Belmont University School of Music presents The Italians
Belmont University Symphony Orchestra
Barry Kraus, conductorBelmont University School of Music
*School of Music Faculty
Program Notes
Semiramide Overture: This overture is from the opera Semiramis and is typical of most Rossini overtures. The use of crescendo and tempo changes is expected and the light-hearted nature of the work belies the rather tragic plot of the opera. After some initial flourishes, the overture starts in earnest with a horn quartet, then woodwinds repeating the hymn-like melody. After another flourish, the main Allegro section occurs with the first violins carrying the melodic content. The second Allegro theme is more march-like with the piccolo having an integral part. After a return to the original Allegro, the overture ends with the typical Rossini crescendo and accelerando to the end.
The Adagio con variazioni spans Respighi’s evolution as a composer. In 1902, he studied briefly with Max Bruch in Berlin before moving to Russia for work as an orchestral violist. He had a few lessons with Nicolai Rimsky-Korsakov which had a dramatic effect on his orchestrations. He wrote a number of pieces at that time including a cello concerto. The concerto was not published but he decided to revise the middle movement into the Adagio. Classical in formal conception, decidedly Romantic in expression, the work was dedicated to the cellist Antonio Certani, Respighi’s old Bolognese friend and chamber music colleague.
The Pines of Rome: Ottorino Respighi was an Italian composer who explored orchestral color through the different sounds of the instruments used in his works. His use of
THURSDAY, OCTOBER 12, 2023 7:30 PM MCAFEE CONCERT HALL
Semiramide Overture Giacchino Rossini from Semiramide (1792-1868)
Adagio con variazioni Ottorino Respighi (1879-1936)
Carmine Miranda*, cellist
The Pines of Rome Ottorino Respighi
I. Pines of the Villa Borghese (1879-1936)
II. Pines near a Catacomb
III. Pines of the Janiculum
IV. Pines of the Appian Way
orchestral color set him apart from other Italian composers at this time, made evident in his symphonic poem Pines of Rome. Although Pines of Rome was written a few years after Fountains of Rome this work is a sequel of a trilogy including Fountains of Rome and Roman Festivals. These pieces were some of Respighi’s greatest symphonic works that represent the city of Rome. This four-movement work explores scenes around Italy’s capital and also reflect on the strength of the Roman Empire. Respighi states the trees are said to testify the principal events in Roman life.
Each movement has a different character in which instrumentation plays a significant role. The first movement “Pines of the Villa Borghese” opens with playful flourishes from the whole orchestra and then the horns enter with a theme that depicts the children playing in the villa. More playful melodies are passed throughout the orchestra, some even sounding as if the children are nagging one another, first depicted by the oboe and English horn. The ending intensifies signifying the entrance to the catacomb and then… the dark timbre of the lower strings and horns create an ominous atmosphere of the catacomb. The trumpet sings a mournful psalm that is supported by the ominous atmosphere set by the strings. The piano is introduced in the third movement and the clarinet’s melody paints a scene of a peaceful night on Janiculum Hill. At the end of the movement is heard a nightingale singing. The fourth movement begins with the lower strings marching in the distance. As the English horn creates the magical landscape, march-like rhythms are passed throughout the orchestra and the trumpets sound as the army gets closer representing the triumph of the Capitol. The composer also included these writings in the score to illustrate what each movement represents:
I. The Pine Trees of the Villa Borghese
Children are at play in the pine groves of Villa Borghese; they dance round in circles, they play at soldiers, marching and fighting, they are wrought up by their own cries like swallows at evening, they come and go in swarms. Suddenly the scene changes, and...
II. Pine Trees Near a Catacomb
We see the shades of the pine trees fringing the entrance to a catacomb. From the depth rises the sound of mournful psalm-singing, floating through the air like a solemn hymn, and gradually and mysteriously dispersing.
III. The Pine Trees of the Janiculum
A quiver runs through the air: the pine trees of the Janiculum stand distinctly outlined in the clear light of a full moon. A nightingale is singing.
IV. The Pine Trees of the Appian Way
Misty dawn on the Appian Way: solitary pine trees guarding the magic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet has a fantastic vision of bygone glories: trumpets sound and, in the brilliance of the newly-risen sun, a consular army bursts forth towards the Sacred Way, mounting in triumph to the Capitol.
