Moores Opera House Concert: Moores School Chamber Orchestra with Concerto Winner

Franz Anton Krager,

Cutter González, conductor Martin Garcia Leon, conductor Ringel Sat, conductor Wen-Hsiu Angela Lai, flute

PROGRAM

Don

Martin Garcia Leon*,

Cutter González*,

With Wen-Hsiu Angela Lai+, flute

Wolfgang Amadeus Mozart (1756–1791)

Carl Reinecke (1824–1910)

Egmont,

Ludwig Van Beethoven (1770–1827)

Martin Garcia Leon*, conductor

INTERMISSION

Franz Schubert (1797–1828)

Moores School Chamber Orchestra

Franz Anton Krager, director of orchestras

PERFORMERS

Moores School Chamber Orchestra

Cutter González, conductor Martin Garcia Leon, conductor Ringel Sat, conductor

Flutes

Candi Rohn, principal Katherine Garcia Oboes

Matthew Glattfelder, co-principal Matthew Harms, co-principal Madeline Flake

Clarinets

Harold Gomez Montoya, co-principal Elian Hernandez, co-principal Andrew Wang, co-principal

Bassoons

Haley Houk, principal Anya Johnson Horns

Katie Angielczyk, co-principal David Holtgrewe, co-principal Noel Manning

Patrick Sanford

Trumpets

Nick Engle, co-principal Jhoan Garcia, co-principal Michael Remish, co-principal Ryan McArthur Brian Mendez

Timpani

Mark Medina, co-principal Philip Rivera, co-principal Alex Staten, co-principal Xochitl Vasquez, co-principal

Percussion

Xochitl Vasquez

Violins

Miranda Hollingsworth, concertmaster Bernini Chan, assistant concertmaster Raul Colmenero, principal second Shayla Nguyen, assistant principal second

Jessika Albuquerque Hossein Aminzadeh Isabella Bengochea Javier Castro Dustin Cunningham Jordan Efird Alexander Garcia Lizbeth Garcia Allen Li Zuriel Longoria Madisyn Munoz Vu Pham Anton Sack

Violas

Haoqin Cheng, principal Melissa Escobar, assistant principal Miles Bi

Luis DeVargas Madeline Gonzales Benjamin Petree Audrey Weaver

Violoncelli

Samuel Linzan, principal Hannah Deplazes, assistant principal Stephanie Aguilar William Danheim Brandon England Joshua Lopez Gracie Martinez Julian Montez Kayla Nguyen Amy Sanders Elizabeth Spencer Gideon Weaver Emily Yeh Alexa Zamarripa

Contrabassi

Bruce Manning, principal Maggie Bishop, assistant principal Cesar Flores

Orchestra Conducting Studio

Cutter González, General Manager & Assistant Conductor

Martin Garcia León, General Staff & Assistant Conductor, Moores Opera Center

Ringel Sat, Orchestra General Staff & Assistant Conductor

Carolina Rodriguez Russum, General staff, Moores Opera Center

General Staff

Myles Nardinger, Consultant

Franz Anton Krager, director of orchestras

Moores School Chamber Orchestra

PROGRAM NOTES

Wolfgang Amadeus Mozart: Don Giovanni, Overture

Mozart’s opera Don Giovanni remains one of his best-known and oft-performed operas, thanks in no small part to its striking libretto by Lorenzo Da Ponte. This was the second of three Da Ponte libretti that Mozart set, and is by far the darkest of the three. The plot itself may be traced back centuries, its earliest origins unknown; a universal story, it was first put into written form in Spain in 1630 (El burlador de Sevilla y convidado de Piedra). Da Ponte fleshes out the characters rather more than did previous versions, adding an element of rakish humor and turning a morality play into a send-up of contemporary classism. It should be noted furthermore that Da Ponte’s take owes a great deal to another version of the story, Don Giovanni Tenorio by Giovanni Bertatti, which premiered in early 1787.

The Da Ponte/Mozart version was written in 1787 and premiered in Prague in October of that year; Mozart would make some revisions for the Vienna production the following year.

