Five by Five - Symphony Orchestra Opening Night Program 29 SEPT 2022

Welcome to opening night of the 103rd season of The University of Southern Mississippi Symphony Orchestra! We are so pleased that you could join us as we celebrate another year of incredible orchestral music.

This symphony season celebrates the Classics! The symphonic canon is rich with literature that many people recognize as being “classical” music, but they are unaware of the title or even composer of the work. Much of this familiarity is brought about by the music’s use in various forms of media, including films, television shows, commercials, video games, YouTube videos, and in rare cases, a rock ‘n roll arrangement. This season you will hear many pieces from which you will recognize “tunes” or specific motives or movements. There will be some familiarity with our literature at some point for almost everyone in the audience. We hope this provides a level of comfort to our listeners and allows them to enjoy the experience of an orchestra concert even more.

We begin the season with Beethoven’s most well-known symphony and piano concerto. Who doesn’t know the famous “da-da-da-daaaah” opening motive of the Fifth? But how many people recognize the other beautiful and powerful themes in this symphony as being from the same work? Many will also recognize the rondo theme from the third movement of the fifth piano concerto, but for my money, the opening theme of the second movement is perhaps the most beautifully simple melody in all of music.

We continue our season in November when we present three of our School of Music talented artists/faculty as soloists along with Prokofiev’s Classical Symphony in our Faculty Focus concert Also in November, we present the classic Golden Era musical Guys and Dolls. Audiences will recognize many songs in this musical that they may not realize are from the show, but they know the tune. In my book, this is the most well-constructed of all Golden Age musicals in terms of the balance of the libretto, music book, and story line. In December, we once again offer our community the Choral Holiday Spectacular as our gift for the holiday season. In February, we combine forces with the Hattiesburg Choral Union and Southern Chorale to present Verdi’s massive Requiem Mass If you haven’t heard the famous Dies Irae from this work you haven’t been paying attention. It’s everywhere! And finally in April, we present Future Stars and Firebirds, when we feature our three William T. Gower student concerto competition winners alongside Stravinsky’s Firebird Suite. This beautiful, haunting and powerful music is well-known to all audience members, even if they can’t identify the composer or title.

Our mission is to provide an accessible experience for our audience while providing our students with the experience of challenging repertoire that requires them to grow as musicians. This seasons Classics serve that dual mission very well. We know you will enjoy listening as much as we enjoy playing for you. Thank you for supporting our students and our program. We never take our patron’s support for granted.

present

Five by Five

The University of Southern Mississippi Symphony Orchestra

Dr. Michael Miles, music director

With special guest artist

Anton Nel, piano

Thursday, September 29, 2022

Bennett Auditorium 7:30 p.m.

Concerto No. 5 Ludwig van Beethoven in Eb Major for piano, op. 73 “Emperor” (1770-1827)

I. Allegro

II. Adagio

III. Rondo: Allegro non troppo

Anton Nel, piano

Intermission

Symphony No. 5 in C minor Ludwig van Beethoven

I. Allegro con brio (1770-1827)

II. Andante con moto

III. Scherzo: Allegro

IV. Allegro

This program presented in part by a generous grant from Partners for the Arts

in e-flat major, op. 73, “Emperor”

In May 1809, Napoleon’s troops attacked the city of Vienna, and throughout the following summer, the city shook with mortar fire. Ludwig van Beethoven, whose hearing was severely impaired, suffered both the stress of living under attack and constant painful assaults on his ears. In July, he wrote his publisher, “Since May 4, I have produced very little coherent work, at most a fragment here and there. The whole course of events has in my case affected both body and soul … What a destructive, disorderly life I see and hear around me: nothing but drums, cannons, and human misery in every form.”

On the worst night of all, that of May 11, Beethoven sought refuge in the cellar of the house of his brother Caspar. Once there, he covered his head with pillows, hoping to protect the remaining shreds of his hearing. Despite the traumatic conditions, Beethoven continued to compose, producing what is arguably the most popular piano concerto ever written.

