Concert: Moores School Symphony Orchestra

MOORES SCHOOL OF MUSIC

MOORES SCHOOL SYMPHONY ORCHESTRA presents

SCHUBERT AND STRAUSS

with

FRANZ ANTON KRAGER, director of orchestras and conductor EUNGHEE CHO, cello WAYNE BROOKS, viola CUTTER GONZÁLEZ, conductor

SUNDAY, FEBRUARY 26, 2023 | 7:30 p.m.

Moores Opera House

KATHRINE G. MCGOVERN COLLEGE OF THE ARTS

Moores School Symphony Orchestra

Franz Anton Krager, director of orchestras

Cutter González, conductor

Program

Symphony No. 8 in B Minor D 759, “Unfinished”

I. Andante Moderato

II. Andande Con Moto

Cutter González *, conductor Intermission

Don Quixote, Op. 35

Franz Anton Krager, conductor with Eunghee Cho **, cello Wayne Brooks **, viola

Franz Schubert (1797 – 1828)

Richard Strauss (1864 – 1949)

* From the conducting studio of Franz Anton Krager in partial fulfillment of the Master of Music Degree in Orchestral Conducting

** MSM faculty

Piccolo

Taylor Sliva, principal

Flutes

Wen-Hsiu Lai, co-principal

Candi Rohn, co-principal

Katherine Garcia

Taylor Silva

Oboes

Matthew Harms, principal

Madeline Flake

Cor Anglais

Rebacca Johnson, principal

Clarinets

Jhoser Salazar, co-principal

Andrew Wang, co-principal

Zuly Cárdenas

Adam Jones

Bass Clarinet

Andrew Wang, principal

Bassoons

Haley Houk, co-principal

Dima Savitski, co-principal

Madison Weaver

Contrabassoon

Anya Johnson, principal

Schubert and Strauss

Personnel

Horns

Katie Angielczyk, co-principal

Nicholas Silva, co-principal

Jordan Ellisor

Henry Hamre

Jonathan Machado

Patrick Sanford

Trumpets

Nick Engle, co-principal

Jhoan Garcia, co-principal

Audrey Foster

Ryan McArthur

Connor Thurman

Trombones

Steven Luong, principal

Alec Eads

Agustin Martinez

Bass Trombone

Agustin Martinez, principal

Euphonium

Sydney Salas, principal

Bass Tuba

Joshua Gansle, principal

Harp

Hope Cowan

Timpani

Ashton Carter, co-principal

Xochitl Vasquez, co-principal

Percussion

Michael Cheng

Alex Staten

Violins

Hanna Hrybkova, concertmaster

Ming-Wei Hsieh, associate concertmaster

Isabella Bengochea, principal second

Bernini Chan, associate principal second

Jessika Albuquerque

Hossein Aminzadeh

Jonathan Andino

Xiaodong Cao

Javier Castro

Jason Chaviers

Raul Colmenero

Dustin Cunningham

Jordan Efird

Alexander Garcia

Lizbeth Garcia

Emily Gladstone

Nicole Gonzalez

Miranda Hollingsworth

Allen Li

Zuriel Longoria

Marcio Martinez

Ricardo Jimenez Montoya

Madisyn Munoz

Shayla Nguyen

Vu Pham

Luis Ramirez

Julia Tondera

Daniela Yepes Dimate

Violas

Wayne Brooks *, co-principal

Konrad Rudowicz, co-principal

Daniel Castorena

Haoqin Cheng

Melissa Escobar

Madeline Gonzales

Abraham Gonzalez

Maggie Lytle

Benjamin Petree

Yuxuan Zhang

Violoncelli

Ashley Wang, principal

Mitchell Wright

Stephanie Aguilar

William Danheim

Hannah Deplazes

Brandon England

Ricardo Gabriel Flores

Samuel Linzan

Joshua Lopez

Gracie Martinez

Julian Montez

Kayla Nguyen

Amy Sanders

Benjamin Serur

Elizabeth Spencer

Gideon Weaver

Emily Yeh

Alexa Zamarripa

Contrabassi

Reid Ronsonette, principal

Bruce Manning

Maggie Bishop

Anthony Chavezplata

Cesar Flores

Mackenzie Gibbons

Sharon Montes

Orchestra Conducting Studio

Cutter González

General Manager and Assistant Conductor

Martin Garcia Leon, Assistant Conductor, Opera Center

Ringel Sat, Orchestra General Staff and Assistant Conductor

Carolina Rodriguez Russum, Orchestra General Staff and Assistant Conductor

* MSM faculty

Schubert and Strauss

Program Notes

Franz Schubert: Symphony No. 8 “Unfinished”

Schubert’s Eighth Symphony is perhaps his best-known piece. Certainly much ink has been spilled in speculation of why the composer never finished the final two movements. Some leading hypotheses paint the composer as almost distracted; Brian Newbould argues that the intended finale was instead used for Rosamunde, and another suggestion finds his attention diverted toward the Wanderer Fantasy. Others colorfully posit that Schubert’s first bout with syphilis took place as he was writing the first two movements, and poisoned the whole symphony by association. In any case, subsequent musicologists and composers have put forward various “completions” usually based on abandoned sketches for a scherzo and the (completed) Rosamunde entr’acte, with varying degrees of success.

