Philharmonic Concert

carthage music department presents

Philharmonic Concert Dr. E. Edward Kawakami, conductor

Sunday, Nov. 14, 2021 | 1 p.m. | A. F. Siebert Chapel

program Andante Festivo

Jean Sibelius (1865-1957)

Featuring Guest Conductor William Dowell ‘22

Symphony No. 85 “La Reine”

I. Adagio-Vivace

II.

Romanza: Allegretto

III.

Menuetto-Trio: Allegretto

IV.

Finale: Presto

Overture in C Major

Franz Joseph Haydn (1732-1809)

Fanny Mendelssohn (1805-1847)

program notes Andante Festivo There is beauty in simplicity. Complex harmonic structures and syncopated rhythms can capture an audience’s attention, but sometimes just a simple melody can touch an audience’s soul. Andante Festivo is a simple yet intimate work that shares a musical joy that warms the heart. Opening with a G-major chord, the piece consistently maintains a clean harmony that almost sits above the orchestra. This orchestra is much smaller than in the other pieces, consisting of only strings and a timpani, yet this intimacy allows each musician to share a plethora of musical colors directly with the audience. The very first theme showcases the richness of these colors, which welcome the audience with a majestic, yet warm melody. Violins and violas then sweep into the second theme, almost recreating the windswept vistas of the Finnish composer’s homeland. Low strings lift up the orchestra in joyful embraces that are tenderly triumphant. And that timpani, which patiently waits right up until the end, carries the music with a powerful roll towards the G-major harmony that opened this gorgeous piece.

Symphony No. 85 “La Reine” There is a sense of duality that permeates through Haydn’s life and music. On one hand, he was viewed as this all-important figure in the musical world, with titles ranging from the grandiose (“The father of the symphony”) to the more paternal (“Papa Haydn”). His works were deemed foundational in the creation of the symphony and the string quartet. He even was a shrewd and ruthless businessman, driving hard bargains and even selling the same work multiple times to different buyers. Yet he was also jovial, partaking in both practical and musical jokes. While some of his works, such as the “Surprise” symphony and the “Joke” quartet are more overt in their humor. Haydn’s various musical surprises, puns, and general humor can be found throughout all his music.

This humor permeates through Haydn’s “La Reine” (“Queen”) symphony. While it opens majestically with a beautiful ascending passage in the first violins, the playfulness soon emerges in the waltz-like Allegro. The falling eighth notes that permeate through the first theme already sound like musical laughs, but the first punchline hits right in between the first and second theme. An energetic series of C major chords set up a lovely theme in F-major, but before that melody can arrive, the orchestra interrupts itself in F-minor, with the musicians almost jumping out of their seats in excitement. Of course, the humor cannot last forever and the orchestra does allow the oboe to have its beautiful floating melody. The orchestra continues through a series of tumultuous key changes and reappearances of thematic material typical for a first movement in a Classical era symphony, but a little humor is always lurking around the corner. A sudden dynamic shift may at times be intense, but can often become jovial surprises that keep the audience from falling asleep.

Those jokes and surprises continue into the second movement and its developing theme introduced by the violins. Each repetition becomes more ornate, as little flourishes—and jokes—are added to the melody. While the occasional dynamic

program notes interruption keeps the audience on their toes, the central joke comes in the middle of the movement as the theme modulates from E-flat major to E-flat minor. This joke is more for the orchestra—or at their expense—as the change in key makes the simple melody considerably more difficult. Luckily for the orchestra—especially the violins, who have been subjected to the brunt of key change—the melody returns to a comfortable E-flat major. More dynamic humor occasionally interrupts the orchestra as they wrap up the final variation of the theme.

While the third movement opens with a minuet, it would be difficult to dance to this one considering the offset rhythmic emphases that create a distinctly lurching.

In a way, it almost feels drunk as the strings stumble through the opening theme.

Of course, the orchestra is still nimble—and sober—as seen in the brief asides that showcase the agility of the violins. The trio is much more flowing and traditional, with a lovely melody passing through the woodwinds with a plucked string accompaniment. The third movement ends with that opening minuet maintaining its tipsy rhythm right until the end.

The musical humor is less overt in the fourth movement, with instead a playful attitude permeating throughout each section. Brisk violin flurries punctuated with cello countermelodies propel the movement forward as the winds occasionally join in on the fun. There is a little bit of bite in this playful movement, with an intense F-minor section sending the orchestra into a frenzy filled with technical flourishes and syncopated attacks. Yet it quickly returns to its original playful form, ending joyfully in a series of B-flat major chords.

Overture in C Major It would be easy to retell the simple tragedy that has permeated the music discourse on Fanny Mendelssohn Hensel. A tragedy of a woman composer suppressed by her father and later, her brother from pursuing her full potential as a musician.

This story, while sensational, negates both Fanny’s agency as a composer and the sociocultural forces that controlled not only Fanny, but other women and marginalized composers. It not only fails to show the layered barriers that prevented women from pursuing a compositional career, but treats Fanny as a mere persona for the repressed woman archetype.