It is not clear how “Emperor” came to be associated with Beethoven’s final piano concerto (the nickname wasn’t his), although there is an apocryphal story about a French officer who, upon hearing the work performed in Vienna in 1812, exclaimed, “C’est l’Empereur!” If, as many have assumed, the emperor in question refers to Napoleon, Beethoven, suffering under Napoleon’s continuous bombardment, would certainly have disapproved.

By this point in his compositional career, Beethoven’s penchant for innovation in the opening measures of his concertos had become a signature, and the Fifth is no exception. The concerto opens with three dramatic chords in the orchestra, each followed by a cadenza. Cadenzas usually appear at the close of a movement. By opening the concerto with cadenzas full of musical foreshadowing, Beethoven telegraphs the themes and ideas of the opening movement to the listener. Beethoven’s cadenzas act as a subliminal suggestion, planting the basic elements of later themes in our ears without our noticing. The orchestra follows with a sweeping theme, followed by several subsidiary subjects. The pianist soon answers, moving steadily toward the second main idea. A dramatic, complex development follows with both the piano and orchestra taking equal part, thus fusing both performing elements. The recapitulation is traditional with major themes being restated almost without change. At the point where one would anticipate a cadenza, Beethoven wrote, “Do not play a cadenza, but attack immediately the following.” The pianist does exactly that, initiating an episode, which introduces a stunning coda.

The second movement of the Fifth is perhaps one of the most beautifully simple movements in the repertoire. A slow moving hymn-like melody in muted strings opens the movement. Listeners may recognize the opening notes of Bernstein’s song “Somewhere” from West Side Story, as even the genius of Bernstein recognized the beauty of the theme. After a small pause, the soloist responds with a complementary, intimate theme in slow triplets followed by graceful variations. The two forces converse slowly, always relaxed and at ease. Beethoven urged that the movement not be taken too slowly, “un poco piu mosso” and assigning two large beats per measure rather than four, giving a pulse which has momentum. Cramer’s first published edition noted, “This must not drag.”

When this music has subsided into stillness, Beethoven makes one of his characteristically dramatic tonal shifts, dropping the pitch by a half step, providing a foreboding feeling of what is coming. Beethoven hints at the coming melody in a broken, slow statement in the piano, but then we are suddenly treated to a jubilant and festive rondo as the new idea bursts forth in its proper tempo and fortissimo. Beethoven works out the movement with his own vast sense of space. Just before the end, the timpani attain unexpected prominence in a passage of equally unexpected quiet. But this descent into adagio and pianissimo is undone in a coda as brilliant as it is brief.

Symphony No. 5 in C minor, op. 67

Beethoven’s Fifth Symphony is without question the most famous piece of classical music ever composed. It is famous in the general population due to it’s recognizable opening motive, and it is appreciated within the music community for its sense of invention and impetus for moving the classical symphonic form forward. It has also come to represent the very essence of classical music itself. Music lovers know it backward and forward, and even those who have never attended an orchestra concert recognize the opening notes of Beethoven’s Fifth immediately.

Since the Fifth’s premiere on a cold December night in 1808, it has become a lens through which we have viewed music, society and culture. Early audiences heard in its notes an exhortation of victory and triumph, whether literal or of a more internal, personal kind. As the 19th century progressed, Beethoven’s music, particularly the symphonies, became the standard against which every subsequent composer’s music was measured. During World War II, the Allies used the famous four-note opening as a signal in radio broadcasts of victory over the Axis powers. The Fifth Symphony also became an unforgettable part of the 1970s with Walter Murphy and the Big Apple Band’s disco version, “A Fifth of Beethoven.”