Program notes by Dr. Robert Gregg, School of Music Faculty
Soloist Bio
Award winning cellist Carmine Miranda has established an international career and recognition as a soloist, chamber musician, educator, and is a best-selling recording artist. Praised by many publications such as Fanfare Magazine for “fast becoming known for his ability to combine virtuosity with intense, well-thought-out interpretations” and by The Strad Magazine for "showing himself to be in full command of both instrument and works." Miranda’s performances have been broadcast on radio stations across the United States, Europe, Latin America, and Asia as well as
appearing on TV stations such as PBS. Several of his recordings have become number one classical bestsellers on retailers such as Barnes & Noble, Amazon.com and iTunes. His recording of the Dvorak and Schumann Cello Concerti charted in the Billboard top 50 classical recordings with over one million Spotify plays. Miranda joined the music faculty at Belmont University in 2019 where he teaches cello and chamber music. He is regularly invited to conduct masterclasses as a professor and lecturer at some of the finest institutions and music festivals around the world.
Bio courtesy of Navona Records
Personnel
First Violin
Heather Hess, concertmaster
Kara Schlenk
Kaya Fagerstrom
Kinsey Overdeer
Dani Alexander
Hope Hamby
Marissa Colter
Rocco Greco
Nathaniel Eulentrop
Tessa Dalton
Yana Batazhan
Cara Thomas
Kaylee Deitrick
Madlyn Anderson
Zhiman Sun
Luke Baxley
Second Violin
Kate Ward, principal
Jack Dungan
Florence Schaumann
Ben Greene
Emma Curtis
Emma Buckner
Lydia Maes
Kimmie Rauscher
Samuel Davenport
Madison Stroth
Lydia Mitchell
Lindsey George
Shelby Fuller
Nadia Foote
Eben Carson
Hannah Adams
Isabella Matthews
Natalie Young
Viola
Jakob Jaquinde, principal
George Graefen
Michael Herzing
Bella Kinard
Rachel Thomas
Karissa Szarek
Ava Rey
Mackenzie Combs
Amel Stewart
Kate Borosky
Cello
Madelyn Duncan, principal
Hannah Koshgarian
Grant Brown
Patrick Weaver
Graham DeHaan
Jenai O’Connor
Abigail Marianetti
Bailey Wise
Angie Jackson
Sarah Brewer
John Horst
Bass
Cameron Bertolet, principal
Arianna Stoker
Kevin Bull
Izzy Go
Will Wirth
Carrie Simmons
Flute
Christine Subratie, co-principal
Jake King, co-principal
Mimi Anderson, piccolo
Oboe
Patrick Lewis, principal
William Fedack
Lily Chantler, English horn
Clarinet
McKensey Malin, principal
Dillon Wright
Cross Brandon, bass clarinet
Bassoon
Emily Okamura, co-principal
Harrison Sampson, co-principal
Cayman Hogue
Horn
Emma Wells, principal
Hannah Edwards, asst. principal
Jacob Andrews
Joseph Assiryani
Holden Cessna
Trumpet
Luke Woody, principal
Chris Smith
Kristen Lester
Trombone
Michael Luttrull, principal
Luke Myers
Joshua Walz
Tuba
Brasher Miller
Harp
Audrey Smith
Aliyah Wenneker
Piano
Justin Harms
Timpani/Percussion/Celesta
Matthew Love, principal
Miriam Marks
Madelynn Miller
Cameron Terry
Hadley Thomas
Off-stage Brass
Anthony Baird*
Jacob Haymans*
Freddy Maresca*
Nolan Roth*
Michael Daugherty*
Soren Allen*
*School of Music Alumni
Upcoming Concerts and Events
Music and Discourse
The Healing Power of Music: A Cross-Cultural Lecture-Concert Featuring Erhu and Guitar
Friday, October 13, 10:00 a.m.
Harton Recital Hall
Faculty Concert Series
Dr. Alan Robinson, guitar
Thursday, October 19, 7:30 p.m.
Massey Concert Hall
Voxology and World Percussion Ensemble A Perfect Love
Friday, October 20, 7:30 p.m.
Fisher Center for the Performing Arts
Tickets must be reserved through the Belmont Box Office for this concert.
Chorale and Bel Canto
Sunday, October 22, 5:00 p.m.
McAfee Concert Hall
Time Remembered A Viewing of the Documentary Based on the Life of Jazz Pianist Bill Evans
Tuesday, October 24, 6:30 p.m.
Harton Recital Hall
Q&A with Dave Thompson (Bill Evans Scholar) and Jazz Trio Concert
Tuesday, October 24, 8:00 p.m.
Harton Recital Hall
For more information on upcoming concerts and events, please visit www.belmont.edu/cmpa or “like” Belmont University School of Music on Facebook.
