lord henceforth. Yea, says the Spirit, that they may rest from their labors and their works do follow them.”
At the beginning, the chorus sings slowly above a gently moving orchestra. This steady pace speaks securely to the ultimate promise of eternal peace: notice the angelic high voices of the sopranos. Brahms brings us calmly and quietly to a comforting close. Those whom we have lost are safe and in a beautiful place.
– Alexander Jiménez
University Symphony Orchestra Personnel
Alexander Jiménez, Music Director and Conductor
Guilherme Leal Rodrigues, Graduate Assistant Conductor
Violin I
Jean-Luc Cataquet‡
Emily Palmer
Barbara Santiago
Keat Zhen Cheong
Masayoshi Arakawa
Madelyne Garnot
Hannah Jordan
Hope Welsh
Anna Kirkland
Angel Andres
Stacey Sharpe
MaryKatherine Brown
Gabriel Guzman
Elizabeth Milan
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Nicole Vega*
Francesca Puro
Alyssa Donall
Joan Prokopowicz
Mari Stanton
Harshul Mulpuru
Bailey Bryant
Tori Joyce
Hayden Green
Carlos Cordero
Sarita Thosteson
Delaney Reily
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Jeremy Hill*
Keara Henre
Abby Felde
Tyana McGann
Maya Johnson
Spencer Schneider
Harper Knopf
Emelia Ulrich
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Angelese Pepper*
Mitchell George
Thu Vo
Turner Sperry
Emma Hoster
Noah Hays
Natalie Taunton
Abigail Fernandez de Castro
Ryan Wolff
Lucas Ponko
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Alex Lundy*
Christian Maldonado
Lucas Kornegay
Kent Rivera
Maximilian Levesque
Harp
Ava Crook*
Isabelle Scott
Flute
Lindsey Kovach*
Rachael Lawson*
Paige Douglas
Oboe
Steven Stamer*
Rebecca Johnson
English Horn
Nic Kanipe
Clarinet
Anne Glerum*
Dave Scott*
Hannah Faircloth
Travis Irizarry
‡ Concertmaster
* Principal / Co-Principal
Bassoon
Josie Whiteis*
Cailin McGarry *
Georgia Clement
Hunter Fisher
Horn
Eric On
Gio Pereira
Thomas Langston
Jordan Perkins
Trumpet
Johniel Najera*
Schelvin Robinson
Trombone
Connor Altagen *
Carter Wessinger
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Brent Creekmoore
Tuba
Colin Teague*
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Darci Wright*
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Kevin Fenton, Director
Yuliia Billa and Steven Olson, Graduate Associate Conductors
Victoria Coey, Dylan Rhodes, and Blake Dwelle, piano
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Yuliia Billa
Julia Chaves
Jazzy Ebert
Arden Ruby
Maddie Schneider
Emily Woo
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Olivia Bahmer
Taylor Livingston
Daira Suster Sanchez
Rebecca Smith
Mogale Stewart
Sara Vanderford
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Kiley Berkery
Shiloh DeFabia
Alyssa Jiménez
Candace Jones
Grace Leali
Maggie Merrell
Veronica Saavedra-Howell
Caroline Wheeler
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Allyson Andaluz
Gabriella Berrios
Myx Campbell
Erica Dowling
Samantha Rivera
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Kevin Borges
Tobias Deggans
Alex Mortier
Steven Olson
Jackson Roberts
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Blake Dwelle
Caden Early
Connor Mickey
Adam Nguyen
Frank Pastore
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Seaira Anderson
Espen Brante
Will Coey
Nathan Cohen
Jack Marshal
Benjamin Reid
Jeremiah Tracey Bass
Vincent Amiel Bagay
Grayson Dannelly
Ferris Kritzer
Clement Lee-Sursin
Christian Noel
Dylan Rhodes
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Michael Hanawalt, Director
Harold Wright and Jeremy Moore, Graduate Associate Conductors
Judy Arthur, piano
Soprano
Yuliia Billa
Alyssa D’Alton
Caitlin Gerding
Anna Low
Madison Riley
Lizzie Robertson
Mariangely Rodriguez
Annika Stucky
Sarah White
Zoey Xiao
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Reese Cooper
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Themily Figueras
Dawson Franzino
Maclain Hardin-Kurza
Yuko Hori
Katherine Anne Ledbetter
Sarita Olsen-Gustely
Aritza Reyes Drullard
Ruth Springer
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Kevin Borges
Tiger Davis
Robert Lovins
Jeremy Moore
Steven Olsen
Brandon Scribner
Sam Varnon
Kristopher Watson
Colby White
Harold Wright
Timothy Yu
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Seaira Anderson
Ethan Bixby
Jordan Evans
Augusto Girotto
Owen Hillman
Alexei Kovalev
Christopher Martinez
Isiah Maxey
Ethan Murphy
Sebastian Quintero
Adam Ravain
Kristopher Stam
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