20221112_UPO_Singers

THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents

THE UNIVERSITY PHILHARMONIA Alexander Jiménez, Music Director and Conductor Nathan Haines, Assistant Conductor and

THE UNIVERSITY SINGERS Kevin Fenton, Music Director and Conductor Katie Kenkel and Ethan Murphy, Assistant Conductors

Saturday, November 12, 2022 Seven-thirty in the Evening Ruby Diamond Concert Hall

ng i t r o p p u S e Arts th

850-894-8700

www.beethovenandcompany.com 719 North Calhoun Street, Suite E Tallahassee, Florida 32303

Tom Buchanan, owner

PROGRAM Coriolanus Overture, Op. 62

Ludwig Van Beethoven (1770–1827)

The Bamboula: Rhapsodic Dance, Op. 75

Suite No. 1 from Carmen I. Prélude II. Aragonaise III. Intermezzo IV. Séguedille V. Les Dragons d’Acala VI. Les Toréadors

Samuel Coleridge-Taylor (1875–1912) Georges Bizet (1838–1875)

INTERMISSION Earth Symphony I. Evolution II. Ambition III. Destruction IV. Lament V. Recovery

Jake Runestad (b. 1986) Todd Boss, libretto

Nathan Haines, assistant conductor

Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members. Health Reminder: The Florida Board of Governors and Florida State University expect masks to be worn by all individuals in all FSU facilities. Thank you for your cooperation.

ABOUT THE CONDUCTORS Kevin Fenton, Professor of Choral Conducting and Ensembles and Director of the FSU University Singers and Men’s Glee (Collegians), has conducted the Virginia Tech Meistersingers (1998), the University Singers (2002, 2003, 2006, 2007 and 2013), and the Festival Singers of Florida (2012 and 2018) in performances at regional and national conventions of ACDA and NAfME. He has served as a Fulbright Specialist to SubSaharan Africa, teaching choral conducting and conducting pedagogy at Kenya’s Conservatory of Music. In fall 2019, Kevin taught conducting at the Universitas Pelita Harapan in Jakarta, Indonesia. As co-founder of AVoice4Peace, Kevin has held AVoice4Peace events in Kenya, Indonesia, Ireland, China, and for the Florida and Southern Region ACDA conventions. Dr. Fenton has conducted choirs in 35 states, including twenty-nine all-state choirs. Internationally, Kevin was a featured conductor for the International Choral Festival and Conference in Xi’an (2017) and Beijing (2007), South Africa’s National Youth Choir (2016), and the Dublin International Choral Festival (2016). A champion of new music, Dr. Fenton has conducted over thirty premiere performances.

Dr. Fenton has taught graduate and undergraduate courses in choral literature and choral conducting at Florida State University since 2000, and his textbook, Foundations of Choral Conducting, is being used in beginning conducting classes throughout the country. He is a recipient of the Florida State University Teaching Award for Excellence, the Gamma Mu Chapter of Delta Omicron Music Professor of the Year Award, and the Wayne Hugoboom Distinguished Florida Service Award. Dr. Fenton is Artistic Director of the Festival Singers of Florida, who are celebrating their 12th season.

Alexander Jiménez serves as Professor of Conducting, Director of Orchestral Activities, and String Area Coordinator at the Florida State University College of Music. Prior to his appointment at FSU in 2000, Jiménez served on the faculties of San Francisco State University and Palm Beach Atlantic University. Under his direction, the FSU orchestral studies program has expanded and been recognized as one of the leading orchestral studies programs in the country. Dr. Jiménez has recorded on the Naxos, Neos, Canadian Broadcasting Ovation, and Mark labels. Deeply committed to music by living composers, Dr. Jiménez has had fruitful and longterm collaborations with such eminent composers as Ellen Taafe Zwilich and the late Ladisalv Kubík, as well as working with Anthony Iannaccone, Krzysztof Penderecki, Martin Bresnick, Zhou Long, Chen Yi, Harold Schiffman, Louis Andriessen, and Georg Friedrich Haas. The University Symphony Orchestra has appeared as a featured

orchestra for the College Orchestra Directors National Conference and the American String Teachers Association National Conference, and the University Philharmonia has performed at the Southeast Conference of the Music Educators National Conference (now the National Association for Music Education). The national PBS broadcast of Zwilich’s Peanuts’ Gallery® featuring the University Symphony Orchestra was named outstanding performance of 2007 by the National Educational Television Association.

