spring young people’s concert - … amadeus mozart symphony no. 40 in g minor, k.550 3 3 4-5 6 6 7...

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Madison Symphony Orchestra | John DeMain, Music Director

45th Annual

SPRING YOUNG PEOPLE’S CONCERT

Thursday, March 15, 2018 | 10:00 A.M. | Overture Hall

Youth Concert Curriculum Guide

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Photo from madisonsymphony.org

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Merry Wives of Windsor

Manuel de Falla

Three-Cornered Hat

Academic Standards for Music Education

Recommended Recordings and Bibliography

MSO Personnel

Sponsors

About the Orchestra

Meet the Director: John DeMain

About the Finalists

The Bolz Young Artist Competition

Concert Etiquette

Wolfgang Amadeus Mozart

Symphony No. 40 in G minor, K.550

Otto Nikolai

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What’s Inside

WOLFGANG AMADEUS MOZART

Symphony No. 40 in G minor, K.550

I. Molto Allegro

STUDENT SOLOIST

OTTO NICOLAI

Merry Wives of Windsor

STUDENT SOLOIST

MANUEL DE FALLA

Three-Cornered Hat

Suite No. 2

Program

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45th Annual Spring Young People’s Concert Curriculum Guide

About the Orchestra

The Madison Symphony Orchestra is a professional orchestra com-prised 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 stu-dents Spring Young People’s Con-cert 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 con-certs 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 mem-bers at the University of Wisconsin, private or public school music teachers, university students, and even jobs unrelated to music.

Since arriving in Madison in 1994, Mr. DeMain has enriched the cultur-

al 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 pia-

nist and conductor. After winning the Youngstown Symphony's piano

competition at the age of 18, he went on to earn a bachelor’s and mas-

ter'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.

Meet the Director: John DeMain

Photos by Greg Anderson

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About the Finalists

Arianna Brusubardis

Arianna Brusubardis, violin, is 17 years old, the youngest of six, and homeschooled in Dousman, WI. She began her Su-

zuki Violin studies at age three with Mary Ellen Meyer, Lindsay Erickson, and Dorothy Brauer. Arianna is completing

her eighth year of violin study with Dr. Bernard Zinck. A MYSO member since 2011, she is currently Senior Symphony’s

co-concertmaster. She was a winner of Sinfonia's 2012, and Philharmonia's 2014 Concerto Competition, received an

Honorable Mention while in Philharmonia in 2013, and received honorable mentions in Senior Symphony’s 2015, 2016,

and 2017 concerto competitions. Arianna received an honorable mention in the Milwaukee Symphony Orchestra’s young

artists competition (2015) and was a finalist, soloist, and winner in their 2016 Young Artists Competition. Arianna has

also received Honorable Mention in the Madison Symphony Orchestra’s Bolz Young Artist Competition (2017). Arianna

is the recipient of the Civic Music Association’s 2016 High School Showcase Award. Arianna participated as an instru-

mental and choral musician in Latvian Song Festivals in 2009, 2012, and 2014. She received a 2012, 2014, and 2016

Wisconsin Philharmonic Shining Stars scholarship. She has played the Bach Double with the Milwaukee Symphony Or-

chestra, (2012, 2013, 2014, 2015). This year, she has also begun the study of viola. With MYSO, Arianna traveled to Vien-

na and Budapest in 2015, and to Argentina and Uruguay in 2017. She enjoys presenting musical programs with her fami-

ly, including the Brusubardis Quartet. Besides being an avid quilter and knitter, Arianna likes exploring many crafts,

including braiding, sewing, and painting.

Isabelle Krier

Isabelle Krier is a junior in high school and is 16 years old. She has been playing the violin for 11 years and has been

studying with Eugene Purdue for the past 8 years. Along with the violin, Isabelle plays varsity tennis and participates in

Model UN at school. She has been in WYSO for the past 7 years and WYSO’s chamber music program for the past 7 years

as well. In addition to WYSO, Isabelle also plays in Oregon High School’s Percussion Ensemble, and enjoy splaying in

the pit for musicals. She won the WYSO Philharmonia Concerto Competition (2014), received the Highly Commendable

Award from the Wisconsin Chamber Orchestra Concerto Competition (2017), was a semi-finalist in the Milwaukee Con-

certo Competition (2017), and won the WYSO Youth Concerto Competition (2017).