Beethoven supposedly likened the four opening notes to the hand of Fate knocking at the door. In all likelihood, however, this description was fabricated by Anton Schindler, one of Beethoven’s early biographers, known both for his poor memory and his penchant for invention. From this four-note motive Beethoven unleashes a movement unlike any other in his time. From the opening kernel, he developed a symphonic masterpiece, demonstrating a new symphonic

principal: the potential of a single gesture to generate an entire symphony. The rhythmic dimension of the figure does not vary throughout the first movement, but it does go through six pitch variations. The opening motive even serves as the introduction into the second theme stated in the French horn. This lyrical theme is beautiful but overwhelmed by the power and insistence of the opening motive. A turbulent development features sequential development of both themes from the exposition. In the recapitulation, Beethoven slams the brakes on the insistence of the rhythmic drive with a brief but expressive oboe cadenza that allows the listener to breathe one last time before launching head-long into the coda. The coda explores new thematic material (another compositional “first”) with a melody fashioned out of the blending of two earlier versions of the opening motive.

The second movement offers a theme and variations with two themes, one sweet and melodic, and the other grand and noble. Beethoven’s skill in building on these themes proves that he can command the listener’s attention with lyricism and hope, just as he can with turmoil and bluster. However, Beethoven doesn’t allow us to forget the opening motive of the first movement, as it appears several times in this movement as an accompanying figure. A wonderful stretto of the primary theme between the strings and woodwinds provides an expressive climax to the movement.

The third movement, Allegro, is a scherzo that adheres to the overall outline of a traditional minuet and trio, but with significant deviations within each of the main parts. Ominously hushed cellos and basses restlessly stir the first musical ideas before French horns emerge with a strong theme, again built on the opening motive of the first movement. The trio section presents three sections of primarily fugal development of a single theme, all in the tonic major key. The final statement, instead of being an exact repeat of the opening scherzo, relies on a dramatic pianissimo section and development of two themes. Beethoven again reminds us of the opening motive of the symphony when we hear the timpani enter, beginning a transition and extended crescendo that moves directly to the brilliant finale.

The fourth movement presents another development in the classical symphony, as Beethoven utilizes the piccolo, contrabassoon and three trombones. (This was the first time trombones appeared in a symphony orchestra.) Trombones and trumpets are invoked to lead the triumphant opening theme, which sets the stage for greater dimensions. The movement affirms the key of C major rather than C minor, and in the intervening years, many listeners have read into this simple gesture the triumph of hope over despair. In the end, the music in the final movement suggests victory, pageantry, even nobility. Within the classical sonata form of this movement Beethoven brings back just a taste of the scherzo theme from the third movement, as a transition into the recapitulation. There is a long coda in which the bright sonority of C major seems to obliterate the memory of the C minor of the first movement, providing a feeling of finality and of satisfaction. Michael Steinberg has written, “This victory symphony was a new kind of symphony, and Beethoven’s invention here of a path from strife to triumph became a model for symphonic writing to the present day.”

SYMPHONY ORCHESTRA

Violin 1

Alexander Ilchev, concertmaster Marlene Gentile Adelle Paltin

Alejandro Junco Laura Lopero Juan Lincango Jonathan Chen Casey Macklin

Violin 2

Federico Franco, principal Lily Martinez

Icaro Santana Victor Amaut Rodolfo Torres

Angelina Sidiropoulou Alejandro Lopez Dexter Rodkey

Viola

Ana Sofia Suarez, principal Isabella Marques Cecilia Araujo Diana Lopez Christian Avila Nicole Herrera Cello

Amani Zouehid, principal Brian Lorett

Cristian Sanchez Alejandro Restrepo Mauricio Unzueta Kassandra Henriquez

Evelin Lopez Franco Galetto Courtney Francois

Bass Wendell de Rosa Rodrigues, principal Jose Luis Cuellar Pedro Areco Elton Machado Daniel Magalhaes Matheus Henriquez Carlos Herrera Manuel Jara Ramirez Charlie Levindoski