Active as a guest conductor and clinician, Jiménez has conducted extensively in the U.S., Europe, and the Middle East, including with the Brno Philharmonic (Czech Republic) and the Israel Netanya Chamber Orchestra. In 2022, Dr. Jiménez led the Royal Scottish National Orchestra in a recording of works by Anthony Iannaccone. Deeply devoted to music education, he serves as international ambassador for the European Festival of Music for Young People in Belgium and serves as Festival Orchestra Director and Artistic Consultant for the Blue Lake Fine Arts Camp in Michigan. Dr. Jiménez has been the recipient of University Teaching Awards in 2006 and 2018, The Transformation Through Teaching Award, and the Guardian of the Flame Award which is given to an outstanding faculty mentor. Dr. Jiménez is a past president of the College Orchestra Directors Association and served as music director of the Tallahassee Youth Orchestras from 20002017.

NOTES ON THE PROGRAM Beethoven: Coriolan Overture, Op. 62 Beethoven wrote almost a dozen overtures, the most famous, of course, being the four that are connected with his only opera, Fidelio. Some are awful, like Wellington’s Victory, and others are of the stellar quality that the composer’s name evokes. Coriolanus was a play about the tragic Roman general, who was torn between his plan to revolt and the entreaties of his mother and wife to abandon his scheme. Beethoven was familiar with the story through both the works of Shakespeare and Plutarch, but Beethoven’s overture was written for the play of a minor literary contemporary, Heinrich von Collin. Completed in 1807, after having written and revised the overtures to Fidelio, Beethoven obviously approached the composition of this overture immersed in the themes of moral conflict and their resolution that inform the opera. It is easy to hear this conflict from the beginning in the dynamic and incisive themes that vie for superiority in the structure of the composition. It is typical of Beethoven in that—although the overall form is the usual sonata allegro form, with its characteristic recapitulation at the end—he does not simply resolve conflict with traditional musical “consensus.” Rather, he transforms and alters one of the themes in a way that parallels the movement of Coriolanus’ change in personal character--reaching a new plateau of psychological identity. In a nutshell, then, we see one of Beethoven’s characteristic concerns in his approach to drama in music.

– © 2015 William E. Runyan

Coleridge-Taylor: The Bamboula: Rhapsodic Dance Samuel Coleridge-Taylor was born in the central London neighborhood of Holborn in 1875. Soon after his birth, his family moved to the outskirts of London to Croydon, where he would spend the rest of his life. Named after the famed poet, Samuel Taylor Coleridge, Coleridge-Taylor was born to Alice Hare Martin, a white Briton, and to Dr. Daniel Taylor, who was from Sierra Leone in West Africa. While Alice was pregnant, Dr. Taylor returned to West Africa, apparently not aware that Alice was pregnant, and never returned. Samuel would never know his father.

Coleridge-Taylor showed great talent for music and in 1890 he become a student in the renowned Royal College of Music in London. There he studied with Charles Villiers Stanford, who also claimed as his students such future luminaries as Ralph Vaughan Williams and Gustav Holst. Only the second black student to attend the College, Coleridge-Taylor was highly regarded among his peers and gained the attention of influential musicians of the day such as George Grove and Edward Elgar.

The Song of Hiawatha, a trilogy of three cantatas, would become Coleridge-Taylor’s bestknown works. Based on Henry Wadsworth Longfellow’s poem of the same name, he found great similarities between the Native American and African American experiences and gave that synergy voice in The Song of Hiawatha. He also found a personal connection to Hiawatha who, like him, spends part of the poetic narrative searching for his absent father.

