Download SPRING YOUNG PEOPLE`S CONCERT

Madison Symphony Orchestra | John DeMain, Music Director
44th Annual
SPRING YOUNG PEOPLE’S CONCERT
Thursday, March 30, 2017 | 10:00 A.M. | Overture Hall
Youth Concert Curriculum Guide
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Program
LUDWIG VAN BEETHOVEN
Symphony No. 6 in F Major, Op. 68 (Pastoral)
I. Allegro non troppo - “Pleasant, cheerful feelings aroused on approaching the countryside.”
STUDENT SOLOIST
HECTOR BERLIOZ
Roman Carnival Overture, Op. 9
STUDENT SOLOIST
DMITRI SHOSTAKOVICH
Symphony No. 5, Op. 47
IV. Allegro non troppo
Photo from madisonsymphony.org
What’s Inside
About the Orchestra
4
Operatic vs. Symphonic Music
9
Meet the Director: John DeMain
4
Classroom Activity—Opera vs. Symphony
9
The Bolz Young Artist Competition
5
Dmitri Shostakovich
10
Concert Etiquette
5
Sonata Form in Symphony No. 5
11
Ludwig van Beethoven
6
Classroom Activity—Sonata Form
12
Symphony No. 6, Pastoral
7
Academic Standards for Music Education
13
Classroom Activity—Beethoven
7
Recommended Recordings and Bibliography
14
Hector Berlioz
8
MSO Personnel
15
Overture The Roman Carnival
9
Sponsors
16
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44th Annual Spring Young People’s Concert Curriculum Guide
About the Orchestra
The Madison Symphony Orchestra is a
professional orchestra comprised of
approximately 90 members. The MSO
“season” includes a series of eight
subscription concerts and three youth
concerts including:
Fall Youth Concerts for upper
elementary and middle school students
Spring Young People’s Concert
for middle and high school students
Symphony Soup Concert for Kindergarten through 3rd grade students.
Each of the MSO’s regular subscription concert series has four, 2.5-hour rehearsals, but the youth concerts are
prepared in only one rehearsal! Members of the orchestra are paid for each rehearsal and concert in which
they participate. Most of our musicians have other jobs, such as music faculty members at the University of
Wisconsin, private or public school music teachers, university students, and even jobs unrelated to music.
Meet the Director: John DeMain
Since arriving in Madison in 1994, Mr. DeMain has enriched the cultural life of
the city. He has been named "Madison Musician of the Year" by the Wisconsin
State Journal and The Capital Times, and is also named "Madison's Maestro"
by former City of Madison Mayor Dave Cieslewicz and former Wisconsin State
Governor Jim Doyle. John DeMain also holds the position of Artistic Advisor
of the Madison Opera.
A native of Youngstown, Ohio, John DeMain began his career as a pianist and
conductor. After winning the Youngstown Symphony's piano competition at
the age of 18, he went on to earn a bachelor’s and master's degree in music at
the Juilliard School of Music. Mr. DeMain served as Music Director and the
Principal Conductor for the Houston Grand Opera for 18 years. During his
distinguished tenure with that organization, he led a history-making production of George Gershwin's Porgy
and Bess, which he subsequently recorded for RCA and won a Grammy Award. John and his wife Barbara live
in Madison.
Photos by Greg Anderson
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44th Annual Spring Young People’s Concert Curriculum Guide
The Bolz Young Artist Competition
The two students that you will hear perform at the
Spring Young People’s Concert have gone through
three intensive rounds of auditions. The preliminary
round involves over 30 musicians performing on all
instruments. The top eight competitors from the first
round move continue to a second round of auditions.
It is the second round from which four soloists are
selected to perform in the final audition round and
perform their concerto with John DeMain and the
Madison Symphony Orchestra before a live audience.
2017 finalists: Julian Rhee (violin), Naomi Sutherland (Harp),
Michael Wu (Piano), Yaoyao Chen (Violin)
The event, Wisconsin Young Artists Compete: The
Final Forte, is broadcast live on Wisconsin Public Radio and Wisconsin Public Television, and also
rebroadcast on Wisconsin Public Television. Judges for the final round consist of professors and professional
musicians from Wisconsin and Illinois. In addition to winning the opportunity to perform as soloists with the
Madison Symphony Orchestra, the two winners will receive either The Steenbock Youth Music Award or the
Marian Bolz Prize for Distinguished Musical Achievement, and both will receive a cash prize.