Flute

Camden Sidenstricker, principal Miracle Johnson Sarah Hinchey, piccolo

Oboe

Ruth Moreno Calderón, principal Becca Chadwick

Clarinet Gerby Guerra, principal Eli Anderson Bassoon Osvaldo Alfaro, principal Jordan Vestal Horn Anna Zurawski, principal Chance Rootes

Trumpet Mariah Atwood, principal Doug Hutchison Trombone Nicholas Dauerer, principal Caleb Owenby Joseph Dunn Timpani Josh Hale

ANTON NEL

Winner of the 1987 Naumburg International Piano Competition at Carnegie Hall, Anton Nel continues to tour internationally as recitalist, concerto soloist, chamber musician and teacher. Highlights in the U.S. include performances with the Cleveland Orchestra, and the Chicago, San Francisco, Dallas, Seattle and Detroit Symphonies, as well as recitals coast to coast. Overseas he has appeared at the Wigmore Hall in London, the Concertgebouw in Amsterdam,  Suntory Hall in Tokyo, and major venues in China, Korea and South Africa. Much sought after as a chamber musician, he regularly appears with some of the world’s finest instrumentalists and singers at festivals on four continents. He holds the Joe R. and Teresa Lozano Long Endowed Chair at the University of Texas at Austin and also gives an annual series of masterclasses at the Manhattan School of Music and the Glenn Gould School in Toronto. During the summers, he is on the artist-faculties at the Aspen Music Festival and School, the Steans Institute at the Ravinia Festival, and the Orford Music Academy in Quebec. Mr. Nel also frequently performs as harpsichordist and fortepianist. His recordings include four solo CDs, chamber music recordings (including the complete Beethoven and Brahms cello/piano works with Bion Tsang), and works for piano and orchestra by Franck, Faure, Saint-Saens and Edward Burlingame Hill. The Johannesburgborn Mr. Nel is a graduate of the University of the Witwatersrand, where he studied with Adolph Hallis, and the University of Cincinnati, where he worked with Bela Siki and Frank Weinstock. His website is antonnel.com.

Dr. Michael Miles is a unique brand of musician, whose career includes a blend of musical and academic positions. Dr. Miles’ academic career includes appointments at Western Carolina University and Florida International University. He also served for seven years as chair at Southeastern Oklahoma State University and six years as director of the School of Music at The University of Southern Mississippi. Dr. Miles’ interest in arts advocacy and education in the community has led him to administrative positions in several community and state organizations. He served on the Hattiesburg Concert Association staff, and as executive director and founder of the Red River Arts Academy, an intensive summer arts training experience for students 14-18 years of age. Dr. Miles also served eight years as president of the Board of Directors of the Red River Arts Council in Durant, Oklahoma.

Dr. Miles’ appreciation for all forms and styles of music are evident in the variety of performing, conducting and music directing positions he has enjoyed. As a trumpet artist, Dr. Miles has performed with dozens of symphony orchestras as featured soloist and principal trumpet, and released a compact disc recording of new music for trumpet and piano by Robert Suderburg and James Wintle, titled Reflections in Times’ Mirror. In addition to his current duties as director of orchestral activities at Southern Miss, Miles’ conducting appointments include music director of the Hattiesburg Civic Light Opera Company, music director of the Oklahoma Youth Symphonies, and music director of the Oklahoma Shakespearean Festival. Miles recently conducted the USM Chamber Orchestra in its Carnegie Hall debut and served as guest conductor of the Festival Orchestra at the V Clinicas Instrumentalis in Cartegena, Columbia. In 2013, Dr. Miles served as guest conductor with The University of Southern Mississippi Symphony Orchestra, backing the legendary Beach Boys at the Beau Rivage Casino in Biloxi, Mississippi. Dr. Miles has also served as guest conductor with the Xinghia Conservatory Orchestra of Guangzhou, China, Vidin (Bulgaria) Philharmonic, Springfield Symphony, Tulsa Philharmonic, Tallahassee Symphony, New Mexico University Symphony, and Oklahoma Youth Orchestra.