Jessica Jiang

Jessica is a thirteen year old ninth grader. She has been playing piano since she was four. She is currently learning piano

from Mr. Bill Lutes and was previously taught by Mrs. Linda Bramlett. Jessica won multiple prizes in the global online

Great Composers Competition series in 2017 (First Prize, Best Mozart Performance and Best Haydn Performance, Sec-

ond Prize, Best Mendelssohn Performance and Best Chopin Performance, and Third Prize, Best Bach Performance and

Artist of the Year, in age group III). She received honorable mentions in the Philharmonia Orchestra Concerto Competi-

tion and Youth Orchestra Concerto Competition of the Wisconsin Youth Symphony Orchestras in 2017, the Midwest

Young Artists Walgreens National Concerto Competition and the Madison Symphony Orchestra Fall Youth Concerto

Competition in 2016, all in the USA. She won a prize (top ten) in the Henle International Piano Competition 2016 in the

9-11 year old group. She also won the first place in the Sonatina Festival, Verona, Wisconsin, USA, in 2015 in the 11 year

old group, and gold medals in the Wisconsin School Music Association (WSMA) state-level Solo and Ensemble piano

solo competition in 2015 and 2016. Jessica received an honorable mention in the Wisconsin Music Teachers Association

(WMTA) State Badger Keyboard Competition in 2016. She performed in various masterclasses taught by great pianists

including Jessica Johnson, Roberto Plano and Paola Del Negro. Besides playing piano, Jessica is a violinist of the Youth

Orchestra in the Wisconsin Youth Symphony Orchestras. She also plays saxophone in the Symphonic Band in James

Madison Memorial High School. Jessica loves music, and has participated in many musical activities including school

concerts, talent shows, and recitals. Besides music, she excels in math, writing and speech, and is on her high school’s

Tennis Varsity Team.

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About the Finalists

Hannah White

As featured soloist, Hannah White’s Carnegie Hall debut to a sold out audience was proclaimed by The New York Times

as, “A highlight of the evening was the terrific performance by the 15-year-old violinist Hannah White of the ‘Ballade’

from Ysaye’s Sonata No. 3. Her technical dexterity and expressive flair earned an enthusiastic ovation.” At her second

performance at Carnegie Hall also as featured soloist to another sold out audience, the New York Concert Review wrote,

“A phenomenal young violinist and recent prize winner, Hannah White, then took the stage to blaze her way through the

only true novelty of the evening: Cesar Espejo’s Prelude Iberique…White commanded every bit of the work, with perfect

intonation, technique, flair, swing: in short, everything one could ask for from a violinist, of any age.” At her debut with

Cleveland Symphony Orchestra as featured soloist, Cleveland.com wrote, “Praising talented youngsters is one thing: Ac-

tually giving them the stage is quite another. This year’s honoree was Hannah White, and she deserved the opportunity.

The 16-year-old violinist clinched her Severance Hall debut, turning in a razor-sharp account of the Introduction and

Rondo Capriccioso by Saint-Saens. White’s future is bright indeed.” Classical Voice North Carolina.org wrote, “This was a

bravura performance by Hannah White, a stunning young violinist who has won a drawer full of awards, and plays a

Stradivarius on loan from the Rachel Barton Pine Foundation… it showed what this brilliant musician can do to good

effect. I’m sure we will be hearing much more from White over the next few decades.”

Hannah White performed with the Milwaukee Symphony Orchestra at age nine and since then she has soloed with Cleve-

land Symphony Orchestra, New World Symphony Orchestra, South Bend Symphony Orchestra, Ann Arbor Symphony

Orchestra, Buffalo Philharmonic Orchestra, Milwaukee Symphony Orchestra, Sphinx Symphony Orchestra, Madison

Symphony Orchestra, Orchestra Noir, Dexter Symphony Orchestra, and Oistrach Symphony Orchestra, among many

others. She is engaged to solo with Albany Symphony Orchestra and solo at Wolf Trap and Dame Myra Hess Memorial

Recital Series. She has collaborated with Fulcum Point, Thodos Dance Chicago, Torq Percussion Quartet, and performed

Mendelssohn Octet with principal members of Chicago Symphony Orchestra.