In writing The Song of Hiawatha, Coleridge-Taylor associated himself with the antiimperialism and Pan-Africanism movements of the day. As a leading delegate in the first PanAfrican Conference in London in 1900, Coleridge-Taylor would gain recognition among African Americans as a symbol of hope thanks to his successes as a composer in Britain.

According to historian Jeffrey Green, “For people of African birth or descent he had a role as a leader: a person whose achievements were to international standards, and whose successes countered concepts of racial inferiority.” Coleridge-Taylor first came to the United States in 1904 where he was treated as a celebrity. He conducted performances of his own music, became the first black man in American to conduct a white orchestra, and was one of very few people of African descent to be invited to the White House, where he was honored by President Theodore Roosevelt. Sadly, his life was cut short in 1912 when he died suddenly of pneumonia. His legacy would live on until World War II through annual performances of The Song of Hiawatha at Royal Albert Hall from 1924-1939, during which time the work would be performed as often as Handel’s Messiah and Mendelssohn’s Elijah.

Coleridge-Taylor wrote The Bamboula: Rhapsodic Dance for Orchestra in 1910 for the Litchfield Choral Festival in Connecticut. The Bamboula is an African drum and corresponding dance accompanied by these drums that came to the United States from Haiti during the exodus of African slaves deported from Haiti to Louisiana, specifically New Orleans. These slaves were known to dance the Bamboula on the so-called Congo Square near the French Quarter. The first appearance of the Bamboula in art music is found in a work for piano of the same name by the American composer Louis Moreau Gottschalk in 1848.

Coleridge-Taylor’s work is composed for a large orchestra that includes two flutes and piccolo, pairs of oboes, clarinets, and bassoons, four horns, two trumpets, three trombones and tuba, timpani, snare drum, bass drum, cymbals, triangle, and orchestra bells, and strings. A grand fanfare featuring the brass choir opens the work and introduces the primary Bamboula theme, an energetic dotted rhythm in 2/4 time that permeates the work. Coleridge-Taylor’s mastery of harmony and orchestral texture is clearly on display. A tranquil middle section turns our dance theme into a lyrical song passed between solo woodwinds with a gently undulating accompaniment from the strings. The strings take over the tranquil melody with increasing intensity before returning to the original tempo and spirit of the work.

Performances of this work are exceptionally and sadly rare. It is an honor to share this masterpiece with our audience tonight.

– Alexander Jiménez Bizet: Suite No. 1 from Carmen Georges Bizet was a genuine musical prodigy, whose talent was early and widely recognized, who studied with the best teachers and composers in France, who was perhaps the close equal of Liszt as a pianist, who won the Prix de Rome, and who composed perhaps the most popular opera of all time. And yet—his career was a checkered one, full of missteps, works that were never finished, works that were finished and not performed, betrayals and failures with the French operatic establishment, and an early death. He planned, started, or substantially worked on some thirty operas, but finished only about five, of which only two achieved success. His musical legacy was a story of lost manuscripts, poor or no scholarly attention, bad editions, and general neglect. Today, the American musical public knows his work almost entirely through his immortal opera Carmen, and to a lesser degree, the opera The Pearl Fishers, as well as his orchestral suites of incidental music from the play, L’Arlésienne. The situation is only somewhat better in Europe—even in his native France.

While he did compose a substantial body of work, it was admittedly irregular in quality— certainly in reception. Moreover, to survive financially, he was reduced to spending much of his musical life arranging the music of other composers.

But there is Carmen. It clearly is one of the greatest operas of the nineteenth century and takes a place of honor among all in the genre. After all the failures, disappointments, and false starts, Bizet hit pay dirt with this one. He worked on it during 1873-4, and its première took place at the Opéra-Comique in Paris in March of 1875. It was not an easy birth. The orchestra complained about the difficulty of the score (“unplayable”); the singers said the orchestra was too loud; the women in the chorus resented having to smoke and fight on stage. And more. But the opera was a success, owing perhaps as much to its perceived scandalous nature as anything. And poor Bizet died shortly after two heart attacks in May at the age of thirty-six.