Visit http://www.madisonsymphony.org/finalforte to learn more!
Concert Etiquette
1. Use the restroom before the performance begins.
2. Enter the hall quietly.
3. Turn off all cell phones and personal electronic devices.
4. Stay seated once the performance has begun.
5. Be aware of those around during the performance.
6. Listen attentively and clap when the piece is finished.
This doesn’t mean you have to sit like a statue! Just be conscientious of the hall and other people around you.
Not sure when to clap? A good rule of thumb is to watch for the conductor to lower his arms.
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44th Annual Spring Young People’s Concert Curriculum Guide
Ludwig van Beethoven, (1770-1827)
Ludwig van Beethoven was born in Bonn, Germany, in December
1770. His father, a singer in the chapel of the Archbishop-Elector of Cologne,
gave Beethoven piano lessons when he was just four years old. Beethoven’s
father would often come home at night from the taverns, drag his son out of
bed, and force him to practice. Still, Beethoven’s father realized that his son
had much talent, and was eager to create a second “Wonderkind” – a second
Mozart. Beethoven gave his first public concert at the age of seven, though in
the interest of publicity, his father told the audience Ludwig was six.
By ten, Beethoven’s abilities surpassed his father’s, since he was now
taking lessons from Christian Gottlob Neefe, the Bonn court organist. By the
time he was twelve, Beethoven had taken over Neefe’s duties as organist,
and he had also written a composition for piano, “Nine Variations on a
March by Dressler”. By sixteen, Beethoven’s beloved mother died of
tuberculosis, and his father was out of work due to his aged voice. Soon
after, his father passed away, leaving Beethoven distraught and lost.
Shortly following his parents’ deaths, Beethoven traveled to Austria and began studying under pianist
and composer Joseph Haydn. Haydn quickly discovered Beethoven’s musical potential and became eager to
help, facilitating a relationship that would greatly help Beethoven later in life. While residing in Vienna,
Beethoven was known as a pianist before a composer, and he gave his first public performance in 1795. In the
following years, Beethoven continued to tour and perform many piano works, only occasionally performing
his own. Letters from this time indicate that Beethoven was beginning to notice the first signs of hearing loss,
though he attempted to hide his difficulties in public. In 1800, Beethoven’s First Symphony was performed in
Vienna. Dissatisfied with the outcome, Beethoven later claimed that he would begin to compose in a new way.
In 1808, Beethoven’s Fifth Symphony was premiered, and its brilliance was quickly acknowledged.
Many experts see this work as a life story, a narrative piece that gives voice to Beethoven’s struggles, dreams,
sorrows, and triumphs in a magnificently lyrical and powerful way. The symphony’s famous ‘fate motif’ was
drawn from Beethoven’s own struggle with his hearing loss. In a
letter, he stated his desire to “seize Fate by the throat; it shall not
bend or crush me completely." This ‘fate motif’, as heard
throughout the symphony, is not unusual in its presence (many
Beethoven pieces feature this motif), due to it’s underlying
presence throughout the entire work. From the first seeds of
melody in the beginning to the resounding end, the fate motif
guides the work, as Beethoven saw fate guiding his life.
Original manuscript of Beethoven’s Symphony No. 6.
“No one can love the country as much as I do.”
-Ludwig van Beethoven
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44th Annual Spring Young People’s Concert Curriculum Guide
Symphony no. 6, “Pastoral”
Beethoven’s Symphony No. 6, “Pastoral” was completed and premiered in 1808, and is often
paired with his Symphony No. 5. While many writers believe that Symphony No. 5 represents traditional
musical ideas, Beethoven made it clear that he would continue his writing in a more programmatic and
personal style. The sixth symphony clearly demonstrates Beethoven’s passionate love for the countryside;
in his second movement, he opens with “the murmuring of the brook” and often creates bird calls and
other nature-imitating sounds throughout the orchestra. Many of these ideas come from reflecting upon
his long walks near the countryside, and his peaceful home in a small town, Heiligenstadt, just outside of
Vienna.
In a drastic attempt to part from his fifth symphony, Beethoven chose to depart from many of the
Romantic period’s musical forms and styles. Symphony No. 6 is well-known for it’s five-movement
structure, with no break between the third, fourth, and fifth movements. The first movement (Allegro
non troppo) is written in sonata form, even though it has a very calm development. Additionally, the
second movement creates a very aquatic feeling and uses bird-call sounds in the woodwind section.