The symphony was begun in 1822. Schubert completed the first two movements, and a couple pages of sketches for a following scherzo. The following year he sent the two finished movements to a friend who had helped arrange for the composer to receive an honorary diploma from the Graz Music Society. This friend kept the music to himself for decades, only showing it to a conductor friend in 1865, the year in which it received a belated premiere in Vienna.

Richard Strauss: Don Quixote Op. 35

In 1897, when Strauss composed his tone poem Don Quixote, he had begun to experience his first critical successes both as a composer and conductor. After years of unfulfilling work directing at the Bavarian State Opera, he had made a successful conducting debut at the Bayreuth Festival and was beginning to attract notice outside of Munich, in Berlin, Weimar, and Dresden. As a composer, his first opera, Guntram, had met with mixed reviews, but certainly had set the scene for the runaway success of his next forays into the genre. But in the meantime, it was a series of tone poems that propelled him to a national stage. Till Eulenspiegel’s Merry Pranks and Also sprach Zarathustra were written in 1895 and 1896, respectively, and the following year Strauss turned to Cervantes for inspiration.

Don Quixote is framed as a set of variations for orchestra, highlighting select solo instruments as representations of characters in the original novel. The cello represents the eponymous hero, and the viola, Sancho Panza. Following an introduction, we hear the main theme, representing Quixote, then another depicting Sancho Panza. Each of the following variations is inspired by an adventure the characters experience, ranging from the famous battle with windmills to a struggle against a flock of sheep, and ending with the death of Don Quixote.

The tone poem is scored for a large orchestra, including dedicated parts for English horn, bass clarinet, and contrabassoon, and in true Wagnerian fashion calls for six horns. The premiere took place in Köln in 1898, with the Gürzenich Orchestra conducted by Franz Wüllner.

Biographies

Franz Anton Krager

Since making his prize-winning European conducting debut in Copenhagen’s Tivoli Koncertsalen in 1978, Franz Anton Krager has led orchestras in Washington DC’s Kennedy Center, the Leipzig Gewandhaus, Town Hall and Adrian Boult Hall in Birmingham, Moscow’s State Kremlin Palace, Manchester’s Bridgewater Hall, Guangzhou China’s Xinghai Music Center, the Sydney Opera House, The Hague’s Congresgebouw, Zagreb’s Lisinski Concert Hall, Kazan’s State Philharmonic Hall in Russia, Guadalajara’s Degollado Theater, and Sarasota’s Van Wezel Performing Arts Hall. His affiliations with leading music festivals include the Dubrovnik Summer Festival in Croatia, Lancaster International Concert Series, Lichfield and Aberystwyth International Arts Festivals in the U.K., the Festival Internacional de Santa Lucía in Mexico, and the Texas Music Festival and Interlochen National Music Camp in the U.S. Maestro Krager has led the Houston, Russian State, Slovak National, Dubrovnik, Traverse City Michigan and Florida West Coast symphonies, Romanian and Kazan State philharmonics, and orchestras in Washington, Berlin, London, Chicago, Paris, Singapore, Leipzig, Zagreb, Monterrey, Grosseto, Pordenone, Ingolstadt, Chichester, Neuss, and Honolulu. Krager is Music Director and Chief Conductor of the Texas Music Festival and Founding Co-Artistic Director for the Virtuosi of Houston. Krager is also the Hourani Endowed Professor of Music, Director of Orchestras, and Chair of the Conducting Department at the University of Houston Moores School of Music, where he has brought the orchestra and orchestral conducting program into international prominence. The Moores School Symphony Orchestra has recorded on the Divine Art (Métier), Albany, MSR Classics, ArsPublica, Newport, and “Surround-Sound Blu-Ray Audio” HDTT record labels.

