National Symphony Orchestra of Ukraine: Program

NATIONAL SYMPHONY ORCHESTRA OF UKRAINE Volodymyr Sirenko, Artistic Director & Chief Conductor Natalia Khoma, cello

TUESDAY, FEBRUARY 20, 2024 | 7:30 PM Mead Witter Foundation Concert Hall at Hamel Music Center

PROGRAMMED BY THE PERFORMING ARTS COMMITTEE The Wisconsin Union Directorate Performing Arts Committee (WUD PAC) is a student-run organization that brings world-class artists to campus by programming the Wisconsin Union Theater’s annual season of events. WUD PAC focuses on pushing range and diversity in its programming while connecting to students and the broader Madison community.

In addition to planning the Wisconsin Union Theater’s season, WUD PAC programs and produces student-centered events that take place in the Wisconsin Union Theater’s Play Circle. WUD PAC makes it a priority to connect students to performing artists through educational engagement activities and more.

WUD PAC is part of the Wisconsin Union Directorate’s Leadership and Engagement Program and is central to the Wisconsin Union’s purpose of developing the leaders of tomorrow and creating community in a place where all belong.

NATIONAL SYMPHONY ORCHESTRA OF UKRAINE TUESDAY, FEBRUARY 20, 2024

Dmitry Bortniansky (1751–1825)

"Sinfonia" Overture from Il Quinto Fabio in C Major (1788) Allegro comodo Rondo—Andantino Presto

Robert Schumann (1810–1856)

Cello Concerto in A Minor, Op. 129 (1850) Nicht zu schnell Langsam Sehr lebhaft Natalia Khoma, cello

IN T E RM IS S IO N

Johannes Brahms (1833–1897)

Symphony No. 2 in D Major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso (quasi andantino) Allegro con spirito

This concert is made possible with significant support by Robert and Linda Graebner and the David and Kato Perlman Chamber Music Support Fund.

Additional support is provided by the Bill and Char Johnson Classical Music Fund.

The Wisconsin Union Theater thanks the mead Witter School of Music for the generous use of the Hamel Music Center.

The tour of the National Symphony Orchestra of Ukraine is made possible by the generous support of Andrew Solomon and John Habich Solomon.

Program subject to change.

Sheldon Artists LLC sheldonartists.com 3

PROGRAM NOTES DMITRY BORTNIANSKY (1751–1825) “Sinfonia” Overture from Il Quinto Fabio in C Major (1788) About the Composer Dmitry Stepanovych Bortniansky, b. 1751 in Hlukhiv (currently a city of regional significance in the Sumy region of Ukraine), d. 1825 in Saint Petersburg, was a prominent Ukrainian composer and conductor.

After studying at the Hlukhiv Singing School, Bortniansky became a member of the court choir in Saint Petersburg in 1758 under the tutelage of Marko Poltoratsky. His successes were noticed by Baldassare Galuppi himself—the father of Italian comic opera,” invited to the court service by Catherine II. The eminent maestro highly appreciated Bortnianskys aptitudes and taught him vocals, harpsichord, and composition for over three years.

In 1768, Galuppi urgently recommended to send the gifted young man to Italy to continue his education, and Bortniansky followed his tutor to Italy as a “pensioner,” meaning “at the expense of the State.” In 1790, he wrote his Concerto-Symphony in B-flat Major, which for a long time (until the discovery of an earlier symphony by Maksym Berezovsky) was considered to be the first Ukrainian symphonic work. A brilliant composer, he possessed a rare and happy gift to write sincerely and naturally. He was also the chapel-master of the Court Choir—the only one among his contemporaries whose music hasn't been forgotten after their death. The list of his compositions boasts more than 200 titles, including operas, instrumental concertos, sonatas, symphonies, and more.

“Sinfonia” Overture from Il Quinto Fabio in C Major This opera presents strong proof that the young composer learned the best traditions of Italian opera seria (the “serious opera” based on a heroic or mythological plot) and brilliantly mastered the skill of orchestral composition and virtuosic vocal-part creation. The long duration of the three-part sinfonia involves the full cast of the orchestra. Despite its tie to the opera Il Quinto Fabio, it can be enjoyed as an independent original work.