Having soloed and toured extensively throughout the United States three consecutive years as well as other performanc-

es, Hannah has earned numerous raving reviews from coast to coast. She toured with the acclaimed Sphinx Virtuosi. She

has participated in residencies at colleges and universities, taught at high schools, and performed in several scores of out-

reaches. Hannah has performed solo at numerous prestigious venues including: Carnegie Hall, Severance Hall, Kennedy

Center, Trinity College Cambridge England, Rock and Roll hall of fame, Ordway Center, Harris Theater, New World Cen-

ter, Disneyland, Hill Auditorium, Uihlein Hall, and National Gallery of Art Museum. Hannah has appeared in Strad Mag-

azine, Strings Magazine, Bein and Fushi Magazine, The Violin Channel, Al Jazeera, ABC, Chicago’s WFMT, NPR’s From

the Top, WCLV, WVIZ, Ideastream, Classical MPR, MPTV’s Black Nouveau, Spark Media’s mini documentary series, nu-

merous newspapers throughout the United States and has had her performances aired reaching audiences in the hun-

dreds of thousands.

Hannah has received 1st Place at dozens of competitions at the Regional, National and International competitions for

solo and chamber including: 2017 Medallion International Artist Competition, 2017 M-Prize International Chamber

Competition, 2017 ENKOR International Chamber Competition, 2017 St. Paul String Quartet Competition, 2017 KMS

Concerto Competition, 2016 Farwell Trust Award at Chicago Musicians Club of Women, 2015 Sphinx Competition, Win-

ner at 2015 Milwaukee Symphony Orchestra Young Artists/Stars of Tomorrow, 2015 St. Paul String Quartet Competi-

tion, Jules M. Laser/Society of American Musicians Chamber Competition, 2013 Music Teachers National Association

Solo Competition at the State, Regional, and National levels, 2012 Chinese Music Competition, 2012 Madison Symphony

Orchestra Concerto Competition, 2011 Midwest Young Artists National Concerto Competition as Category and Overall

Winner, 2012 Grandquist Competition, 2012 Milwaukee Youth Symphony Orchestra Senior Symphony Concerto Compe-

tition and 2010 Milwaukee Youth Symphony Orchestra String Orchestra Concerto Competition, 2011 Sejong Competition

Elementary Division and 2010 Sejong Competition Junior Division, 2010 DePaul Competition, 2010 Music Institute of

Chicago Academy Concerto Competitionand Winner at 2009 Milwaukee Symphony Orchestra Bach Double Competition,

among others. Hannah received Silver and Bronze medals at Fishcoff Competition in 2017 and 2016, Honorable Mention

at 2015 American String Teachers Association Senior String Division, and semi-finalist at Cooper International Competi-

tion in 2015 and Stradivarius International Competition in 2014 and 2016.

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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 au-

ditions. The preliminary round involves over 30 musicians per-

forming 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 audi-

ence.

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 per-

form as soloists with the Madison Symphony Orchestra, the two winners will receive either The Steen-

bock 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!

2018 finalists: Jessica Jiang (Piano), Arianna Brusubardis (Violin),

Hannah White (Violin), Isabelle Krier (Violin)

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 con-

scientious 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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Johannes Chrystomus Wolfgang Theophilus Mozart was born on

January 27th, 1756 in the town of Salzburg to Leopold Mozart and Maria Anna Pertl. Leopold Mozart, the Vice-Kapellmeister of the

local court orchestra and a composer, began teaching minuets to the young Wolfgang at the age of four. By age five, Wolfgang had already composed his first concerto.

Of Mozart’s six siblings, only one other survived past infanthood: his older sister Maria Anna Mozart, affectionately nicknamed Nannerl in the Mozart household. Leopold homeschooled Nannerl

and Wolfgang in reading, writing, arithmetic, history, geography, and music. Wolfgang was enthusiastic in his lessons, and eager to

please his parents, particularly his father. His motto “Next to God comes Papa” stayed with him even through young adulthood.

When Wolfgang was six, Leopold decided to take both Wolfgang and Nannerl on tour. Nannerl, a

talented young pianist, amazed audiences, but it was Wolfgang who captured their attentions. He sight-read compositions with astounding accuracy, could improvise on a melody endlessly, and had

mastered the violin and organ. He had perfect pitch, the ability to name any note played. His father demonstrated this talent to awed audiences, and devised tricks that astonished audiences, such as

playing under a cloth. Leopold also made a habit of advertising the children as younger than they ac-tually were. These acts were necessary to maintain a source of income for the Mozart family.

During his childhood tours, Mozart began writing a great number of simple keyboard sonatas with

violin or flute accompaniment. He wrote his first opera “La Finta Semplice” in his early teens. Howev-er, while Mozart wrote passionately, he often faced professional difficulty because of his age. Some thought he was too immature to deliver great works. Others were jealous. As Mozart aged into a young

man, he also spent his money gambling and entertaining, much to the displeasure of his father. Fi-nancial difficulties and the death of his mother in 1788 caused him much grief.