Beethoven labeled these passages as: “nightingale,” “quail,” and “cuckoo.” The last three movements,
played as a single unit, begin with a relaxed scherzo, illustrating a dance between the flute, clarinet, and
horn, and later with the full orchestra. Following the scherzo, the fourth movement breaks into a storm
beginning in the low strings, then making a drastic crescendo through the rest of the ensemble. The final
movement begins with a peaceful “Shepherd’s Song,” which brings back images of the first movement.
Classroom Activity
Compare Beethoven’s opening themes to Symphony Nos. 5 and 6 by drawing or painting
images that reflect your feelings and connections to the music. Afterwards, write an abstract
about how the music has influenced your artwork, and what makes these two symphonies so
different.
See pg. 14 for reference recordings.
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44th Annual Spring Young People’s Concert Curriculum Guide
Hector Berlioz, (1803-1869)
Louis-Hector Berlioz was born in La Côte-Saint-André, France to a
young medical doctor and his wife. Berlioz began his formal education at a
local seminary, which had closed soon after his enrollment. This led to a
homeschool education through his father, who taught Hector language,
science, literature, and history. Berlioz did not receive any musical education
or experience until he was just twelve years old. The flageolet, which is
somewhat similar to a recorder, was the first instrument that Berlioz
experimented with. Within two days of picking up the instrument, Hector
had learned to play songs on it and was entertaining his family with his
performances. Later on, he even began composing for the instrument. In a
matter of a few short years, Hector was also proficient on the flute and
guitar, and had written various compositions. Some of these early pieces
were referred to in some of Berlioz’s later, more famous works.
When Berlioz was 18, he travelled to Paris to study medicine. While
he was there, he attended one of Gluck’s operas, which was a life-altering
experience for him. Because he was so inspired by Gluck’s music, Berlioz dedicated himself to writing down
large portions of its score. In addition to his operatic arrangement, Berlioz began attending more operas and
made connections with music professors at the Paris Conservatory. The mentoring he received from these
French musicians and composers was critical in his decision to abandon medicine and choose a
career in music. During his musical studies, he focused specifically on experimenting with
contemporary styles, and composing various works. Some works outside of music that had a
monumental impact on his compositions included Shakespeare’s Hamlet and Romeo and Juliet,
as well as the Shakespearean actress Harriet Smithson. It was later known that Berlioz’s love for
Smithson was his inspiration for his first symphony, Symphony Fantastique.
Long before Symphony Fantastique was ready to perform, Berlioz circulated program
notes on the meaning behind his epic work for orchestra. It was the story of an artist (Berlioz)
who is madly in love with a lady (Smithson) who seems unaware of his existence. No matter
where he goes or what he does, images of the lady haunt him. Sure that his love is spurned, the
artist takes a dose of opium that supplies him with fantastic visions of condemnation and the
afterlife. This piece, autobiographical in nature, caused an immediate uproar when it was first
performed in Paris. Many considered sharing such emotion through music improper. Hector,
however, did get what he wanted: Harriet Smithson realized the piece was about her and agreed
to marry him in 1833. Unfortunately, their life together was tumultuous and ended in
separation. Hector cared for Harriet until her dying day.
“Love cannot express the idea of music, while music may give an idea of love. ”
-Hector Berlioz
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French
Flageolet
44th Annual Spring Young People’s Concert Curriculum Guide
Overture “The Roman Carnival,” Op. 9
Hector Berlioz’s The Roman Carnival overture originally came from his first opera, Benvenuto Cellini,
which premiered in 1838 Paris. Unfortunately, the opera was so terrible that the production was completely
cancelled after only four performances. Berlioz, who believed the production had been sabotaged, blamed the
conductor, Habaneck, for poor rehearsals and not following instructions. However, the composer received lots
of backlash from the dance company, musicians, and Habaneck— instruments were broken, many of the
people involved fought consistently, and the dancing and music did not complement each other. Due to this
wave of unnecessary intolerance and a short-lived production, Berlioz set to save the music and composed his
overture The Roman Carnival.