Now, of course, everyone appreciates Bizet’s colorful, but relatively light, orchestration, and his real ear for tonal color that well suits the opera’s Spanish setting. Even the master of orchestration himself, Richard Strauss, recommended students of the subject to Carmen, not to Wagner. Its evocation of Spain is matchless, and its realism on the stage made operatic history. The two suites extracted from the score by his friend, Ernest Guiraud, quickly entered into the standard repertoire for orchestra, and have remained so.

Suite No. 1 is comprised of six excerpts. The first, the “Prélude” from Act I, ominously sets the stage with its fate motive, featuring the color of the sinister, extremely low cornet. The “Aragonaise,” the entr’acte to Act IV, features exotic percussion, woodwind solos, and gentle arabesques. The “Intermezzo,” the entr’acte to Act III, is a delicate solo for flute and harp, whose tranquility is belied by the tragedy to come. Following is the “Séguedille” from Act I, where Carmen, jailed for slashing a co- worker’s face, tries to seduce her captor, Don José, and effect her escape. Seductive, it is. “Les Dragons d’Acala” is the en’tracte before Act II, a pompous little military march for dragoons—not dragons—led by the bassoons. And finally the evergreen “Les Toréadors,” from the prelude and the procession of the toreadors from Act IV ends the suite.

– © 2015 William E. Runyan Runestad: Earth Symphony Over hundreds of years of musical creation, composers developed the symphonic form into a potent, large-scale framework for exploring profound ideas. The sheer number of musicians involved and long duration of the work, allow the time, space, and sonic possibilities for a significant musical journey. For this commission from True Concord Voices & Orchestra, I knew that creating a large work for these forces would necessitate a significant story to tell — one of relevance and power, drawn from our beautiful and complex human experiences.

Every day we hear of more fires, floods, hurricanes, droughts, tsunamis, extinctions, and diseases that impact life around the globe. The earth is changing, due to the impact of human behavior, and how we respond to these changes will determine the survival of our species.

Through brainstorming with my frequent collaborator, poet/librettist Todd Boss, we decided that giving voice to Mother Earth would be a powerful approach for this piece.

Todd created a sweeping, gorgeous, and compelling five-part monologue of a mother telling the history of her children — how they admired her, harmed her, and ultimately how she recovered.

Her story begins in a pre-life genesis that tracks the evolution of humans, whose apprehension of Earth’s laws endear them to her as nothing short of miraculous (her beloved “Mirabilia”).

Movement 1: “Evolution” hints at the musical themes of each subsequent section and establishes a sonic relationship between Earth (D Major) and humankind (Eb Major), which is explored throughout the work. Movement 2: “Ambition” dramatizes humanity’s fall from grace by retelling the Greek myth of Icarus and hearkening to ancient instruments and melodies (including the Seikilos Epitaph — the oldest, complete musical composition yet discovered). Movement 3: “Destruction” charges through a series of ecological cataclysms

— forest fire, storms, earthquakes — illustrated by growling brass, raging percussion, and shrieking woodwinds. Movement 4: “Lament” expresses Earth’s grief in a loving farewell to humanity that echoes Henry Purcell’s 17th-century aria, “When I Am Laid in Earth” (Dido’s Lament), and its iconic descending bass-line chaconne. Movement 5: “Recovery” finds Earth restoring balance and moving on, into a deep spacetime like the one from which she emerged. By anthropomorphizing Earth herself, drawing on the familiar earth-mother trope, “Earth Symphony” enables entry into our own ecological shame, guilt, responsibility, potential, and redemption, all from a wide-angled, time-telescoped lens, thereby asking our most immediately pressing environmental questions in an entirely new way.

– Jake Runestad

TEXTS Earth Symphony Jake Runestad; libretto by Todd Boss I. Evolution Forever alone — four billion years of empty space and dormant stone.

Then you were born: Humankind! and soon upon your face there dawned a trace of mind!

You scorned the odds to be reborn as gods of reason, authors of wonder, inventors of alchemy, chemistry, astronomy.

You alone unwound the helix of my chi.

You mirrored me to me.

Mirabilia!

You were my light.