Mozart died at the young age of 35, but his works live on as standard classical repertoire. Of his over

600 works, there are 41 symphonies, 25 piano concertos, 31 divertimenti, 23 operas, 19 piano sonatas, 32 violin sonatas, 17 masses, 23 string quartets, 11 quintets and more. When Mozart passed in 1791,

his many friends and admirers came to pay their respects at his memorial services and concerts.

Wolfgang Amadeus Mozart

(1756-1791)


The little girl, who is in her twelfth year, will play the most difficult compositions of the great mas-

ters; the boy, who is not yet seven, will play on the clavecin or harpsichord; he will also play a concerto

on the violin, and will accompany symphonies on the clavier, the manual or keyboard being covered

with a cloth, with as much facility as if he could see the keys, he will instantly name all notes played at

a distance, whether singly or in chords played on the clavier, or on any other instrument, bell, glass, or

clock. He will finally both on the harpsichord and the organ, improvise as long as may be desired in

any key, thus proving that he is as thoroughly acquainted with the one instrument as with the other,

great as is the difference between them. — Advertisement by Leopold Mozart

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1788 was a difficult year for Mozart. While Mozart

continued to write, the Viennese court did not ap-

preciate his “heavy” music, preferring instead light

music for entertainment. With a diminishing audi-

ence, Mozart’s ill-attended performances caused him

to fall into great debt. Furthermore, his infant

daughter died in June. When Prince Karl Lich-

nowsky offered for Mozart to journey to Berlin with

him, Mozart accepted immediately.

While on tour, Mozart wrote a set of three sympho-

nies, which would be his last ever written. Symphony

No. 39, Symphony No. 40, and Symphony No. 41 are

Mozart’s most mature symphonies, in which he ex-

perimented with contemporary themes and complex

structures. In Symphony No. 40, the key of G minor

conveys Mozart’s unhappiness of the year – in 18th

century theory, the key of G minor was associated

with themes of “lamentation” and “suffering.” Mo-

zart’s use of the minor key is even more significant

when given the fact that only two of his 41 sympho-

nies are in a minor key. However, even in strife, Mo-

zart’s happiness continued to permeate his work.

Symphony No.40 is interspersed with joyful melodies, even within the more mournful lines of the

piece.

Mozart scored this symphony for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Nota-

bly missing are trumpets and timpani. The first movement, Molto Allegro, is written in cut time (2/2)

and begins with violas playing an accompaniment phrase until the violins bring in the main theme.

The melody works through a series of descending half-steps. The second theme is a melancholier

phrase in G minor’s relative key, B major. Throughout the first movement, both melodies are repeated

in a variety of keys. As the symphony continues, Mozart interjects key changes and melodic surprises.

In later years, Mozart’s Symphony No. 40 would have a resounding impact. Ludwig van Beethoven

knew of it, and sketched out 29 measures of the work in his own sketchbook. Perhaps the opening

theme in the third movement provided the inspiration for the 3rd movement of his Fifth symphony.

Continuing into the 20th century, the opening melody would also make a presence as a popular ring-

tone. The symphony is now among Mozart’s most performed works and beloved by audiences

throughout the world.

Symphony No.40, KV 550

Movt. 1

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Otto Nicolai was born in Königsberg, Prussia, a German kingdom. At a young age, Nicolai learned to play the pi-ano from his father, a lower-end composer and music di-rector. The elder Nicolai recognized the young Nicolai’s talent and advertised his son’s talents for financial boons. However, this treatment caused continuous tension be-tween father and son. Nicolai’s resent with his father’s attempts to make him a “child prodigy” and the stress of his parents’ divorce eventually caused Nicolai to make several failed attempts to run away from home. Finally at the age of 16, Nicolai left home for Stagard, where he lived with a senior officer named August Alder, who treated Nicolai as a son.

At age 17, Nicolai traveled to Berlin to study voice at the Zum Grauen Kloster school, and music with Carl Frie-

drich Zelter. He then continued onto Rome for studies at the Royal Institute for Church Music, where he learned from Giuseppe Baini, a priest and church musician. Upon completion of his studies, Nicolai began teaching, giving concerts, and published his first works. He accepted a position as church organ-ist at the Prussian Embassy from 1833 to 1837. This appointment spurred his interest in composing operas, which resulted in Enrico II(1839) and Il templario (1840). The operas were well-received and Nicolai became a rather popular musical figure. However, his next opera Nabucco was so terrible that Nicolai left Italy forever.