The Roman Carnival comes from two scenes of Benvenuto
Cellini— O Teresa, vous que j’aime, and Saltarello, which was the
scene mostly responsible for the chaos that ensued in Paris. Even
though the orchestra sightread at the concert, they still managed a
fantastic premiere of the overture, and the work received stellar
public reviews including an encore. Following the performance,
Berlioz found Habaneck in the audience and told him: “Now that
is how it ought to go!” (Allsen). When listening to the overture, you
can hear a reference to the opening of Benvenuto Cellini, as well as
a loving, yet haunting English Horn solo. Later on, the woodwinds
move into the theme from Saltarello, which is in dance style. The
overture concludes with a fugue on the original Saltarello theme.
Performance of a Saltarello dance
Operatic vs. Symphonic Music
While opera and symphony music have a vast number of similarities, there are a few elements that
make them distinct from one another. Symphonic music often involves a full symphony orchestra (strings,
woodwinds, brass, and percussion), and does not usually include vocalists. Symphonic music really began in
the mid-1700s (the beginning of the classical period) with composer Joesph Haydn. It continued throughout
the Romantic period. Opera music, however, began in the Baroque period (beginning 1600) with composers
such as Monteverdi. Formal operas often consist of a part or full-sized orchestra playing accompaniment
(typically below the stage) to voice(s) on stage. Additionally, unlike theatre music, operas generally only move
the story along by singing— very rarely is there spoken dialogue. Even though operas use a stage with
performing artists, the music can often be performed without anyone acting the parts.
Classroom Activity
Play two minutes of music from Benvenuto Cellini, then two minutes from Overture
“The Roman Carnival.” Students may compare and contrast in a Venn diagram what they
have read and heard (operatic vs. symphonic music).
See pg. 14 for reference recordings.
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44th Annual Spring Young People’s Concert Curriculum Guide
Dmitri Shostakovich, (1906-1975)
Dmitri Shostakovich, one of Russia’s finest neo-romantic composers, is
considered a champion of composition and musicianship during his
time. Growing up, Shostakovich lived with a very musical family—his
parents and sister often made music, and they enjoyed listening to
operas and other works by Tchaikovsky and Rimsky-Korsakov. At nine
years old, his mother decided to enroll him in piano lessons. It was that
moment which his musical talents stemmed from, since he was soon
writing short piano works and performing intermediate classical piano
pieces. Later, in 1919, Shostakovich began studying at a nearby music
conservatory, and took classes in music history, theory, and
orchestration. They eventually helped him learn to write larger works,
including his first symphony in 1925. It was also around this time that
Shostakovich went to Moscow to have several works publicly performed,
which later helped him meet other composers and become more
financially stable.
During the early 1900s, Russia’s leader, Joseph Stalin, set new
nationalist rules creating shortages in funding and support for new art
and music. Unfortunately, Russia’s economy and social welfare were
now also suffering and created a lower standard of living. Many people
were dissatisfied with Stalin’s administration, suffered economically,
and had various class and career complications. Due to this new regulation, many composers, including Sergi
Rachmaninoff, fled the country since they were not allowed to write expressive, new music. Some composers
tried to work around the new rules by publishing music in Paris and Berlin, while others left the country “on
business” and never returned. Unfortunately, many of the composers who left were also performers, teachers,
and researchers, leaving little musical talent left in Russia. Shostakovich, however, stayed in Russia despite
Stalin’s madness. Although the quality and types of music he could write were highly restricted, he also
recognized that music can be observed and interpreted in a general sense; Shostakovich bravely used this
opportunity to write music which fulfilled the minds of the Soviet regime, but reached the hearts of Russia’s
oppressed people.
Shostakovich’s Symphony No. 5 was completed in 1937
and was considered groundbreaking for the resistance against the
Soviet regime. Since this work could be (and was) interpreted in
various ways, Symphony No. 5 managed to exceed the Soviet
music critics’ expectations, as they believed the work restored the
romantic style and promoted tradition and nationalism. However,
the public audiences felt a distinguished expression of suffering
and oppression under the regime, which restored the reason,
liveliness, and faith in their movement. The premiere, which was
performed by the Leningrad Philharmonic in 1937, was ultimately
a huge success. The symphony received glowing reviews, and
audience members wept with joy concluding the performance.
Premiere of Shostakovich’s Symphony No. 7 in St.
Petersburg, Russia (1942).
“Art destroys silence.”