The overture, as was traditional, was written after the remainder of the opera had been completed. Stories of the first production mention panic when, the night before the premiere, it was mentioned to Mozart that no overture yet existed. Mozart, according to these stories, smiled broadly and indicated that the music existed in his head – then hurried home, writing (and drinking punch) all night until 7 AM, when a copyist began duplicating parts. Later that day, these were then handed to the orchestra just in time, leading to what must have been some high-intensity sight-reading. The overture sets the mood for the opera, evoking both the darkness and the humor which to this day shock and delight audiences.

Carl Reinecke: Flute Concerto in D Major, Op. 283

Despite his endless skill, German composer Carl Reinecke continues to remain at the margins of public consciousness, even within the subset of 19th -century composers. His concerti and chamber music in particular reward the active listener, and his style manages to balance technical sophistication with memorable tunefulness. Born in Hamburg, he studied violin and piano, then turned to composition studies with Mendelssohn, Schumann, and Liszt (for some decades, approval from the latter was all but a requirement, a rite of passage for composers and pianists alike). Reinecke’s influence grew as he was named to one important position after another, from the Cologne Conservatory to the Leipzig Conservatory, in addition to directorship of the eminent Gewandhausorchester Leipzig, where he conducted the premiere of Brahms’ German Requiem

Reinecke’s flute concerto dates from 1908, two years before his death. It was written for Maximilian Schwedler, who was principal flutist in the Gewandhausorchester and who taught alongside the composer at the Leipzig Conservatory, and who furthermore was an early exponent of early repertoire for the instrument long before period practice would come into being. The concerto is cast in the usual three movements and shows a marked conservatism for its time; 1908 would also see the premieres of Rachmaninoff’s second symphony, a film score by Saint-Saëns, Mahler’s seventh symphony, and the completions of Schoenberg’s second string quartet and the Berg piano sonata. It is this inherent conservatism in an age of musical one-upmanship which sidelined Reinecke? Perhaps – but now is the time for another listen.

Ludwig Van Beethoven: Egmont, Overture

Today Beethoven’s reputation largely rests on his success as a symphonist and composer of sonatas and string quartets – with many other wonderful pieces alongside, of course. But we tend to forget that, much like other orchestral composers later in the 19th century, he was successful as a composer of incidental music as well, and it is perhaps his music for Egmont which is arguably the best such example of his work in the genre.

From late 1809 through mid-1810, Beethoven worked on 10 total movements intended to accompany the first production of Goethe’s eponymous play. While the famous playwright and poet had written Egmont back in 1787, it was only just receiving its belated premiere, much to the delight of its creator, now approaching 60 and reaching new heights of fame which would continue long after his death. The play tells the story of a Dutch Count who is imprisoned, a political prisoner who remains steadfast against an unjust regime. When the Count’s partner Klärchen is unable to rescue him, the Count gives a firebrand oration in praise of liberty, then commits suicide. It is unsurprising that the play would have inspired Beethoven, given the themes of dramatic heroism and firmness against unjust political tides.

While the entirety of the incidental music is wonderful, the overture remains by far the most popular. We hear a slow introduction, its winding sarabande meant to invoke the 16th-century Spanish regime; then bold rhythmic figures which give way to a triumphant conclusion.

Franz Schubert: Symphony No. 4 in C Minor, D. 417

By the time Franz Schubert reached 18, he had already completed a vast portfolio of surprisingly mature works, among them string quartets, large-scale sacred works, and of course quite a few Lieder. Little surprise, then, that the year 1816 found him putting the finishing touches on his fourth symphony. Only later would Schubert append the title “Tragic”, a fitting parallel to the disastrous “Year Without a Summer” that would sweep the Northern Hemisphere only months after the symphony’s completion. As famine began to ravage the lower classes, Schubert would move on to his next works, and the symphony would not receive a performance until 1849, long after his death.

