MSO BRAVO! | Volume 42, Issue 1 | Symphonie Fantastique

Thank you for joining us for an exciting season of Music for Everyone.

We kick off with an epic work by Berlioz, whose innovative use of massive forces expanded the expressive and sonic possibilities of the orchestra in ways unimagined before his “Symphonie Fantastique.” Our guest artist, Tim Fain, brings his own brilliant violin concerto, “Edge of a Dream,” to complement a program rich with vision and impressions.

This fall, you will be introduced to two wonderful composers who flourished briefly in France in the 19th and 20th centuries and deserve inclusion in the great “classical” music conversation. In October, Lily Boulanger’s “D’un Matin de Printemps” reveals a young composer coming into her own, ready to challenge the primacy of Debussy with a gorgeous, impressionistic evocation of nature.

In November, Louise Farrenc proves that the symphonic form was alive and well in nineteenth-century France with her virtuosic and imaginative “Third Symphony.” Framing Farrenc’s impressive effort are two works that exceeded expectations in their time. Mendelssohn’s programmatic “Melusine Overture” stretches its form beyond storytelling, moving into vivid depictions of the psychic states of its characters. And Beethoven’s beloved “Seventh Symphony” takes the orchestral dance to its highest expression.

We conclude the first half of our season with the best possible homecoming for the holidays: a joyous reunion with our dear friends and colleagues at Hagerstown Choral Arts, an introduction to the youthful voices of North Hagerstown High School Chorus, and a very special guest, Gregory Watkins, whose beautiful and soulful tenor voice has been heard on major stages, including Lincoln Center and the Kennedy Center for the Performing Arts.

Most importantly, the musicians and I thank you for your continued and enthusiastic support. Your presence at our concerts gives true meaning to what we do and keeps great music alive and thriving in our community.

Elizabeth Schulze Music Director & Conductor

Maryland Symphony Orchestra 21 S Potomac Street, Second Floor Hagerstown, Maryland 21740

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The Maryland Symphony Orchestra is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art.

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MARYLAND SYMPHONY ORCHESTRA 2023-2024 SEASON ROSTER

ELIZABETH SCHULZE, MUSIC DIRECTOR & CONDUCTOR FIRST VIOLIN Robert Martin Concertmaster MSO Guild Chair Joanna Natalia Owen Associate Concertmaster Lysiane GravelLacombe + Assistant Concertmaster Brent Price + Thomas Marks Chair Kristin Bakkegard H. Lee Brewster Yen-Jung Chen Mauricio Couto Sarah D’Angelo + Megan Gray Catherine Nelson Petr Skopek SECOND VIOLIN Marissa Murphy Principal J. Emmet Burke Chair Ariadna Buonviri Associate Principal Julianna Chitwood Assistant Principal Karin Kelleher Ruth Erbe Teresa L. Gordon Melanie Kuperstein Swiatek Kuznik Kat Whitesides Patricia WnekSchram VIOLA Phyllis Freeman * Principal Alan J. Noia Chair Magaly Rojas Seay + Acting Principal Daphne Benichou * Associate Principal Stephanie Knutsen + Acting Associate Principal Catherine Armoury+ Assistant Principal

VIOLA (CON’T) Sungah Min Rachel Holaday Alice Tung Heidi Remick + Sean Lyons * CELLO Todd Thiel Principal J. Ramsay Farah Chair Katlyn DeGraw Associate Principal Jessica Albrecht Assistant Principal Aneta Otreba Mauricio Betanzo Youbin Jun Alyssa Moquin Jessica Siegel Weaver BASS Adriane Benvenuti Irving Principal Shawn Alger Associate Principal Alec Hiller Kimberly Parillo Brandon Smith FLUTE Laura Kaufman Mowry+ Acting Principal Marjorie M. Hobbs Chair Nicolette Driehuys Oppelt Elena Yakovleva PICCOLO Elena Yakovleva OBOE Fatma Daglar Principal Joel L. Rosenthal Chair Amanda Dusold Rick Basehore

ENGLISH HORN Rick Basehore CLARINET Beverly Butts Principal John M. Waltersdorf Chair Jay Niepoetter BASS CLARINET Open BASSOON Erich Heckscher Principal Bennett S. Rubin Chair Scott Cassada Susan Copeland Wilson CONTRABASSOON Susan Copeland Wilson FRENCH HORN Open Principal Libby Powell Chair Mark Hughes Assistant Principal Chandra Cervantes James D. Vaughn TRUMPET Nathan Clark Principal Robert T. Kenney Chair Scott A. Nelson Robert W. Grab Chair Matthew Misener TROMBONE Liam Glendening Principal Richard T. Whisner Chair Jeffrey Gaylord Kaz Kruszewski

TUBA Zachary Bridges Principal Claude J. Bryant Chair TIMPANI Jonathan Milke + Principal William J. Reuter Chair PERCUSSION Open Principal Donald R. Harsh, Jr. Chair Julie Angelis Boehler Acting Principal Robert Jenkins HARP Maryanne Meyer + Principal PIANO/KEYBOARD Open James G. Pierné Chair LIBRARIAN D. Marianne Gooding PERSONNEL MANAGER Christian Simmelink + One-Year Position * On Leave