Back in Vienna in 1841, Nicolai became the conductor at Vienna State Opera, originally called the Weiner Hopofer. The following year, Nicolai began a set of concerts to showcase the Beethoven sym-phonies, which would become the beginnings of the Vienna Philharmonic. During this time, Nikolai’s sickness caused him to produce few compositions, but he continued to work steadfastly on The Merry Wives of Windsor. However, when the Hopofer refused to perform his opera The Merry Wives of Windsor, Nicolai resigned. He traveled to Berlin, and became the director of the Berlin Cathedral Choir and Kappelmeister of the Berlin Opera. Finally, in March 1849, two months before Nicolai’s death, the Berlin Opera premiered The Merry Wives of Windsor. Nicolai enjoyed its success, but suf-fered from a stroke shortly after and died.

Otto Nicolai, (1810-1849)


Rivalry with Verdi

When Nicolai premiered Enrico II and Il templario, it brought him into competition with Guiseppe Verdi,

who at the time was the conductor of the Philharmonia Society in Busso. When Nicolai was offered the libret-

to to Nabucco, he turned it down, only to have Verdi take up the opera and turn it into a resounding success.

On the other hand, Nicolai ended up with Il Proscritto, which Verdi had rejected earlier. Unfortunately, Il Pro-

scritto ran afoul with problems. When Nikolai’s engagement with the soprano Erminia Frezzolini fell out, the

production failed.

Later, Nicolai’s success with The Merry Wives of Windsor attracted Verdi to Shakespeare’s works, resulting in

the production of Verdi’s famed Falstaff, though not for another four decades.

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Merry Wives of Windsor Overture

The Merry Wives of Windsor is a comic-fantastic opera in three acts to a libretto by Mosenthal after Shakespeare’s comedy, The Merry Wives of Windsor. According to legend, Queen Elizabeth wished for Shakespeare to write an opera showing “Falstaff in love.” Falstaff, the famous fictional character created by Shakespeare, is an indulgent, vain, boastful man who provides humor and imagination. He appears in four of Shakespeare’s works.

The tale tells the story of Falstaff, who is in financial strife. His situa-tion is furthered by Justice Shallow and his servant, who have come because Falstaff swindled them. Falstaff tries to improve his situation by winning the affections of Mistress Ford and Mistress Page, con-vinced that their attentions will grant him access to their husbands’ money. However, when he attempts to recruit his servants, Pistol and Nim, they complicate the situation by telling the two mistresses of Fal-staff’s plot. The mistresses decide to teach Falstaff a lesson and en-gage Mistress Quickly to aid them. Meanwhile, Mr. Ford and Mr. Page are alerted of the situation, and the plot thickens. Mr. Ford dresses up as a “Mr. Brook” to test his wife’s honor, Falstaff is led to a haunted park, and the women disguise Falstaff as the witch of Brainford. In addition, three other men are trying to gain the attention of Mistress Page’s daughter. Letters are sent, exchanged, and discovered, and Fal-staff ends up in a very precarious situation. It eventually straightens out, and Mistress Page invites all of them to her home to share in the

tricks done to one another. The opera, true to its comedic inspirations, plays itself out in a grandeur manner worthy of Falstaff himself.

The Overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trum-pets, three trombones, timpani, bass drum and cymbals, strings. Most of the themes are constructed from segments from the main opera, introducing highlights from the opera: the magical midnight sce-ne at Windsor Park, the “fairies”, Mistress Page, and Falstaff. While the piece begins quietly, with cel-los adding in the “fairies” theme, the orchestra soon explodes in sound, portraying the merriest wife, Mistress Page, and the even grander Falstaff. The overture ends in a fanfare by the trumpets and run-ning passages by the violins, growing to a crescendo and a last, final declaration by the brass.

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Born in Cadiz, Spain, Manuel de Falla learned to play the piano from his mother and grandmother. However it was not till the age of nine that Manuel began formal piano lessons with Eloísa Galluzo. These lessons ended when his piano teacher decided to become a nun at the convent. Later on, Falla went to Madrid to study piano with the prominent teacher José Tragó, and composition with Felipe Pedrell.