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ROBERT SCHUMANN (1810–1856) Cello Concerto in A Minor, Op. 129 (1850) The Cello Concerto in A Minor, Op. 129, by Robert Schumann was completed in a period of only two weeks, between October 10 and October 24, 1850, shortly after Schumann became the music director at Düsseldorf.

The concerto was never played in Schumann’s lifetime; it was premiered on April 23, 1860, four years after his death, in Oldenburg, with Ludwig Ebert as soloist.

Written late in his short life, the concerto is considered one of Schumann’s more enigmatic works due to its structure, the length of the exposition, the transcendental quality of the opening, and the intense lyricism of the second movement. On the autograph score, Schumann gave the work the title Konzertstück (“Concert Piece”) rather than Konzert (“Concerto”), which suggests he intended to depart from the traditional conventions of a concerto from the very beginning. It is notable that Schumann’s earlier piano concerto in the same key was also originally written as a concert piece.

Consistent with many of Schumann’s other works, the concerto utilizes both fully realized and fragmentary thematic material introduced in the first movement, which is then quoted and developed throughout. Schumann’s use of the same themes but in very different contexts and moods lends the cello concerto a strong sense of character development and an extended emotional arc, from its opening measures vacillating between the deeply meditative and agitated to the brilliant, affirmative conclusion.

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JOHANNES BRAHMS (1833–1897) Symphony No. 2 in D Major, Op. 73 (1877) The Symphony No. 2 in D Major, Op. 73, was composed by Johannes Brahms in 1877 during a visit to the Austrian Alps, and premiered that same year. Its gestation was brief in comparison to the 15 years he took to complete his first symphony.

The cheery and almost pastoral mood of the symphony often invites comparisons with Beethoven’s Sixth Symphony, but, perhaps mischievously, Brahms wrote to his publisher that the symphony “is so melancholy that you will not be able to bear it. I have never written anything so sad, and the score must come out in mourning.”

The premiere was given in Vienna on December 30, 1877, by the Vienna Philharmonic under the direction of Hans Richter; Walter Frisch notes that it had originally been scheduled for December 9, but “in one of those little ironies of music history, it had to be postponed [because] the players were so preoccupied with learning Das Rheingold by Richard Wagner.”

The Symphony No. 2 is in four movements. The first (Allegro non troppo) opens with the cellos and basses intoning a three-note motif that will return in various guises throughout the symphony.

The movement also includes a waltz-like theme that recalls the composer’s beloved “Lullaby,” Op. 49, No. 4 (1868). The slow-tempo second movement (Adagio non troppo) alternates lyrical repose with moments of tension, not resolved until the final bars. The third movement (Allegretto grazioso) opens with the oboe’s presentation of the sprightly principal melody that returns throughout, alternating with fleet interludes. The concluding movement (Allegro con spirito), the most cheerful finale among Brahms’s four symphonies, radiates energy and optimism from start to finish.

—Roman Oleksiienko

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ARTIST BIOS NATALIA KHOMA Natalia Khoma, an internationally renowned cellist, has been hailed around the world as “technically dazzling,” “intense, brilliant, and with perfect structure.” She also has been praised for “the precision of her executions, Slavic Zen, full, warm cello tone … and, what a drive!” and for “a deeply emotional yet meticulously precise reading, full of fire, that transcended the barriers of music, musician, and audience.”

Khoma made her first public appearance on TV at age 10 and performed her first concerto with orchestra at age 13. Since winning first prize at the Lysenko Cello Competition while still a student in high school, she has won top prizes at the Pablo Casals International Competition, Markneukirchen Competition in Germany, and the Tchaikovsky International Competition in Moscow, as well as first prize at the Jeunesses Musicales Belgrade International Cello Competition.

A native of Lviv, Ukraine, Khoma studied at Solomiya Krushelnytska School for gifted children with Evhen Shpitzer, at the Moscow Conservatory with Natalia Shakhovskaya, and in the United States, where she received an artist diploma from Boston University under the direction of Leslie Parnas.

The first and only Ukrainian cellist to become a laureate of the Tchaikovsky Competition, Khoma has since distinguished herself as a recitalist and soloist with orchestras throughout Russia, as well as the US, Canada, South America, Germany, Norway, Belgium, Italy, France, Spain, Switzerland, Eastern Europe, South Africa, the Middle East, and East Asia.