SYMPHONIE FANTASTIQUE THE MARYLAND THEATRE

Saturday, October 14, 2023 | 7:30pm Sunday, October 15, 2023 | 3:00pm Elizabeth Schulze conductor Tim Fain violin LILI BOULANGER

“D’un matin de printemps”

TIM FAIN

“Edge of a Dream”

Part I Part II Part III -- INTERMISSION --

HECTOR BERLIOZ

“Symphonie Fantastique”

I. “Rêveries – Passions” (Daydreams – Passions) II. “Un bal” (A Ball) III. “Scène aux champs” (Scene in the Fields) IV. “Marche au supplice” (March to the Scaffold) V. “Songe d’une nuit du sabbat” (Dream of a Witches’ Sabbath)

CONCERT SPONSORS James & Mindy Marsden

PROGRAM NOTES D’un matin de printemps (Of a Spring Morning) Lili Boulanger Born August 21, 1893, in Paris, France Died March 15, 1918, in Mézy-sur-Seine, France D’un matin de printemps was premiered on New Year’s Day in 1923.

It is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, optional contrabassoon (or sarrusophone), four horns, three trumpets, three trombones, tuba, percussion, harp, celesta, and strings.

The story of sisters Nadia and Lili Boulanger is one of tragedy, greatness, and sorrow. Nadia was six years older than Lili and went on to become the most important composition teacher of the twentieth century. Among her students were Aaron Copland, Thea Musgrave, and Philip Glass. However, she started as a composer and had modest successes. Nadia would admit that Lili was the most talented of the two. She would become the first woman to win the coveted Prix du Rome.

Lili’s life was one of great success and horrible misfortune. She was a child prodigy and had many musical successes. She had perfect pitch and the best training available, including composition studies with Gabriel Faure and organ lessons with Louis Vierne. Lili’s only problem was that she suffered from what was diagnosed as intestinal tuberculosis—most likely severe Crohn’s disease, which was unidentified and, therefore, untreatable in those days. Of course, the disease limited her activities and she was always a sickly teenager. At 12 she competed in the Prix du Rome, but had to withdraw because of illness.

The next year, her cantata Faust et Helene won. Most importantly, the prize included a publishing contract with the major Italian firm Ricordi. Her sister Nadia had entered the contest four time and had never prevailed.

In all, Lili composed over 50 works before her death at the tragically young age of 24. Nadia, who had devoted much care and attention to her sister, never composed again.

Lili’s musical style is that of late impressionism with a notable backward-looking glance to the more romantic approach of Faure and SaintSaëns. Most of her music is for chorus or solo voice, but there are a few notable instrumental and orchestral works. D’un matin de printemps (Of a Spring Morning) and D’un soir triste (Of a Sad Evening) date from 1918 and are the last works that she was able to copy without assistance. They are companion works and are almost often performed together.

D’un matin de printemps exists in three different versions—the original for violin (or flute) and piano, a second for piano trio, and the present version for orchestra. It opens with a busy and lively texture with flute ripples flying above the rest of the orchestra.

It is a daringly youthful sound for one so ill at the time. Key centers change frequently and there is a decided mercurial quality to the orchestration.

Edge of a Dream Tim Fain Born June 7, 1979, in Santa Monica, California With his adventuresome spirit and vast musical gifts, violinist/composer Tim Fain who “plays like a virtuoso and

thinks like a cinematographer” (Vanity Fair), has earned a reputation as a mesmerizing creator and performer.

He has composed numerous scores and concert works for film, VR, extended media, live performance, and theater; has toured extensively with Philip Glass as a duo partner; has been a featured performer at the Vatican, and also in a special performance to celebrate His Holiness the 14th Dalai Lama’s 80th Birthday.

He was seen on screen and heard on the Grammy nominated soundtrack to the film Black Swan, and has performed featured violin on the soundtracks to Moonlight, Succession, Glass, The Tragedy Of Macbeth, and 12 Years A Slave, in which he co-arranged and performed all of the diegetic music for lead actor Chiwetel Ejiofor.

Fain composed the scores for Munch, a feature film about the Norwegian painter, the documentary Untouchable: Children of God, and short films Nothing, Except Everything, and Los Huesos which won Best Short at Venice Film Festival in 2021. His recent concert compositions include Edge of a Dream for violin and orchestra, Shortest Way Home for solo cello, and Unraveling, for 14 layered violins, which will be released on his upcoming studio album in late 2023. His evening length multisensory performance, Portals, in which he performs, features collaborations with Leonard Cohen, Nicholas Britell, Philip Glass, Benjamin Mellepied, Kate Hacket, Nico Muhly and radio personality Fred Child. He is Director of Music at Studio Elsewhere, an organization dedicated to creating bio-experiential environments for healthcare, and since April 2020 has created adaptive musical scores and sound design for multisensory Recharge Rooms and other installations in healthcare facilities

around the US to help hospital workers and staff.