At the Escuela Nacional de Música y Declamacíon in Madrid, Falla passed the first three years of music theory and first five years of piano with distinction. He won the piano competition by unanimous vote, and finished his studies in the following year of 1989, after

which he gave piano lessons to help his family survive financially. It was during this time that Falla premiered his first works, mainly pieces for cello, voice, and piano. In 1905, Falla won first prize for his national opera, La vide breve, and won the piano competition organized by the piano makers Ortiz y Cussó.

Falla moved to Paris in 1907, where he met the impressionists Claude Debussy, Paul Dukas, and Maurice Ravel. These composers influenced Falla’s own style of composition, and Falla obtained a grant from the Spanish King Alfonso XIII for a set of four piano pieces “Pièces espagnoles.” A French dramatist translated the libretto of Falla’s earlier work, La vide breve, and the opera was premiered in France in 1908. Falla began working on his nocturne for piano and orchestra Noches en los jardines de Espãna before the onset of the war in 1914 compelled him to return to Spain.

In 1922, Falla retired to Granada, where he organized a cante hondo festival and composed a puppet opera, El retablo de Maese Pedro. He also wrote a concerto for harpsichord and chamber orchestra, which was the first time the harpsichord entered the orchestra. He moved to Argentina in 1939, taking with him a large-scale orchestral cantata based on the Catalan text L'Atlàntida by Jacint Verdaguer. He continued to work on the cantata to his death in 1946, leaving Atlántida unfinished.

Manuel de Falla, (1876-1946)


Manuel de Falla at Granada

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Three-Cornered Hat, Suite No.2 The Three-Cornered Hat, or El sombrero de tres picos is a ballet adapted from Falla’s original pantomime, El Corregidor y la Molinera (The magistrate and the miller’s wife). During the initial performances of El Corregidor in Madrid, Sergei Di-aghilev, the impresario of the Russian Ballet, happened to at-tend a performance. He immediately asked Falla for an orches-tration of El Corregidor his ballet troupe. After much encour-agement from Diaghilev, Falla agreed, and preparations began at once. Diaghilev secured a talented cast of dancers, including Massine, the lead dancer, and Pablo Picasso, the famous paint-er, to design the costumes and set. To help with choreography, Massine took flamenco lessons Felix Fernando Garcia, a talent-ed dancer whom Diaghilev found working in a local café. Mas-sine also found inspiration in bull fighting poses, many of which he claimed to be beautiful. Upon the ballet’s premiere,

the Three-Cornered Hat became an international success and secured Falla’s fame.

Suite No.2 is scored for two flutes and piccolo, two oboes and English horn, two clarinets, two bas-soons, four horns, three trumpets, three trombones and tuba, timpani, snare drum, bass drum, cym-bals, triangle, castanets, tam-tam, xylophone, harp, celesta, piano, and strings. Note the use of the cas-tanet which are often used in rhythmic accompaniment to Spanish dances. The suite is divided into three dances: The Dance of the Neighbors, Dance of the Miller, and the Final Dance.

The beginning opens gracefully, with violins carrying a traditional tune. Soon, brass and woodwinds add ornamentation, unraveling a joyful scene depicting the miller’s neighbors, who are gathering to celebrate the Feast of St. John. The seguidilla, a Spanish dance in fast triple time, also makes a state-ly presence throughout the opening, while interspersed with melodic tunes from the violins. Next, the Dance of the Millar announces itself in an explosion of horn and strings, then gives way to a meander-ing, soulful tune by solo oboe. The tempo quickens, then trumpets and strings declare a march. The stately and grandiose dance of the miller is displayed through a fiery flamenco farruca. In the Final Dance, flying melodies interchange with heavy accents from the trumpets and percussion, yet the un-derlying feel is one of urgency. The jota, a dance in 6/8 using castanets, is traditionally used in com-munity celebrations and heavily employed throughout. The strings push the orchestra to the climax while cymbal crashes explode over the frenzy of dissonances until the ballet ends in a final, resolute chord.

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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 Wisconsin Standards for Music.” Wisconsin Department of Public Instruction,

https://dpi.wi.gov/sites/default/files/imce/fine-arts/WIMusicStandardsFINALADOPTED.pdf.

MG1.Cr.14.h: Improvise rhythmic, melodic, and harmonic variations in a variety of genres while following a

harmonic progression in a specified style of music.

MG1.Cr.15.h: Compose pieces in a distinct style, using standard and/ or alternative notation and technology,

demonstrating creativity in the use of the elements of music for expressive effect.