The musical language of this symphony doubtless owes a good deal to popular symphonic music of the day, most notably Haydn’s The Creation. This oratorio had continued to receive performances nearly two decades after its premiere, despite the ever-changing tastes of the Viennese public. Some scholars also note similarities to the fourth of Beethoven’s op. 18 quartets, a work with which Schubert, who had long played in a family quartet, would likely have been familiar. By this time, Beethoven had already written his first eight symphonies, each exploring further the dramatic capabilities of the orchestra. But in his Fourth, Schubert seems content instead to cultivate his own sense of dramatic line and gesture.

The symphony is cast in the familiar four movements, beginning and ending in C and with the middle movements a third away (A-flat and E-flat, respectively). On large scale, it is framed by the usual major-tominor paradigm, taking the time for necessary detours: a slow movement and a surprisingly scherzo-like Minuet & Trio.

Moores School Chamber Orchestra

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 Ken nedy 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, Za greb’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, Singa pore, 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 Con ducting 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

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 Hou ston, 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 mu sical 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

Martín García León

Martín García León (Argentina 1990) is the first conductor born in the whole Patagonia region. Started his musical education at the age of 14 in piano. At the age of 20 started his training in orchestral conducting and it was rapidly recognized as one of the top conductors in his Home Country by collaborating with several local and international orchestras like Buenos Aires Phiharmonic,Argentinian National Symphony orchestra, Rio Negro Philharmonic Orchestra, Colon Teather, Moravian Philharmonic, Saint Pe tersburg Symphony Orchestra, Vietnam National Opera and Ballet Orchestra.

Moores School Chamber Orchestra

Ringel Sat hails from Hong Kong. As a pianist and vocalist, she attended the Law Ting Pong Secondary School. She completed her BA degree in Music Studies (2020) at the Hong Kong Baptist University. Ms. Sat studied conducting with Choi Ho-Man, Music Director of the Pro Arte Orchestra of Hong Kong. Ringel Sat is currently completing her Master’s degree in Orchestral Conducting, at the University of Houston Moores School of Music, with Franz Anton Krager. In Houston, she has made serval public performances with the music of Schubert, Schumann, Mendelssohn, and Wagner. Ms. Sat participated in the prestigious international conducting masterclasses with Charles Olivieri-Munroe and the Karlovy Vary Symphony Orchestra, in the Czech Republic (2019), and was a Fellow at the “Wiener Schule” Conducting Masterclass and Competition (2022).

Wen-Hsiu Angela Lai

Wen-Hsiu Angela Lai hails from Taiwan and enjoys her musical life across Asia, Aus tralia, and United States. As a prize-winning musician in many competitions, Ms. Lai recently won the 2022 National Flute Association Young Artist Competition finalist alternate(4th place); the grand prize of the University of Houston Concerto Compe tition; the first prize in the Taiwan National Student Artist Competition ; the finalist in the Taiwan Flute Competition, and the outstanding performance award every year with the highest academic distinctions. Lai develops her life as an active performer by attending music festivals and masterclasses, she has played for Lowell Libermann, Vincent Lucas, Andrea Oliva, Michael Cox, San-qing Chen, Robert Dick, Jim Walker, Seiya Ueno, Michel Moragues, and Denis Bouriakov.

Wen-Hsiu Angela Lai hails from Taiwan and enjoys her musical life across Asia, Australia, and United States. As a prize-winning musician in many competitions, Ms. Lai recently won the 2022 National Flute Association Young Artist Competition finalist alternate(4th place); the grand prize of the University of Houston Concerto Competition; the first prize in the Taiwan National Student Artist Competition; the finalist in the Taiwan Flute Competition, and the outstanding performance award every year with the highest academic distinctions. Lai develops her life as an active performer by attending music festivals and masterclasses, she has played for Lowell Libermann, Vincent Lucas, Andrea Oliva, Michael Cox, San-qing Chen, Robert Dick, Jim Walker, Seiya Ueno, Michel Moragues, and Denis Bouriakov

Ms. Lai holds her BA and MM degrees from Taiwan National Sun-Yat Sen University and is now pursuing her Doc toral of Musical Art at the University of Houston Moores School of Music with a full scholarship. Her main teachers include Hsiao-Pei Iris Ma at Taiwan National Sun-Yat Sen Univ., Vernon Hell at Queensland Conservatorium, and Aralee Dorough at the University of Houston.