She has performed as a soloist with such leading ensembles as the Berlin Radio Symphony Orchestra, Tchaikovsky Symphony Orchestra, Belgrade Philharmonic Orchestra, Budapest Philharmonic Orchestra, National Symphony Orchestra of Ukraine, Johannesburg Philharmonic Orchestra, and the Franz Liszt Chamber Orchestra. She has given solo recitals around the world, including in Tchaikovsky Hall (Moscow), Carnegie Hall’s Weill Recital Hall, Steinway Hall and Merkin Hall (New York), Jordan Hall and Tsai Performance Center (Boston), and more around the globe. She is often invited to appear at international festivals in Switzerland, Germany, Spain, Canada, Ukraine, and the US, among others.

Khoma has been a professor at the Lviv Conservatory in Ukraine, Roosevelt University Music Conservatory Chicago, and Michigan State University. She was a visiting professor at the University of Connecticut Department of Music.

In 2011, she was appointed Artistic Advisor and Program Coordinator of the Music and Art Center of Greene County, New York. Khoma is an Honorary Professor of Lviv National Music Academy, Odessa National Music Academy, and Ukrainian National Tchaikovsky Academy of Music (formerly Kyiv Conservatory).

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In 2010, Khoma was featured on a Grammy-nominated CD for the Dorian / Sono Luminus label. She has also recorded for NHK-TV (Japan), Naxos, TNC/ Cambria, Blue Griffin, IMP, Centaur, and Ongaku, as well as for Ukrainian, Russian, German, Spanish, Serbian, Israeli, and Hungarian radio and television.

She has appeared on WNYC in New York, WGBH in Boston, WCUW in Worcester, and CKWR in Ontario, Canada.

Khoma is proud to once again tour with the National Symphony Orchestra of Ukraine, one of the finest symphony orchestras in Europe. In addition to her performing activities, she is a professor of cello at the College of Charleston in Charleston, South Carolina, and director of the Charleston Music Fest. She serves as organizer of the Children and Music Foundation, which provides musical training, instruments, and financial aid to young, gifted Ukrainian students in need.

ABOUT THE NATIONAL SYMPHONY ORCHESTRA OF UKRAINE Formed by the Council of Ministers of Ukraine in November 1918, the National Symphony Orchestra of Ukraine (NSOU) is considered one of the finest symphony orchestras in Eastern Europe. Its first conductor was Oleksander Horilyj. Natan Rachlin was the artistic director of the orchestra from 1937 to 1962. Stefan Turchak, Volodymyr Kozhukharar, Fedir Hlushchenko, Igor Blazhkov, and Theodore Kuchar consequently conducted the orchestra as its principal conductors. Other conductors who worked with the NSOU include Konstantin Simeonov, Leopold Stokowski, Igor Markevitch, Kurt Sanderling, Kirill Kondrashin, Kurt Masur, Hermann Abendroth, Willy Ferrero, and others.

Soloists who performed with the NSOU include Artur Rubinstein, Yehudi Menuhin, Isaac Stern, David Oistrakh, Sviatoslav Richter, Mstislav Rostropovich, Emil Gilels, Leonid Kogan, Gidon Kremer, Oleh Krysa, Montserrat Caballé, José Carreras, Plácido Domingo, Andrea Bocelli, and Juan Diego Flores. The NSOU was entrusted with the premiere performances of works by Boris Lyatoshynsky, Valentyn Sylvestrov, Myroslav Skoryk, and Evgen Stankovych.

The orchestra has gained international recognition over a remarkably short period of time. Since 1993, the NSOU has released more than 100 recordings that include both Ukrainian and international repertoires. Most of these recordings have received the highest international acclaim. In 1994, the Australian Broadcasting Company ranked NSOU’s recording of Boris Lyatoshynsky’s Symphonies No. 2 and No. 3 as “The Best Recording of the Year.” The CD of Sylvestrov’s Requiem for Larissa was nominated for a Grammy Award in 2005. The CD of Bloch and Lees’s violin concertos was nominated for a Grammy Award four years later. The NSOU has performed in successful concert tours throughout Australia, Austria, Bahrain, Belgium, Canada, China, the Czech Republic, Denmark, France, Germany, England, Hong Kong, Iran, Italy, Japan, Kazakhstan, Lebanon, Liechtenstein, the Netherlands, Oman, Poland, Portugal, Slovakia, Spain, Switzerland, United Arab Emirates, and the United States. Volodymyr Sirenko is the orchestra’s artistic director and chief conductor Oleksandr Hornostai is managing director and producer.