-Dmitri Shostakovich
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44th Annual Spring Young People’s Concert Curriculum Guide
Sonata Form in Symphony No. 5, mvt. 4
Dmitri Shostakovich, along with many other composers in the Classical and Romantic periods, often
used sonata form to compose his symphonic works. Sonata form is a specific organization of the music which
allows composers to introduce musical melodies, themes, harmonies, and ideas in a traditional,
well-presented manner. This way of composing began in the Classical period (which started with composers
such as Mozart and Haydn in the mid-late 1700s) and has been transformed many times to fit the needs of
specific compositions. Shostakovich uses sonata form in many of his works, including the fourth movement
of Symphony No. 5. The elements of sonata form that are used in mvt. 4 are the exposition, development,
recapitulation, and coda (no formal introduction).
Sonata Form Chart Information from 2015 SYPC Curriculum
Introduction
Exposition
(Optional)
Independent or
Fragments of
themes
‘Home’ or ‘Away’
Key
Development
(Repeats)
Recapitulation
Coda
(Optional)
A
Theme
Bridge
B
Theme
Closing
Theme
‘Working out’
musical material
A Theme
Bridge
B
Theme
New
Themes
‘Home’
Key
Modulation
‘Away’
Key
‘Away’
Key
Harmonically
Unstable
‘Home’
Key
No
Modulation
‘Home’
Key
‘Home’
Key
Introduction
The introduction of a piece in sonata form is usually slow, and serves as an opening
statement to the piece or movement. It can build up a sense of emotion and connection between the audience
and the piece, and often introduces some of the themes in the exposition and recapitulation. Shostakovich
does not include an introduction in this movement.
Exposition
The exposition in sonata form represents the proper beginning of the piece or movement,
where the first (A) full theme is performed in the “home key”. After the A theme is performed, the music
modulates (changes keys) into the second (B) theme, which is written in a new key. Before moving to the
development section, the composer often writes a closing musical statement. In mvt. 4 of his symphony,
Shostakovich’s A theme can be recognized by a large brass march accompanied by a powerful timpani. The B
theme begins with a trumpet solo, which is accompanied by swirling strings and woodwinds. These sounds
are often believed to represent the anger
and frustration people felt under the Soviet
regime, and strengthens their reasons to
“A theme” to Symphony No. 5, mvt. 4
continue fighting for freedom.
Development
During the development, the composer often plays around with the A and B themes. You
might hear anything from the A and B themes occurring at the same time, bits and pieces of the themes being
passed around the ensemble, or the music being played backwards or upside-down (retrograde or inversion).
About 4 minutes into the movement, Shostakovich begins with a nostalgic horn solo accompanied by
lamenting strings. The woodwinds and lower strings soon take on their accompaniment parts. This section
serves as a reminder of the sadness and devastation of their nation under Stalin.
Recapitulation
The recapitulation returns the music back to the A theme, which provides stability and a
sense of arrival after the experimental section. However, when the section moves to the B theme, the music
stays in the same key. This makes the music feel concluded and gives the piece an organized finish.
Shostakovich brings back the A theme with the clarinets, bassoons, and a strong trumpet solo. Eventually the
entire orchestra joins in as they approach the B theme.
Coda
The coda is usually a strange part of sonata form because it often introduces new material. However,
Shostakovich makes good use of the coda by finishing his symphony with a strong, dissonant statement
throughout the orchestra.
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Introduction
Exposition
Development
Recapitulation
Coda
In this activity, listen to the fourth movement of Shostakovich’s Symphony No. 5. As you listen, be sure to write down and “landmark”
sounds that might indicate a change into the next section. You may hear a key change, different instruments, a difference in mood or emotion, new
or varied themes, or solos. Also be sure to write down how Shostakovich may have used that section of the piece to convey specific intent to the
audience (did he want his listeners to feel angry, empowered, upset, happy, calm, etc.?).
Classroom Activity
44th Annual Spring Young People’s Concert Curriculum Guide
44th Annual Spring Young People’s Concert Curriculum Guide
Academic Standards for Music Education
National Standards
http://www.nafme.org/my-classroom/standards/core-music-standards/
MU:Cn10.0.H.5a
Demonstrate how interests, knowledge, and skills relate to personal choices and intent
when creating, performing, and responding to music.
MU:Cn11.0.T.5a
Demonstrate understanding of relationships between music and the other arts, other
disciplines, varied contexts, and daily life.