Ms. Lai holds her BA and MM degrees from Taiwan National Sun-Yat Sen University and is now pursuing her Doctoral of Musical Art at the University of Houston Moores School of Music with a full scholarship. Her main teachers include Hsiao-Pei Iris Ma at Taiwan National Sun-Yat Sen Univ., Vernon Hell at Queensland Conservatorium, and Aralee Dorough at the University of Houston.

Besides being a passionate flutist, Ms. Lai enjoys nurturing her students’ flute learning journey, pursuing her dedication to Art in Heath, spending time with family and friends, and exploring culinary arts around the world.

Besides being a passionate flutist, Ms. Lai enjoys nurturing her students’ flute learning journey, pursuing her dedication to Art in Heath, spending time with family and friends, and exploring culinary arts around the world.

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: Andrew Davis, Aralee Dorough, Barbara Rose Lange, Dana Pradervand, Eunghee Cho, Jason Burton, John Snyder, Jones Deforest, Karina Duran, Katherine Turner, Kristin Johnson, Lawrence Edelson, Mark Buller, Steven Block, Timothy Koozin, Tobin Wright.

Wen-Hsiu Angela Lai, Flute

MOORES SOCIETY

As of 10/25/2022

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, Correspondig Secretary Meg Boulware, Opera Production Council Chair

BOARD OF TRUSTEES

Rita Aron

Ann Ayre Meg Boulware Terry Ann Brown

Carla Burns Cheryl Byington Julie Cogan

Timothy Doyle Warren Ellsworth

Sheila Aron Christopher Bacon

Philamena Baird Chris Becker Tom Becker

Susan Binney Ann Boss

Nancy Bowden

Zarine Boyce Robert Chanon Anna Dean

Vicky Dominguez Ann Faget Kelli Fein

Debbie Feuer Cathy Coers Frank Joyce Frassanito

Mary Fusillo

Elia Gabbanelli

Frank Geider, MS DDS

Marita Glodt Sean Gorman Maureen Higdon Gary Hollingsworth & Ken Hyde

Mady Kades Linda Katz Michelle & Jack Matzer Gary Patterson Shirley Rose

ADVISORY BOARD

Diane & Harry Gendel Mariglyn & Stephen Glenn Beatrice & Gregory Graham Deb Happ Ellen & Alan Holzberg Gladys Hooker

Janis Landry Cora Sue & Harry Mach Karinne McCullough Mary Ann McKeithan Cathy McNamara Jennifer Meyer

Celia Morgan Jo & Joseph Nogee Kitten & Ron Page Kusum Patel Fran Fawcett Peterson Carroll R. Ray Jan Rhodes Carol Lee Robertson

Richard Schmitt

Donna Shen Rhonda Sweeney

Ann Tornyos

Betty Tutor Bob & Mary Ann Wilkins Beth Wolff

Lillie Robertson Minette Robinson Heidi Rockecharlie Kathi Rovere

Donna Scott & Mitch Glassman

Helen Shaffer

Donna Shen Satoko & Anthony Shou

Nancy Strohmer

Susan Thompson

Virginia & Gage Van Horn

Barbara Van Postman

Carol & Carl Vartian

Nancy Willerson

Phyllis Williams

Cyvia Wolff

Jo Dee Wright

Gay Yellen

Robin Angly Christopher Bacon Meg Boulware, Chair Gwyneth Campbell Anna Dean Tim Doyle Warren Ellsworth

Robin Angly & Miles Smith

Rita & Jeffrey Aron Alan Austin & David A. White Ann & Jonathan Ayre Christopher Bacon & Craig Miller Olga & Gerardo Balboa Susan & Michael Bloome Meg Boulware & Hartley Hampton