Cutter W. González

Cutter W. González is the general manager and assistant conductor of the Moores School Symphony Orchestra at the University of Houston. Prior to moving to Houston, he taught horn at schools throughout the Texas Hill Country and served as principal horn of the Texas State Symphony Orchestra. Cutter is a product of Texas’s public school music programs, where he developed an early appreciation for school music and improving access to musical training. Pursuant to these ideals, he founded Musikverein New Braunfels, a 501(c)(3) non-profit organization that provides musical instruction to students in the greater New Braunfels area regardless of age, background, or ability to pay. Cutter holds a Bachelor of Science in Geography and a Bachelor of Music in Music Performance from Texas State University. He is currently pursuing a Master of Music in Orchestral Conducting with Franz Anton Krager at the University of Houston.

Schubert and Strauss

Wayne Brooks

Wayne Brooks served as the Principal Viola of the Houston Symphony from 1985 through 2020. He joined the orchestra in 1977 as Associate Principal Viola after graduating from the Curtis Institute of Music. Appointed Principal Viola in1985, he was a frequent soloist with the orchestra and performed the southwestern United States premiere of Alfred Schnittke’s Viola Concerto. He was the soloist in the world premiere of La Llorona: Tone Poem for Viola and Orchestra, a Houston Symphony Orchestra commission for him by composer Gabriela Lena Frank. He has appeared in chamber music performances with Lynn Harrell, Yefim Bronfman, Garrick Ohlsson and Christoph Eschenbach, among others, and participated in concerts of chamber music in the Houston Symphony’s INNOVA series, in performances with Da Camera of Houston, Greenbriar Consortium and Mukuru “Arts for AIDS” Series.

Before joining the faculty of the Moores School of Music in 2003, he was an associate professor of viola at Rice University’s Shepherd School of Music. His former students perform in the New World, Charlotte, Richmond and Detroit Symphonies, as well as the Hong Kong Philharmonic. They can be found in the Chiara, Arianna and Borromeo String Quartets and serve on the faculties of Creighton University, the University of Idaho, Sam Houston State University and the Amelia Island Festival.

Eunghee Cho

Born in Davis, California, Korean-American cellist Eunghee Cho was awarded Second Prize and the special award for Outstanding Chinese New Piece Performance at the Alice & Eleonore Schoenfeld International String Competition (China). He has also earned top prizes in the Gustav Mahler Prize Cello Competition (Czech Republic), AEMC International Chamber Music Competition (Italy), Chamber Music Yellow Springs Competition, USC Solo Bach Competition, the Borromeo String Quartet Guest Artist Award, MTNA National Chamber Music String Competition, New England Conservatory’s Honors Ensemble Competition, and Sacramento Philharmonic League Concerto Competition. A committed teacher, Eunghee currently serves on the cello and chamber music faculty of University of Houston’s Moores School of Music, where he also directs the Moores Cello Ensemble and CelloFest Houston. He has been invited to present masterclasses for Towson University, La Jolla Music Society, Walnut Hill School for the Arts, Artis Naples, Royal Conservatory of Music, and Martha’s Vineyard Chamber Music Society, and is the Artistic Director of Mellon Music Festival in Davis, CA as well as the Houston Chapter of Music for Food. Eunghee has also been invited to serve on the summer teaching faculties of Texas Music Festival, Montecito International Music Festival, Heifetz International Music Institute, and Festival Internacional de Música Naolinco. He has appeared as soloist with numerous orchestras around the country including the Sacramento Philharmonic, Cape Symphony, Atlantic Symphony, Symphony by the Sea, Davis Symphony, and Sacramento State Symphony Orchestras. He held the Joyce & Donald Steele Chair as Principal Cello of the Atlantic Symphony Orchestra as well as Principal Cello of Boston Festival Orchestra, and has performed as Principal Cello with Dallas Chamber Symphony, Cape Symphony, Unitas Ensemble, and Symphony by the Sea. Eunghee has actively participated in classes at the Piatigorsky International Cello Festival and

Schubert and Strauss

Académie Musicale de Villecroze in France, and has worked closely with distinguished musicians such as Ralph Kirshbaum, Kim Kashkashian, Steven Doane, Colin Carr, Myung-Wha Chung, Jean-Guihen Queyras, and members of the Guarneri, Emerson, Tokyo, Orion, Brentano, Borromeo, and Shanghai Quartets. As an avid chamber musician, Eunghee has collaborated in performances with artists such as Midori Goto, Inon Barnatan, David Shifrin, Maeve Gilchrist, Elton John, Keith Murphy, Alec Benjamin, François Salque, and with members of the Borromeo String Quartet, St. Lawrence String Quartet, Calder String Quartet, Silk Road Ensemble, A Far Cry, and Aaron Diehl Trio. He has also performed as a guest artist with A Far Cry, Da Camera Society, and the Chamber Music Society of Sacramento. Previous festival engagements include La Jolla Music Society’s SummerFest, Norfolk Chamber Music Festival, Taos School of Music, Keuka Lake Music Festival, Rheingau Musik Festival, Festival International d’Echternach, and Rencontres Franco Américaines de Musique Chambre in Missillac, France.