MU:Re7.1.E.5a
Identify reasons for selecting music based on characteristics found in the music,
connection to interest, and purpose or context.
Wisconsin Standards
https://dpi.wi.gov/sites/default/files/imce/standards/pdf/music.pdf
F.4.7
Identify sounds of various band and orchestra instruments.
F.4.8
Identify simple musical devices, such as form, contrast, and texture.
F.8.8
Listen to and describe specific music events in a given example, using
appropriate terminology.
F.12.15
Compare how musical materials are used in a given example relative to how they
are used in other works of the same genre or style.
F.12.16
Analyze and describe uses of the elements of music in a given work that make it
unique, interesting, and expressive.
H.12.2
Explain how the principles and subject matter of various disciplines outside the
arts interrelate with those of music.
I.8.9
Compare, in several cultures of the world including their own, functions music
serves, roles of musicians, and conditions under which music is typically created
and performed.
I.12.3
Identify various roles that musicians perform, name representative individuals
who have functioned in each role, and describe their activities and achievements.
I.12.13
Identify and describe music genres or styles that show the influence of two or
more cultural traditions, identify the cultural source of each influence, and trace
the historical connections that produced the synthesis of influences.
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44th Annual Spring Young People’s Concert Curriculum Guide
Recommended Recordings
Beethoven Symphony No. 5, Mvt. 1
Zagreb Philharmonic Orchestra: https://www.youtube.com/watch?v=RexzOwhSRoo
Beethoven Symphony No. 6, Mvt. 1
Orchestra dell`Accademia di Santa Cecilia Roma: https://www.youtube.com/watch?v=bws70JmLl74
Berlioz, Benvenuto Cellini
Vienna Philharmonic: https://www.youtube.com/watch?v=a82dmk0p5Rc
Berlioz, Overture “Roman Carnival”
Chicago Symphony Orchestra: https://www.youtube.com/watch?v=p-iTSqecDOw
Shostakovich, Symphony No. 5, Mvt. 4
New York Philharmonic Orchestra: https://www.youtube.com/watch?v=0FF4HyB77hQ
Bibliography
Special thanks to Michael Allsen for the use of his program notes as a reference in the creation of this curriculum guide.
“Administration.” Madison Symphony, Feb 17, 2017, <http://www.madisonsymphony.org/administration>.
Allsen, Michael J. “Madison Symphony Orchestra Program Notes.” Feb 17, 2017. <http://www.allsenmusic.com/NOTES/notes.html>.
Bloom, Peter. The Life of Berlioz. Cambridge University, 1998.
“Bolz Young Artist Competition.” Madison Symphony, Feb 17, 2017, <http://www.madisonsymphony.org/bolz>.
“Conductors and Musicians.” Madison Symphony, Feb 17, 2017, <http://www.madisonsymphony.org/artists>.
David Fanning and Laurel Fay. “Shostakovich, Dmitry.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 17 Feb. 2017.
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/52560>.
“Dmitri Shostakovich: Quotes.” GoodReads, Feb 17, 2017, <http://www.goodreads.com/author/quotes/191479.Dmitri_Shostakovich>.
“Hector Berlioz: Quotes.” GoodReads, Feb 17, 2017, <http://www.goodreads.com/author/show/27838.Hector_Berlioz>.
Hurwitz, David. Shostakovich Symphonies and Concertos. Amadeus Press, 2006.
Lockwood, Lewis. Beethoven: The Music and Life. W.W. Norton and Company, 2003.
“Ludwig van Beethoven: Quotes.” GoodReads, Feb 17, 2017, <http://www.goodreads.com/author/quotes/40589.Ludwig_van_Beethoven>
Maes, Francis. A History of Russian Music: From Kamarinskaya to Babi Yar. University of California, 2002.
Michelle Kaebisch and Julian Pozniak. “Swan Lake: 2015 Madison Symphony Youth Concert Curriculum Guide.” Feb 17, 2017.
“Shostakovich, Dmitri / SYMPHONY NO. 5, D MINOR, OP. 47 (Excerpts) - Score and Parts.” New York Philharmonic, Feb 17, 2017, <http://
archives.nyphil.org>.
“2016 Madison Symphony Youth Concert Curriculum Guide.” Feb 17, 2017.