Firstly, it is important to clear up what both her father and later Felix—who’s disapproval has been greatly exaggerated into forbiddance—actually had an issue with. Both men were not opposed to Fanny composing, but had issues with her publishing her music, as that signified a move beyond the domestic and social spheres and into the professional one. This prejudice against working women was not only due to restrictions of gender, but that of class. As an upper-class woman, a professional career would have lowered the social status of Fanny and her family, a status that was already precarious due to being Jewish.

Even with these social reasons to oppose her publishing, not all of the men in her

program notes life did so. Her husband, who she actually was around during her adult life, actively encouraged her to publish. That is not to mention her music and skills within the salon—a social environment frequently ignored in favor of the larger and traditionally male-dominated concert halls. Yet it was the ingrained cultural sexism that not only prevented a professional career but also diminished her influence after her death.

While her compositions were well-respected by her brother, contemporary critics regularly diminished her music on account of her gender. Her reputation after her death was relegated to either a mere advisor to her brother Felix or later as a tragic heroine trapped within the confines of gendered domesticity. Even today, her works and accomplishments are sidelined in favor of focusing on her gender.

It is a shame, as her works are beautiful pieces of music. Her Overture in C Major allows lovely melodies to flow through the orchestra. A subdued intro, the strings rise and fall before dashing into a flurry of notes. The rising scales coalesce into a bombastic fanfare that introduces the brisk first theme. While arguably in the Romantic era, this overture holds over many Classical sensibilities, from the clean harmony to a predominant focus on strings. Of course, the winds have their time to shine, most notably in the second theme, which floats over a tide of accompanying triplets. Fanny’s control as a composer begins to shine in the transitions between the themes, moving between various keys gracefully while maintaining an excited pace.

The series of arpeggios after the second theme highlight this clarity, with the upper strings falling from one key to the next.

That is not to mention her ability to transform the mood of the orchestra between the pieces. That first theme—and all its reprisals—maintains an almost breakneck pace, its energy controlled within a series of terracing dynamics that keeps both the performers and audience members on their toes. The second theme is tranquil and serene, floating from the winds to the strings. Yet she is able to combine these themes and layer their distinctive motives later in the overture, combining the rhythmic clarity of the first theme with the second’s smooth descending line. It then continues to build, growing in dynamics and eventually accelerating into a frantic finale. Bows fly across the strings as flurries of notes fly through the orchestra, culminating in a series of chords that are almost required in any exciting orchestral work. The beauty and skill seen in this overture leaves the audience begging for more music by Fanny and other composers who were forgotten or shut out due to their gender. While it is tempting to wish for a history where composers like Fanny could have thrived professionally and socially, the very least that can be done is to celebrate and showcase Fanny’s music like how one celebrates any phenomenal composer.

Program notes by William Dowell ‘22

philharmonic personnel Violin 1 Azniv Khaligian** Katrina Briselden Lee Fulkerson Sara Lunkenheimer

Flute 1 Flute 2

Bailey Schneyr Gabrielle Garnowski

Oboe 1 Oboe 2

Amber Ward Hannah Wong

Violin 2 Ashlynne Edwards* Julia Rieckmann Emma Conran Claire Guenther Riley Conway Eleanor Riley

Clarinet 1 Clarinet 2

Viola Samuel Gomberg* Carissa Kiehl Genevieve Zauhar Megan Baumeister Meghan Keiffer-Zagar Elena Cordoba

Trumpet 1 Trumpet 2

Katiann Nelson Zachary Ward

Bassoon Bryan Weiss Horn 1 Horn 2

Timpani

Lena Welch Sophia Figura Caroline Lilly Colin Conway Henry Meyer

Cello William Dowell* Grace Hill Zoey Kurka Lily Lourigan Brian Dean Abby Roushia Bass Sydney Edwards*

* principal ** concertmaster.

upcoming events Treble Choir Festival Wednesday, Nov. 17 • 4:20 p.m.

A. F. Siebert Chapel • Tickets required She Loves Me Nov. 19-20 • 7:30 p.m.

Nov. 21 • 3 p.m.

VPAL • Tickets required Opera Workshop Saturday, Nov. 20 • 3 p.m.

Sunday, Nov. 21 • 6 p.m.

Recital Hall • Tickets required Carthage Christmas Festival Dec. 3-4 • 7:30 p.m.

Dec. 5 • 4 p.m.

A. F. Siebert Chapel • Tickets required Percussion Studio Concert Wednesday, Dec. 8 • 7:30 p.m.

A. F. Siebert Chapel • Tickets required Music Theatre Bootcamp Showcase Thursday, Dec. 9 • 7:30 p.m.

Recital Hall • Tickets required Nothing TOO small Dec. 10-11 • 7:30 p.m.

Dec. 12 • 3 p.m.

Wartburg Theatre • Tickets required Student Recital: James Chaudoin Friday, Dec. 10 • 7:30 p.m.

Recital Hall • Tickets required Student Recital: Gabby Garnowski Saturday, Dec. 11 • 7:30 p.m.

Recital Hall • Tickets required

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