Never shall I dare to dream another dream so bright.

II. Ambition

Two wingbeats more, and I can see the patterns on the ocean floor.

O, me!

I’m free as albatross! Stronger than ever with a father so clever with beeswax and feather! I flap them together and higher and higher I rise! — I am a dream!

I’ll touch the moon!

How small she is — the bluegreen planet far below...

I belong to her no longer.

Who am I, without her?

The sun.

The sun grows.

The sun grows ever hotter...

[Earth:] Yes I remember Icarus, who flew too near the sun.

Waxen wings undone, he tumbled, thrashing, and came crashing into the sea!

And how are you fallen so soon?

Do you remember Icarus, whose father gave him wings of wax and feathers for a toy?

So fell humanity.

There he is — in memory’s eye — canary of a boy!

Timore atmosphaeram, you make your mother torturer!

Twist me against my nature, waste me to tinder, roast me under the torches of the sun till I’m undone.

[Icarus:] O, joy — so much at hand! — to soar the strand, over sea and shore! Whee! — to taste ambition pure!

So fell I. III. Destruction

You dam my waters, bleach my corals, flood me, strangle me, slaughter each other, set me on fire!

V. Recovery

I am rage! I am war!

Where are your gods now?

Dormant stone.

Mirabilia!

No. I shall not go alone.

Ivy shall recover every avenue, seaweed swallow every drain, and forestry sow a sorcery over every human stain.

What have you done, over-blessed one?

Briefest of species, what have you done?

IV. Lament Sleep now, my children, now your days are done.

Nevermore shall you adore the setting of the sun.

Sleep now, forever, lofted in time.

No seraphim to rouse thee, no carillons to chime.

Mirabilia!

Never shall I dare to dream a dream so bright.

Alone forever, the mirror dims.

Empty space.

None shall weep, and none shall witness, while my wordless work is done.

Slowly, in the shell of a factory, a gray whale, circling aimlessly, writes a disappearing history in the shadows of the deep, and none shall weep.

There shall come a day like the first day, Sleep now, my children, my wonder, my light. so heavenly, Never shall I dare to dream another dream so bright. so clear.

Mirabilia!

Never shall I dare to dream a dream so bright.

Sleep now, my children, though the cradle fall.

You rest among the yesterdays, the softest place of all.

Mirabilia!

Mirabilia, you would love it here.

University Philharmonia Personnel Alexander Jiménez, Music Director and Conductor Nathan Haines, Assistant Conductor Violin I Gabriel Salinas-Guzman‡ Elizabeth Milan Francesco Capitano Madelyne Garnot Alyssa Gonall Daniela Ramirez Sierra Su Sean Hartman Sarita Thosteson Bailey Bryant Alexander Roes Christopher Wheaton Violin II Hope Welsh* Victoria Joyce Joan Prokopowicz Michaelangelo Woodrich Carlos Cordero Ismar Cabrera Harshul Mulpuru Chris Chiarotti Wood Simon Elina Nyquist Max Warren Viola Keara Henre* Tyana McGann Spencer Schneider Harper Knopf Phil Prasse Ruth Gray Emily Lombard Abby Felde Emma Patterson Cello Emma Hoster* Liam Sabo Caleb Singletary Marina Edwards

Noah Hays Jaden Sanzo Abigail Fernandez Sophie Stalnaker Natalie Taunton Luke Ponko Bass Lucas Kornegay* Charles Storch Layla Feaster Christian Maldonado* Harp Lauren Barfield* Flute Peyton Dillon* Moriah Emrich Paige Douglas Piccolo Paige Douglas

Horn Jordan Perkins* Luis Oquendo* Adam Agonoy Clare Ottesen Trumpet Carlos Manuel Aceves* Brian Ratledge* Trombone Christian Estades* Jeffrey Welch Bass Trombone Masa Ohtake Tuba Sam Morris* Percussion Gus Barreda* James Wolff