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Madison Symphony Orchestra Personnel
VIOLIN I
VIOLA
FLUTE
TRUMPET
Orchestra Committee
Naha Greenholtz
Christopher Dozoryst
Stephanie Jutt
John Aley
Lisa Bressler
Principal
Principal
President
Concertmaster
Suzanne Beia
Co-Concertmaster
Leanne Kelso League
Associate Concertmaster
Principal
Katrin Talbot
Diedre Buckley
Reneta Hornik
Elizabeth Marshall
Frank Hanson
Linda Pereksta
David Cooper
PICCOLO
TROMBONE
Linda Pereksta
Joyce Messer
Elisabeth Duessn
Olga Pomolova
Sharon Tenhundfeld
Beth Larson
Janse Vincent
OBOE
Jennifer Paulson
Marc Fink
Neil Gopal
Elspeth Stalter-Clouse
Tim Kamps
Laura Burns
Jon Vriesacker
Marika Fischer Hoyt
Davis Perez
Cynthia Edwards
Joshua Kelly
Emily Herdeman Kelly
CELLO
Samuel Petrey
Karl Lavine
Mary Theodore
Principal
Paran Amirinazari
Madeleine Kabat
+Eleanor Bartsch
Karen Cornelius
+Valerie Sanders
Lindsey Crabb
Jordan Allen
VIOLIN II
Margaret Townsend
Xavier Pleindoux
Lisa Bressler
Principal
Laurie Riss
Sung Hee Shin
Derek Handley
Rachel Hauser
Mark Bridges
Erica Cross
+Adam Ayers
Olga Draguieva
BASS
Wendy Buehl
David Scholl
Robin Ryan
Matthew Dahm
Wes Luke
Alexander Norris
Benjamin Skroch
Principal
Jennifer Morgan
Principal
Zachary Betz
Antonio Escobedo
August Jirovec
Peter Miliczky
Brian Melk
+Sophia Arriaga
Michael Hennessy
Treasurer
Reneta Hornik
Member-at-large
STAFF
Richard H. Mackie, Jr.
Executive Director
Joshua Biere
Principal
Ann Bowen
General Manager
Alexis Carreon
Office Manager
CLARINET
TIMPANI
JJ Koh
John Jutsum
Principal
Principal
Nancy Mackenzie
PERCUSSION
BASS CLARINET
Gregory Smith
Anthony DiSanza
Principal
Richard Morgan
BASSOON
Nicholas Bonaccio
Cynthia Cameron-Fix
Principal
Amanda Szczys
HARP
Karen Beth Atz
Principal
CONTRABASSOON
ORGAN
Carol Rosing
Samuel Hutchison
Robert Rickman
Carl Davick
Robin Ryan
Michael Allsen
TUBA
ENGLISH HORN
Secretary
BASS TROMBONE
Andrea Gross Hixon
Carol Rosing
Kathryn Taylor
Geri Hamilton
Principal
Jennifer Morgan
Laura Burns
Vice-President
Linda Kimball
Huy Luu
Katherine Floriano
Elizabeth Marshall
Principal
Casey Oelkers
Director of Development
Carmel Morgan-Weisberg
Manager of Institutional
Giving
Jeffrey Breisach
Manager of Individual Giving
Kathryn B. Schwarzmann
Director of Education &
Community Engagement
Leah Motl
Education and Community
Engagement Intern
Peter Rodgers
Director of Marketing
Ellen Larson
Marketing and
Communications Specialis
Chris Salzwedel
Patron Services Manager
Samuel C. Hutchison
HORN
Linda Kimball
Principal
Ricardo Almeida
Michael Szczys
William Muir
Anne Aley
PIANO
Daniel Lyons
Principal
Overture Concert Organ
Curator
Kathryn Taylor
Music Librarian
Alexis Carreon
Personnel Manager
Dan Lyons
Chorus Manager and
Librarian
+ indicates on leave 2016-17
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44th Annual Spring Young People’s Concert Curriculum Guide
Thank you to our generous sponsors!
Major funding
provided by
Additional funding
provided by
Barbara J. Merz
William J. and Joyce F.
Wartmann Fund
This project is supported by Dane Arts with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation,
Inc., charitable arm of The Capital Times, the W. Jerome Frautschi Foundation, and the Pleasant T. Rowland Foundation.
Wisconsin Arts Board support comes with additional funds from the State of Wisconsin and the National Endowment for the Arts.
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