MG2.P.16.h: Rehearse and demonstrate the ability to sing and/ or play expressively, on pitch, in rhythm, and

with proper technique and maintaining a steady beat.

MG2.P.19.h: Illustrate how the setting, and elements of music, contribute to the context and expressive

qualities of the music.

MG3.R.14.h: Illustrate understanding of contrasts and similarities of expressive elements in artistic work

through discussion and written reflections.

MG3.R.16.h: Analyze, critique, and evaluate musical performances, recordings, and compositions using ap-

propriate music terminology, theory, and technology.

MG3.R.18.h: Reflect upon and critique performances using grade-appropriate music vocabulary.

MG4.Cn.13.h: Interpret the historical and cultural relationships between music and other disciplines.

MG4.Cn.16.h: Identify how the influence of two or more cultural traditions impact the genre and style of a

piece of music.

MP2.P.27.h: Discuss own ideas and feedback of other to develop and implement strategies to address tech-

nical challenges.

MP2.P.28.h: Illustrate how the setting and music elements contribute to the context and expressive quali-

ties of the music.

MP2.P.31.h: Perform solos and in small ensembles, interacting with peers employing performance tech-

niques which enhance the performance.

14


Bibliography

Recommended Recordings

Mozart Symphony No. 40 in G Minor, KV 550, Mvt. 1

Georgian SIMI Festival Orchestra: https://www.youtube.com/watch?v=RexzOwhSRoo

Nikolai Merry Wives of Windsor Overture

Gilberto Serembre: https://www.youtube.com/watch?v=AHULTzlCDqE

Falla Three-Cornered Hat

Wheaton College Symphony Orchestra: https://www.youtube.com/watch?v=3zAJYs8fmVE

Special thanks to Michael Allsen for the use of his program notes as a reference in the creation of this curriculum guide.

Allsen, Mike. “Program Notes.” MSO program notes by Michael Allsen, www.allsenmusic.com/NOTES/notes.html.

Cummings, Robert. “Otto Nicolai | Biography & History.” AllMusic, www.allmusic.com/artist/otto-nicolai-mn0001404982/

biography.

Editors of Encyclopædia Britannica. “Otto Nicolai.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 22 Mar. 2016,

www.britannica.com/biography/Otto-Nicolai. https://www.allmusic.com/artist/otto-nicolai-mn0001404982/biography

Editors of Encyclopædia Britannica. “Manuel de Falla.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 14 Feb.

2014, www.britannica.com/biography/Manuel-de-Falla. Dover Publications, 1972. Print.

Einstein, Alfred. Mozart, His Character, His Work. Nerk: Oxford University Press, 1945. Print.

“Fascinating Insights into MOZART's Symphony No. 40 in G minor, K. 550.” Redlands Symphony,

www.redlandssymphony.com/pieces/symphony-no-40-in-g-minor-k-550.

“The Three-Cornered Hat.” Encyclopædia Britannica, Encyclopædia Britannica, inc., www.britannica.com/topic/The-Three-

Cornered-Hat-by-Falla.

Schwarm, Betsy. “Symphony No. 40 in G Minor, K. 550.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 3 Sept.

2017, www.britannica.com/topic/Symphony-No-40-in-G-Minor.

Solomon, Maynard. Mozart: A life. New York: Harper Collins Publishers, 1995. Print.

Swerner. “The Merry Wives of Windsor.” Folger Shakespeare Library, 15 Feb. 2015, www.folger.edu/merry-wives-of-

windsor.

“Symphony No. 40 in G minor, K. 550 | Details.” AllMusic, www.allmusic.com/composition/symphony-no-40-in-g-minor-k-

550-mc0002366891.

“Synopsis: the Merry Wives of Windsor.” Utah Shakespeare Festival, www.bard.org/study-guides/synopsis-the-merry-

wives-of-windsor.

“Welcome to Naxos Records.” Otto Nicolai- Bio, Albums, Pictures – Naxos Classical Music., www.naxos.com/person/

Otto_Nicolai/20137.htm.

“Wisconsin Standards for Music.” Wisconsin Department of Public Instruction, https://dpi.wi.gov/sites/default/files/imce/

fine-arts/WIMusicStandardsFINALADOPTED.pdf.”