Oboe Alec McDaniel* Sarah Ward* Loanne Masson Anisa Herbert

Equipment Manager Sierra Su

English Horn Anisa Herbert

Administrative Assistant Amanda Frampton

Clarinet Sadie Murray* Jariel Santiago* Reymon Contrera Josh Collins

Orchestra Librarians Nathan Haines Sebastian Jimenez

Bassoon Carson Long* Ryder Kaya* Timothy Schwindt Ryan Kegg

Orchestra Manager Heather Simpson

‡ Concertmaster * Principal

University Singers Personnel Kevin Fenton, Music Director and Conductor Katie Kenkel and Ethan Murphy, Assistant Conductors Soprano Alissa D’Alton Maria Fazio Sophia Gannaoui Gabriela Gaya Ellie LaJeunesse Achsah Martin Aydyn O’Brien Morgan Watts Christina Woo Soprano 2 Brigitte Anderson Kendall Doty Leah Duval Karleigh Kirilloff Jennifer Lamont Annie Lane Nicole Parra Hannah Paschal Madeline Schneider Kayla Tassone Danielle Young

Alto 1 Katie Kenkel Cecilia Malley Madeline McClurg Simya Phillip Corinne Roberts Camila Rodriguez Savannah Schleich Hannah Silverstein Shayna Singer Kayla Stoeke Alto 2 Deidra Anizor Gabriella Berrios Cait Couch Jennifer Carneiro Bridg Gorder Cecilia Hotz Sydney Levy

Tenor 1 Sean Barnett Alfred (Tiger) Davis Conner Fabrega Devon Joyce Anderson Lange William (Garrison) Mack Jeremy Roldan Tenor 2 Stephen Brown Jackson Englund Michael Haves Christopher Martinez Kyle McDonald Chijioke Oparaji Lemuel Rexach John ValenciaLondono Ethan Westrate Reece Windjack

Baritone Cole Banfill Myles Baron Benjamin Englund Kyle Keating Johan Quevedo Sebastian Quintero Everette Reed Benjamin Reid Doogan Townsend Bass Vincent Amiel Bagay Owen Hillman Ethan Murphy Thomas Thai Sebastian De Paula Yustiz

Coming Soon UNIVERSITY WIND ORCHESTRA featuring special guests

Stacy Garropp, composer David Thornton, conductor Geoffrey Deibel, saxophone Justin Benavidez, tuba Wednesday, November 16, 2022 7:30 PM | Ruby Diamond Concert Hall Tickets and information at tickets.music.fsu.edu

2022-23 Concert Season

www.theartistseries.org 850-445-1616 Live Concert, 4 PM Opperman Hall Livestream & Video available

September 18, Bak & Chang, viola/piano

October 23, Dominic Cheli, piano

January 22, Sinta Quartet, saxophone

February 17, Jasper String Quartet, Valentine Fundraiser, 7 PM St. Peter’s Anglican Cathedral

March 5, Coro Vocati, vocal ensemble

May 7, Cuarteto Latinoamericano, string quartet

Photo: Claire timm PhotograPhy

Michael Hanawalt, Artistic Director

2022-2023 Concert Season – Celebrating 35 Years of Song! –

FA LL

U N I T Y 16

S PR I N G

Sunday, November 20 4:00 PM

Sunday, January 29 4:00 PM

Sunday, April 30 4:00 PM

“Repair The Future”

Carmina Burana, Carl Orff

Coronation Mass in C major, W.A. Mozart *Tickets: tcchorus.org or call 850-597-0603

Weather, Rollo Dilworth, Poem by Claudia Rankine Joined by The Florida A&M University Concert Choir

All performances in Ruby Diamond Concert Hall, The Florida State University

Florida State University

COLLEGE OF MUSIC special thanks to

Les and Ruth Akers Sole Sponsors of the UMA Concert Series

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Associate Jayme Agee Robert M. Bukovic David and Mary Coburn Carla Connors and Timothy Hoekman Martha Cunningham Dr. Aleksandra and Dr. Geoffrey Deibel Pamala J. Doffek John and Jodi Drew The Fennema Family Gene and Deborah Glotzbach Laura Gayle Green Miriam Gurniak Donna H. Heald

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