Terry Ann Brown Carla Burns Keith Butcher Roxi Cargill & Peter Weston Cheryl & Carl Carlucci Robert Chanon

Lydia & James Chao Darlene Clark & Edwin Friedrichs Timothy Doyle & Robert Royall, II Ann Faget Sylvia Farb

Helen Davis

Kelli Fein Geraldine Gill Deborah Happ & Richard Rost

Thomas Blocher Dru & Richard Davis Joyce & John Frassanito Rachel & Howard Frazier Mary & Robert Fusillo Beatrice & Gregory Graham

Elad Ben-Menashe Felicia Brooks

Cynthia Clayton-Vasquez & Hector Vasquez

OPERA PRODUCTION COUNCIL

Ann Faget Gerri Gill Ellen and Alan Holzberg Lee Huber Shannon Langman Helen Mann Jackie and Malcolm Mazow

DIRECTOR LEVEL ($1,000)

Debbie Feuer Elia Gabbanelli Mariglyn & Stephen Glenn Marita & David Glodt John Goode & Janwin Overstreet Goode

Susan & Sean Gorman Gary Hollingsworth & Ken Hyde Ellen & Alan Holzberg Monzer Hourani Linda Katz Sharon & Robert Lietzow Helen Mann Jay Marks Jack & Michelle Matzer Jackie & Malcolm Mazow Paula & Robert Mendoza Shirley E. Rose Jane Ross Kathi & William Rovere

PARTNER LEVEL ($500)

Maureen Higdon Nancy & Carter Hixon Sophia & Keith James Susan & David Morris

PATRON LEVEL ($250)

Gladys Hooker Therese Kosten Karinne & William McCullough Jenny Meyer Annie Pati Lisa Powell & Philip Berquist

FRIEND LEVEL ($120)

Clara Kukes Richard Kummins Connie Lewis

Kenneth Proctor

SOCIETY

David Rowan Rhonda Sweeney

Irena Witt

Johanna Wolfe Jo Dee Wright

Rosamund & David Rowan

Fayez Sarofim Jane & Richard Schmitt Helen & James Shaffer Donna & Tim Shen Melanie Sonnenberg Rhonda & Donald Sweeney

Vita Taksa Ann Tomatz Ann Tornyos Betty & Jesse Tutor, Jr. David Voll Betsy Cook Weber & Fredric Weber

Bob & Mary Ann R. Wilkins Andrea & Carl Wilson

Irena Witt

Johanna & Richard Wolfe Beth Wolff

Jo Dee & Cliff Wright

Janet & Charles Rinehart Virginia & Gage Van Horn Nancy Willerson

Nancy & Hans Strohmer Elissa Taylor

Andrea Turner

Cyvia & Melvyn Wolff Gay Yellen & Don Reiser

Michael Taksa Debra Witter & Scott Chase Cheryl Worley

Lawrence Zomper

UPCOMING CONCERT

“THE RITE”

featuring Han Sol Jeong, piano 2022 Moores School Concerto Competition, Piano Division Winner

Moores School Symphony Orchestra

Franz Anton Krager, director of orchestras & conductor Martin Garcia Leon, conductor Han Sol Jeong, pianist

Thursday, December 1, 2022 Moores Opera House 7:30 pm

PROGRAM

Piano Concerto No. 1 in F# Minor

Martin Garcia Leon, conductor with Han Sol Jeong, pianist

Le Sacre du printemps “The Rite of Spring”

Franz Anton Krager, conductor

Sergei Rachmaninoff (1873-1943)

Igor Stravinsky (1882-1971)

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

• For more information contact Emily Wolfe, Patron Relations and Communications Coordinator, at ewolfe@uh.edu or 713.743.7732

• For information on upcoming Kathrine G. McGovern College of the Arts events, visit uh.edu/artstickets or contact the KGMCA Box Office at 713.743.3388

THE KATHRINE G. MCGOVERN COLLEGE OF THE ARTS