This is the National Symphony Orchestra of Ukraine’s fourth US tour.

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VOLODYMYR SIRENKO Volodymyr Sirenko was born in 1960 in the Poltava region of Ukraine. His conducting debut took place at the Kyiv Philharmonic Hall in 1983 with works

by Stravinsky, Schoenberg, and Boulez. In 1989, Sirenko graduated from the Kyiv Conservatory, where he studied conducting under Allin Vlasenko. In 1990, he was a finalist at the International Conducting Competition in Prague. A year later, he was appointed Chief Conductor and Artistic Director of the Ukrainian Radio Symphony Orchestra, a position which he held until 1999. During this period, he made over 200 recordings with the orchestra, including Mozart’s symphonies nos. 38 and 41, Beethoven’s Symphony No. 9, Brahms’s A German Requiem, Dvořák’s symphonies nos. 7 and 9, R. Strauss’s Macbeth, and Janáček’s Taras Bulba.

Since 1999, Sirenko has been Artistic Director and Chief Conductor of the National Symphony Orchestra of Ukraine. Highlights include cycles of Gustav Mahler’s complete symphonies, Bach’s four Passions and Mass in B Minor, Lyatoshynsky’s complete symphonies, Honegger’s Jeanne d’Arc au bûcher, Berlioz’s La damnation de Faust, and Debussy’s Le Martyre de saint Sébastien.

He has made more than 50 recordings with the orchestra. The CD of Silvestrov’s Requiem for Larissa was nominated for a Grammy Award in 2005. He has premiered many works by Ukrainian composers including Sylvestrov’s symphonies nos. 7, 8, 9, Stankovych’s Symphony No. 6, and the oratorios The Tale of Igor’s Campaign and Passions for Taras.

Sirenko has toured Austria, Bahrain, Belgium, Bulgaria, Canada, the Czech Republic, Germany, France, Italy, Japan, Kazakhstan, China, Korea, Lebanon, the Netherlands, Oman, Poland, Portugal, Slovakia, Spain, the United Arab Emirates, the United Kingdom, and the United States. He has worked with many international orchestras, including the Royal Philharmonic Orchestra, Sinfonia Varsovia, National Polish Radio Symphony Orchestra, Slovak Radio Symphony Orchestra, Jerusalem Symphony Orchestra, Israel Sinfonietta Beer-Sheva, Brooklyn Philharmonic, and BBC Philharmonic. Sirenko has appeared in concert halls around the world, including the Concertgebouw (Amsterdam), Berlin Philharmonie, Brucknerhaus (Linz), Barbican Hall and Cadogan Hall (London), Théâtre des Champs-Élysées and Opéra Comique (Paris), Teatro La Fenice (Venice), Seoul Arts Center, Palau de la Música (Valencia), Auditorio Manuel de Falla (Granada), Filharmonia Narodowa (Warsaw), Roy Thomson Hall (Toronto), Tokyo Opera City, and Osaka Symphony Hall.

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NATIONAL SYMPHONY ORCHESTRA OF UKRAINE Volodymyr Sirenko, Artistic Director & Chief Conductor VIOLIN Maksym Grinchenko, Concertmaster Markiyan Hudziy Vitalii Lieonov Tetiana Khomenko Roman Poltavets Oksana Kot Olena Poltavets Valery Kuzik Olga Mykhailiuk Oleg Lytvynenko Andrii Koliada Kateryna Kurysheva

VIOLA Oleksandr Pohoryelov, Principal Galyna Nemeczek Mykola Ivanov Orest Krysa Olha Andriienko Bogdan Fesiuk Sofiia Starodub Tetiana Kholodova CELLO Mykola Liubenko, Principal Vira Kornilova

SECOND VIOLIN Halyna Hornostai, Principal Viktoriia Hanapolska Andriy Mazko Valentyna Petrychenko Oleksii Sechen Hanna Shkil Valentyna Voskresenska Mykhailo Zolotov Tetiana Nikonenko Nadiia Novikova

Serhii Vakulenko Olena Ikaieva Tetiana Miastkovska Ihor Yarmus Yevhen Skrypka Olena Dvorska