As a passionate adventurer of contemporary music, he has collaborated directly with composers in performances of their works including with Frank Ticheli, José Elizondo, Andrew Norman, David Froom, Michael Gandolfi, and Gabriela Lena Frank. Eunghee’s own arrangements have been commissioned and premiered by Sphinx Organization, New England Conservatory’s Cello Choir, Holes in the Floor, Rasa String Quartet, Atlantic Symphony Orchestra, Mellon Music Festival, Moores Cello Ensemble, and Music for Food. Eunghee graduated magna cum laude and as a Steven & Kathryn Sample Renaissance Scholar from the Thornton School of Music at the University of Southern California with a Bachelor of Music in Cello Performance and a Minor in Biology. He completed both Master of Music and Doctor of Musical Arts degrees at New England Conservatory under the tutelage of distinguished pedagogues Laurence Lesser and Paul Katz. His previous instructors include Andrew Shulman, Andrew Luchansky, Richard Andaya, and Julie Hochman. Away from the cello, Eunghee enjoys neighborhood pick-up soccer, everything about dogs, and dawdling in local coffee shops.

Acknowledgments

The Moores School Symphony Chamber Orchestra would like to thank the following faculty and staff members for their invaluable assistance in helping to prepare this concert: Mark Barton, David Bertman, Steven Block, Wayne Brook, Mark Buller, Jason Burton, Eunghee Cho, Andrew Davis, Jones Deforest, Karina Duran, Kristin Johnson, Timothy Koozin, Eric Larson, Mann-Wen Lo, Gavin Reed, Dana Sedatole, David Siegel, Blake Wilkins, Elise Wagner, Tobin Wright, Kristen Yon.

2022-2023 Moores Society

As of January 20, 2023

The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year.

EXECUTIVE COMMITTEE

Darlene Clark, President

Jackie & Malcolm Mazow, Immediate Past Presidents

Donna Shen, Vice President Membership

Nancy Willerson, Corresponding Secretary

Ann Tornyos, Recording Secretary

Meg Boulware, Opera Production Council Chair

BOARD OF TRUSTEES

Rita Aron

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BOARD OF ADVISORS

2022-2023

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2022-2023 Moores Society

As of January 20, 2023

OPERA PRODUCTION COUNCIL

Robin Angly

Christopher Bacon

Meg Boulware, Chair

Gwyneth Campbell

Anna Dean

Tim Doyle

Warren Ellsworth

Jose Alvarado

Robin Angly & Miles Smith

Rita & Jeffrey Aron

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1000+

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500+

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2022-2023 Moores Society

As of January 20, 2023

Thomas Blocher

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250+

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120+

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MOORES SCHOOL OF MUSIC

ABOUT THE MOORES SCHOOL

Moores School of Music

The University of Houston’s Moores School of Music (MSM) is one of the leading comprehensive music schools in the nation. Its remarkable faculty — of internationally recognized performers, composers, and scholars — outstanding student body, modern facilities, and broad range of programs make MSM the natural choice for nearly 600 students annually. The school’s commitment to academic excellence and the highest performance standards has ensured its role as a vital resource in the educational and cultural life of Houston and beyond.

Moores Society

The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year. Please visit uh.edu/kgmca/music/moores-society.

For more information, please contact Emily Wolfe, Patrons Relations and Communications Coordinator, at mooressociety@uh.edu or 713.743.8036

ABOUT THE COLLEGE

Kathrine G. McGovern College of the Arts

The Kathrine G. McGovern College of the Arts at the University of Houston is a dynamic home of creativity and collaboration in one of America’s most artistically vibrant and culturally diverse cities. Bringing together the performing and visual arts entities at the University of Houston, the college has the ability to harness the power of the arts to ultimately impact our world. Our award-winning, internationally distinguished faculty provides top-quality instruction to the talented, emerging student artists from more than 30 programs of study. The Kathrine G. McGovern College of the Arts seeks to positively impact the community and to empower our students to use their talents to change the world.

Giving to the Arts

Please support emerging artists at the University of Houston's Kathrine G. McGovern College of the Arts. Your gift enables KGMCA students and educators to create, collaborate, and transform Houston’s cultural landscape. Your gift makes a difference.

• Please visit https://giving.uh.edu/gift. To give directly to the Moores School of Music, please visit uh.edu/ kgmca/music/giving

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