15

Madison Symphony Orchestra Personnel

VIOLIN I Naha Greenholtz Concertmaster

Suzanne Beia Co-Concertmaster ~ Steinhauer Charitable Trust Chair

Leanne Kelso League Associate Concertmaster ~ George & Candy Gialamas Chair

Huy Luu Associate Concertmaster

Olga Pomolova Assistant Concertmaster ~ Endowed by an Anonymous Friend

Beth Larson Annetta H. Rosser Chair

Valerie Sanders

Neil Gopal

Elspeth Stalter-Clouse

Tim Kamps

Jon Vriesacker

Katherine Floriano

Laura Burns

Paran Amirinazari

Laura Mericle

Chang-En Lu

+Mary Theodore

VIOLIN II Xavier Pleindoux Principal ~ Dr. Stanley & Shirley Inhorn Chair

Hillary Hempel Assistant Principal

Peter Milczky

Erica Cross

Rolf Wulfsberg

Olga Draguieva

Kathryn Taylor

Wendy Buehl

Geri Hamilton

Robin Ryan

Matthew Dahm

Wes Luke

Biffa Kwok

+Rachel Hauser

VIOLA Christopher Dozoryst Principal ~ James F. Crow Chair

Katrin Talbot Assistant Principal

Diedre Buckley

Renata Hornik

Elisabeth Deussen

Sharon Tenhundfeld

Janse Vincent

Jennifer Paulson

Marika Fischer Hoyt

Davis Perez

Cynthia Edwards

Ina Georgieva

CELLO Karl Lavine Principal ~ Reuhl Family & American Chair

Lindsey Crabb Assistant Principal

Karen Cornelius

Jordan Allen

Lisa Bressler

Margaret Townsend

Derek Handley

Laurie Riss

Adam Ayers

Mark Bridges

+Madeleine Kabat

BASS David Scholl Principal

Robert Rickman Assistant Principal

Carl Davick

Zachary Betz

Jeff Takaki

August Jirovec

Brian Melk

Mike Hennessy

+Antonio Escobedo

FLUTE Stephanie Jutt Principal ~ Terry Family Foundation Chair

Dawn Lawler

Linda Pereksta

+Elizabeth Marshall

PICCOLO Linda Pereksta

OBOE Marc Fink Principal ~ Jim & Cathie Burgess Chair

Jennifer Morgan

Laura Medisky -- Fall 2017

+Andrea Gross Hixon

ENGLISH HORN Jennifer Morgan

CLARINET JJ Koh Principal

Nancy Mackenzie

BASS CLARINET Gregory Smith

BASSOON Cynthia Cameron-Fix Principal

Amanda Szczys

Carol Rosing

CONTRABASSOON Carol Rosing

HORN Linda Kimball Principal ~ Steve & Marianne Schlecht Chair

Ricardo Almeida

Michael Szczys

William Muir

Anne Aley

TRUMPET John Aley Principal ~ Marilynn G. Thompson Chair

Frank Hanson

David Cooper

TROMBONE Joyce Messer Principal ~ Fred & Mary Mohs Chair

Benjamin Skroch

BASS TROMBONE Michael Allsen

TUBA Joshua Biere Principal

TIMPANI John Jutsum Principal ~ Eugenie Mayer Bolz Foundation Chair

PERCUSSION Anthony DiSanza Principal ~ JoAnn Six Plesko & E.J. Plesko Chair

Richard Morgan

Nicholas Bonaccio

HARP Johanna Wienholts

Principal ~ Endowed by an Anony-mous Friend

ORGAN Greg Zelek Principal ~ Wayne Curtis & Maybelle Slavens Hall and Francis Vincent & Lettie von Kalweit Dunne-backe Curatorship

PIANO Daniel Lyons ~ Stephen D. Morton Chair

LIBRARIAN Kathryn Taylor ~ John & Carolyn Peterson Chair

PERSONNEL MANAGER Alexis Carreon

PROPERTY MANAGER John Straughn

ORCHESTRA COMMITTEE Lisa Bressler, President

Joyce Messer, Vice-President

Rolf Wulfsberg, Secretary

Jennifer Morgan, Treasurer

Renata Hornik, Member-at-Large

16


Major funding

provided by

Additional funding

provided by

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.

Thank you to our generous sponsors!

Linda Hogle

William J. and Joyce F.

Wartmann Fund

Joan Pulver

The Evjue Foundation, Inc.,

the charitable arm of The Capital

Times

Heid Music and Heid Family

Foundation

with additional funds from the State of

Wisconsin and the National Endow-

ment for the Arts

spring young people’s concert - … amadeus mozart symphony no. 40 in g minor, k.550 3 3 4-5 6 6 7...

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