University Symphony Orchestra 4.9.26

Belmont University School of Music presents

Folkloric Voices Reimagined Belmont University Symphony Orchestra Dr. Christopher H. Fashun, conductor

Belmont University School of Music

Huapango

José Pablo Moncayo (1912-1958)

 Recognition of the Class of 2026 

Capriccio Espagnol, Op. 34 I. Alborada II. Variazioni III. Alborada (Reprise) IV. Scena e canto gitano V. Fandango asturiano

Nikolai Rimsky-Korsakov (1844-1908)

 15-Minute Intermission 

Symphony No. 8 in G major, Op. 88 I. Allegro con brio II. Adagio III. Allegretto grazioso IV. Allegro, ma non troppo

Antonín Dvořák (1841-1904)

THURSDAY, APRIL 9, 2026 7:30 PM

MCAFEE CONCERT HALL

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Program Notes Program Theme: Folkloric Voices Reimagined - Across this program, folk traditions serve not as static artifacts, but as living sources of inspiration. Whether through direct transformation (Moncayo), imaginative reinterpretation (Rimsky-Korsakov), or deeply internalized style (Dvořák), each composer bridges the gap between folkloric tradition and symphonic expression.

Together, these works invite us to hear how the rhythms, melodies, and spirit of everyday musical life can be elevated and reshaped into something that is both reflective of a past folkloric tradition and simultaneously transcendent.

Huapango - In Huapango, José Pablo Moncayo transforms the vibrant sounds of Mexican folk life into a symphonic celebration of national identity. Drawing on traditional sones huastecos— particularly “El Siquisirí,” “El Balajú,” and “El Gavilancito”—Moncayo reimagines the rhythmic vitality and melodic contours of rural dance music for the concert hall.

The huapango tradition is defined by its lively interplay between duple and triple meter, improvisatory flair, and festive character. Moncayo captures this energy through bold orchestration, bright brass colors, and sweeping string lines that evoke both the intimacy of village performance and the grandeur of national expression.

Rather than quoting folk music verbatim, Moncayo elevates and stylizes folkloric materials, creating a work that feels both authentic and symphonic. The result is a piece that has become emblematic of Mexican musical identity and adopted as Mexico’s second national anthem due to it’s popularity.

Capriccio Espagnol, Op 34 - With Capriccio Espagnol, Rimsky-Korsakov turns to Spain—not as a native tradition, but as a source of fascination filtered through imagination. Inspired by regional Spanish folk melodies and dance rhythms, the work unfolds as a series of vivid orchestral tableaux, each movement highlighting a different instrumental color and character.

From the noble horn calls of the opening Alborada to the dazzling cadenzas of the fourth movement and rhythmic drive of the final Fandango asturiano, the piece evokes regional styles of Spain— immersed in dance, color, and flair. Rimsky-Korsakov, a master orchestrator, treats the orchestra almost like a collection of folk instruments, infusing each movement with solo voices or cadenzas bringing the spontaneity of improvisation so prevelant in folkloric traditions.

Though not ethnographically “authentic,” Capriccio Espagnol reflects a broader 19th-century fascination with the folkloric “other.” Here, folk tradition becomes a source of color and character, transformed through orchestral virtuosity into a brilliant, cosmopolitan spectacle.

Symphony No. 8 in G major, Op. 88 - In Symphony No. 8, Antonín Dvořák channels the spirit of his Czech homeland into one of the most joyful and expansive symphonies of the Romantic era.

Unlike composers who quoted folk tunes directly, Dvořák absorbed the essence of Bohemian folk music so deeply that his themes sound organically rooted in tradition.

Throughout the symphony, listeners encounter melodies that resemble folk songs, dance rhythms that evoke village life, sounds of nature, and harmonic modes characteristic of Slavic music. The first movement paints an outdoor landscape while the second movement introduces the folkloric

sounds of the cimbalom, a hammered dulcimer of eastern Europe, which is first imitated by the descending violin scales. The third movement suggests the lilting grace of a waltz-like dance brought closer to folk music with the various ornaments and surprising meter change in the coda, while the finale builds from a simple, almost rustic theme into a set of jubilant variations.

Dvořák’s achievement lies in his ability to synthesize folkloric idioms within symphonic form. The result is music that feels both deeply personal and universally resonant—where the sounds of the countryside are transformed into a richly orchestral landscape.

Program notes by Dr. Christopher Fashun, School of Music Faculty

 Personnel First Violin Luke Baxley, concertmaster Jade LaGore, assistant concertmaster Rocco Greco* Macahila Hinnenkamp Nathaniel Eulentrop* Kangin Joo Owen Swiggum Eliana Woodman Harrison Mabon Isaac Hardin Sam Lock Florence Schaumann*

Cello Madelyn Little*, principal Graham DeHaan JéNai O’Connor Thomas Cañas Hannah Silverman Owen Siller Corrine Hawkey Zoë Wilson Angie Jackson Caylie Rader Ingrid Bakeman Ava Kronenberger

Second Violin Kimmie Rauscher*, principal Daniel Ramirez Brooke Harden Natalie Piedra Zachary Hardin Shelby Fuller Nadia Foote Lauren Nolte

Bass Alex Haldane*, principal Joseph Bonvissuto Ari Stoker* Rylan Stone Talon Seidel

Viola George Graefen*, principal Anne-Marie Nguyen Bella Kinard Mackenzie Combs* Melanie Migneco Jillian Baez

Piccolo Hannah Steele Mya Ploor Flute Jake King, principal Brendan Wilson Mya Ploor Oboe Amanda Rebstock, principal Shawn Redmond Lily Chantler English Horn Lily Chantler E♭ Clarinet Mya Ploor *Graduating Class of 2026

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Clarinet Michelle Babyak, principal Tommy Steele Bassoon Emily Okamura*, principal Harrison Sampson* Horn Holden Cessna*, principal Grace Helton Ali Voyles Ellie McClellan Caroline Holmes Trumpet Biruke Woldeyohannes, co-principal Luke Woody, co-principal Kristen Lester Isabella Jones Trombone Luke Myers, principal Adam Chavez Dawson Fulcher Tuba Hudson Butler, principal Harp Audrey Smith Aliyah Wenneker Percussion Gramm Raedeke, principal Cole Counihan* Joshua Wingard Miriam Marks Harper Benjamin Kevin Robles

Upcoming Concerts and Events Faculty Recital: Mark Godwin, guitar with Carmine Miranda, cello and Paulo Oliveira, guitar Monday, April 13, 7:30 p.m.

Harton Recital Hall Percussion Ensemble & World Percussion Monday, April 13, 7:30 p.m.

McAfee Concert Hall Faculty Concert Series Angela Yoon, Savanna Sokolnicki, and Museop Kim Wednesday, April 15, 7:30 p.m.

McAfee Concert Hall

Join Belmont University’s College of Music and Performing Arts for Sounds of Belmont: The 36th Annual President’s Concert & Reception on Saturday, April 25th in the Fisher Center at Belmont University. Experience an evening of stories and songs to support our talented students.

The concert will begin at 6:30 p.m. followed by a festive dessert reception for all guests and performers. The purchase of a ticket to this concert and reception will benefit endowed music and theatre scholarship funds for students in the college. Premier works from the College of Music and Performing Arts Fall 2025-Spring 2026 performance season will be showcased. This concert and reception is celebrating its thirty-sixth year (formerly the President’s Concert and Reception).

Reserve your tickets here.

 For more information on upcoming concerts and events, please visit www.belmont.edu/cmpa or “like” Belmont University School of Music on Facebook.