Tour Direction: SHELDON ARTISTS LLC

R. Douglas Sheldon, Managing Partner Karen Kloster, Tour Coordinator Jonathan Wintringham, Manager & Marketing Suzanne Neely, Manager & Administration Ryan Brideau, Executive Assistant & Administrator Renee O'Banks, Tour Manager James Putnam, Driver Maestro! Touring, International Air info@sheldonartists.com Road Rebel Global, Hotels www.sheldonartists.com 10

DOUBLE BASS

FRENCH HORN

Yakiv Seniv, Principal

Yosyp Apostol, Principal

Oleksandr Neshchadym

Valentyn Marukhno

Serhii Zhelezniak

Kostiantyn Sokol

Taras Butko

Yuliia Shevchenko

Volodymyr Kaveshnikov Oleksandr Siryi

TRUMPET Illia Shevchuk, Principal

FLUTE

Roman Oleksiienko

Igor Chura, Principal Kateryna Yurchenko

TROMBONE Andrii Holovko, Principal

OBOE

Adrian Shyiko

Hennadii Kot, Principal

Andrii Zymenko

Yurii Litun TUBA CLARINET

Oleksiy Kobzist

Yurii Nabytovych, Principal Pavlo Boiko

PERCUSSION Danylo Shurygin

BASSOON

Georgii Orobinskyi

Taras Osadchyi, Principal Alexandra Naumov NATIONAL SYMPHONY ORCHESTRA OF UKRAINE Oleksandr Hornostai, Managing Director Roman Oleksiienko, Deputy Director Georgii Orobinskyi, Stage Manager The tour of the National Symphony Orchestra of Ukraine is made possible by the generous support of Andrew Solomon and John Habich Solomon.

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THANK YOU TO OUR GENEROUS DONORS Association of Performing Arts Professionals

Jaimie L. Dockray & Brian B. Dockray

Mohamed F. Bacchus

Elizabeth G. Douma

M Jacob J. Baggott & Jennine E. Baggott John A. Barnhardt Gretchen E. Baudenbacher Robert M. Bell & Jeanne L. Bell Miriam S. Boegel & Brian M. Boegel Christine W. Bohlman & Professor Philip V. Bohlman Richard J. Bonomo & Marla H. Bonomo Michelle A. Brayer Gregoire & Tim Gregoire

Dr. Irene Elkin Rae L. Erdahl John R. Evans Evjue Foundation Jon E. Fadness Carol H. Falk & Alan F. Johnson Hildy B. Feen Isabel K. Finn Jill A. Fischer

Brittingham Trust

Janice R. Fountain

Michael T. Brody & Elizabeth K. Ester

Carol A. Fritsche & Jeffrey P. Fritsche

Marion F. Brown

Marisa J. Gandler & Mark J. Gandler

Glenna M. Carter & Reeves E. Smith

Dr. Linda I. Garrity Living Legends Endowment Fund

Peggy H. Chane Peter C. Christianson Matthew S. Clark & Kelly A. Clark Professor Charles L. Cohen & Christine A. Schindler

Tara L. Genske & Mark A. Dostalek Leonard H. Gicas Garry M. Golden & Ann L. Gregg Clarke C. Greene & Elizabeth A. Greene