In his career, Dr. Miles has served as music director/conductor for over 190 musical theatre performances involving 55 different musical theatre productions, including the recent highly acclaimed Southern Miss productions of The Drowsy Chaperone, The Phantom of the Opera, Magic of the Musical Stage, West Side Story, Mary Poppins, Ragtime, Showbiz Showstoppers, Showbiz Harmony and Sweeney Todd. Dr. Miles served as music director of HCLO’s productions of Into the Woods, Cabaret, Wizard of Oz, Camelot and Tommy. Dr. Miles also served as chorus master for the Hub City Players production of Rock of Ages and music director for their production of James and the Giant Peach. The Phantom of the Opera and James and the Giant Peach productions were awarded the prestigious American Prize for Musical Theater in 2018.

In his tenure at Southeastern Oklahoma State University, Dr. Miles led an award-winning Jazz Ensemble that was recognized by the Oklahoma State Legislature as the “Official Jazz Ambassadors of Oklahoma.” This ensemble made three concert tours of the People’s Republic of China School of the Arts.

LEGACY LIFETIME MEMBERS

Gold Legacy Society - $25,000 Gail and Larry Albert Dr. and Mrs. R. Greer Whitacre

Silver Legacy Society - $12,500

Dr. Shannon Campbell Dick and Mo Conville Tammy and Arthur Martin Doug and Pam Rouse

Bronze Legacy Society - $5,000 Jennifer Brannock and Dr. David R. Davies

Dr. Amy Chasteen Dennis and Erin Granberry Don and Amy Hinton Andy and Stace Mercier Dr. Michael and Stacey Miles Dee and Toddy Tatum in memory of Dr. and Mrs. A.T. Tatum Doug and Becky Vinzant

ANNUAL MEMBERS

PRESIDENT’S CIRCLE - $5,000+ Mr. and Mrs. W. Carey Crane III

GRAND BENEFACTOR - $2,500

Dr. Stella Elakovich in memory of Drs. Dana Ragsdale and Karen O. Austin Dr. and Mrs. J. Larry Smith in memory of Mrs. Jane Becker Heidelberg Dick Jordan and Allen Williams in memory of Mary Garrison Jordan, Sonia Jordan and Sonyna Jordan Fox

BENEFACTOR - $1,000

Beltone Hearing Care Center

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Southern Miss Alumni Association

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SUSTAINER - $750

Dr. William Odom

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Astrid Mussiett in memory of Gladys S. Mussiett Mike and Linda Kuykendall

Dr. Francis Laatsch and Susan Reiter Bill and Martha Resay Ben and Jackie McIlwain Danilo Mezzadri Deborah and Steve Moore

John Mullins in honor of Jim Meade

Mr. and Mrs. Hal E. Odom Bob and Betty Press Jann and George Puckett in honor of DeAnna Douglas Louis N. Rackoff and Elizabeth Slaby Bill and Martha Resavy Sherrie Mitchell Richmond Mark Rigsby and Melanie Eubanks

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FRIEND - $50

Michael Aderibigbe

Dr. Jenna and Mr. Daniel Barton

Richard Edward Beckford Chris and Elizabeth Bedenbaugh

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Cindy Bivins

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Dr. Cherie and Mr. Lance Bowe Chris and Lisa Bowen

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Mr. and Mrs. Charles Daughdrill Melissa Jean David Diane Dobson Steve and Mary Dryden Allyson Easterwood Carol and Gardner Fletcher Olivia Clare Friedman Monika Gehlawat Ms. Allison Gillespie Heather and Ken Graves in memory of Jeremy Lespi Bruno D. Griffin Barbara L. Hamilton Julie Hammond George and Diana Hardin Frances B. Hegwood Brenda Hesselgrave Marsha Hester

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