Sam Coe

Mary Greer Kramer

Howard M. Collens & Nancy Collens

Kiley A. Groose

David R. Cross

Amy Guthier & Mark C. Guthier

George C. Cutlip

Jennifer C. Hartwig

Dane Arts

Dr. Marlene T. Hartzman

Heather M. Daniels

Brent T. Helt

Joseph P. Davis III & Wendy T. Davis

Michael E. Hosig

André R. De Shields

Arnold R. Isaacs & Kathleen T. Isaacs

Kelly G. DeHaven & David T. Cooper

Stephen T. Jacobson

Sean P. DeKok

Dr. Arnold F. Jacobson

Darren M. DeMatoff

Brian M. Jenks

Lori A. DeMeuse

Bill and Char Johnson Classical Music Series Fund

Mark A. Dettmann Dr. Leslie D. Dinauer & Stephen R. Dinauer 12

Bess Donoghue

Kristen E. Kadner & Brian J. Roddy Kelly R. Kahl & Kimberly S. Kahl

Michael J. Kane & Jennifer L. Kane

Dr. Michelle L. Rogers

William E. Kasdorf & Cheryl E. Kasdorf

Ian M. Rosenberg & Caroline Laskow

Evelyn L. Keaton

Kristi A. Ross-Clausen

Daniel J. Koehn & Mark R. Koehn

Sharon S. Rouse

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Erik C. Rudeen

Thomas J. Konditi

Dr. Douglas K. Rush

Diane M. Kostecke & Nancy A. Ciezki

Ralph F. Russo & Lauren G. Cnare

Amy L. Lambright Murphy & Paul J. Murphy

Peter J. Ryan

Matthew A. Lamke

Dr. Vinod K. Sahney & J Gail Meyst Sahney

Charles Leadholm

Emil R. Sanchez & Eloisa R. Sanchez

Caryn E. Lesser & Max Lesser

Ruth Shneider Brown

Carolyn P. Liebhauser & Kevin C. Liebhauser

Margaret A. Shukur

Professor Douglas P. Mackaman & Margaret L. O'Hara

Elizabeth Snodgrass

Madison Arts Commission Roberta L. Markovina & Matthew P. Markovina

Thomas R. Smith Polly Snodgrass Kristina Stadler Frank Staszak

Anita L. Mauro & Daniel Mauro

Lynn M. Stathas

Mead Witter School of Music

Jason L. Stephens & Dr. Ana C. Stephens

Professor Emeritus Charles F. Merbs & Barbara P. Merbs

Dr. Andrew W. Stevens

Stephen Morton

Thompson Investment Management

National Endowment for the Arts

Daniel J. Van Note

William K. Niemeyer & Allison Duncan

Teresa H. Venker

Victoria K. Palmer-Erbs Stephen E. Parker & Jill A. Parker

Douglas and Elisabeth B. Weaver Fund for Performing Arts

Ann K. Pehle

Wisconsin Alumni Association

Dr. Kato L. Perlman

Wisconsin Arts Board

Lisa A. Pfaff

Janell M. Wise

Kathleen P. Pulvino & Dr. Todd C. Pulvino

James H. Wockenfuss & Lena M. Wockenfuss

Reinhart Boerner Van Deuren SC Dr. Mark J. Reischel MD & Angela Reischel

Ann M. Sticha

Gregory M. Zerkle & Cynthia A. Marty

Jeremy V. Richards & Joyce D. Richards Ellen S. Roeder Donors as of August 31, 2023 13

COMING UP IN THEATER LADY WRAY Thursday, February 29 | 7:30 PM Play Circle at Memorial Union Jazz

BRENDA RAE, SOPRANO WITH BÉNÉDICTE JOURDOIS, PIANO Thursday, March 7 | 7:30 PM Collins Recital Hall at Hamel Music Center Classical

JULIUS RODRIGUEZ Thursday, March 14 | 7:30 PM Play Circle at Memorial Union Jazz

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S T AR nion U n i s n isco W e h t t a

Experience Performing Arts

With two performance spaces in Memorial Union, Shannon Hall and Play Circle, the Wisconsin Union Theater and the Wisconsin Union Directorate (WUD) Performing Arts Committee presents an annual season of performing arts events including the Classical Series, Jazz Series, and events including dance, music, and more.

Additionally, hundreds of free concerts are presented annually in spaces at Memorial Union and Union South, all planned by students.

Create at Wheelhouse Studios

Wheelhouse Studios, located on the lower level of Memorial Union, is a vibrant art-making space. Three versatile studios provide open studio spaces, art classes, group events, and a variety of free art-making events.

Explore Art Galleries & Collections

Explore two art galleries in Memorial Union with year-round free exhibitions presented by the Wisconsin Union’s student-led WUD Art Committee, and head to Union South to see a third gallery space. You can also view some of the nearly 1500 works that make up the Wisconsin Union Art Collection in hallways, offices, and meeting rooms in both Memorial Union and Union South.

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The 330-seat Marquee Cinema and the Memorial Union Terrace are the setting for hundreds of film screenings every year, the majority of which are programmed by the WUD Film Committee.

Get Involved

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Learn more at union.wisc.edu

Union South 1308 W. Dayton St., Madison, WI 53715 (608) 890-3000 15

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