Fain has electrified audiences in solo performances with orchestras around the world. In addition, he was the featured soloist with the Philip Glass Ensemble at Carnegie Hall in a concert version of Einstein on the Beach. He has collaborated with artists such as Leonard Cohen, Justin Vernon, Katia Labèque, Rahzel, Nicholas Britell, Richard Goode, Meredith Monk, Darren Aronofsky, Bill T Jones, Bryce Dessner, Lou Reed, and Christina Aguilera. Fain captured the Avery Fisher Career Grant and launched his career with Young Concert Artists.

Fain describes his Edge of a Dream as follows: “My family and I are fortunate to have been thriving and healthy during the COVID-19 pandemic, which has been a time of suffering and transition for so many people.

Like many musicians, I saw all live performances and in-person collaborations either canceled or postponed. In consequence, I suddenly had a lot of extra time for other projects. Some silver linings began to emerge: I could spend more time with my family and watch my girls grow. I also had the time to put together my first larger composition for violin and orchestra.

“As I began serious work on Edge of a Dream in the Spring of 2020, qualities of hope, joy, and even elation emerged in my writing.

Though putting notes on paper did not occur without struggle and difficulty, my feeling as I was writing was in stark contrast to the ever-present turmoil and uncertainty which I and so many

others were experiencing during these past couple of years. I had the sensation that I was at the edge of something: a feeling of profound hope just out of reach, the beginning of something new, or a significant turning point for myself and many others. Looking back, I now realize that I needed to express this intense, and at times forceful yearning during the pandemic to hold on to the dream of a better future.

“Throughout much of the work, I employ several short motifs, juxtaposed as pixels, through which a larger structure emerges.

In Part I, the three rising pitches in the strings at the outset of the movement, the insistent staccato figures in the woodwinds, and the two downward sweeping intervals in the solo violin are combined and remixed. By contrast, Part II explores longer-form melody.

After a chaotic climactic moment and short cadenza, the solo violin finds its way back home to the original tonality and peaceful character. Part III is, once again, almost entirely centered around a short motif consisting of the four notes of an arpeggiated 3rd inversion D major 7th chord. As the original descending intervallic motif from Part I returns, now in a somewhat more hopeful major tonality, the movement comes to an exuberant close.

“The work is dedicated to my two daughters, Katia and Brielle.”

Symphonie fantastique Hector Berlioz Born December 11, 1803, in La CoteSaint-Andre, France Died March 8, 1869, in Paris, France

This work was given its premiere on Sunday, December 5, 1830, at the Paris Conservatoire with Francois-Antoine Habeneck conducting. It is scored for piccolo, two flutes, two oboes, English horn, two clarinets, E-flat clarinet, four bassoons, four horns, two cornets, two trumpets, three trombones, two tubas, battery, timpani, harp, and strings.

The original scoring called for two ophicleides and serpent, both nowobscure bass instruments.

One of the cornerstones of Romantic music, Hector Berlioz’s Symphonie fantastique was written in 1830 by a twenty-seven-year-old innovator.

Composed only three years after the death of Beethoven, there are moments - especially in the final movement - when the orchestral effects sound far removed from the earlier master and closer to those used by twentieth-century composers.

He occasionally calls for muted strings and nearly every experimental bowing technique then in existence.

Particularly notable is the ghostly sound produced by the violins playing with the wood of the bow against the strings (col legno) near the beginning of the final movement. In this symphony, Berlioz became the first composer to specify which mallets the timpanist should use. His choice of sponge-headed mallets produced a softer, subdued sound. Because Berlioz was a guitarist and did not play an orchestral instrument, he was uninhibited by traditional playing techniques. That the Symphonie fantastique was his first major work for orchestra often goes unmentioned because the orchestration is masterfully colorful, and the finest craftsmanship is evident throughout.

This symphony, despite its universal appeal, had its origins in the darkest recesses of Berlioz’s fascination with a famous actress. In September of 1827, Berlioz saw a performance of Hamlet with British thespian Harriet Smithson

as Ophelia. He immediately developed a deep obsession for her. Over the next few years, Berlioz composed the Symphonie fantastique, which serves modern listeners as a chronicle of his obsessive state of mind. Called ‘autobiographical’ by Berlioz, the work is divided into five movements, all linked by a recurring theme (the so-called idée fixe) that is transformed for use in each movement, always representing the ‘beloved.’

The Symphonie traces the artist’s tormented and obsessive infatuation with an unattainable love interest. As his compulsion grows stronger, reality begins to fade and a dreamlike, finally supernatural, world unfolds before the listener’s ears. In music history’s first example of a ‘program symphony,’ one that tells a distinct story as supplied in the audience’s printed program, Berlioz reveals his own struggle with unachievable love by creating a work he hoped would cause her to notice his infatuation. The five movements are as follows, with Berlioz’s own description of the story: “I. Reveries - Passions: A young musician, afflicted with that moral complaint which a celebrated writer [Chateaubriand] calls “undirected emotionalism,” sees the woman of his dreams and falls hopelessly in love.

Each time her image comes into his mind, it evokes a musical thought [represented by an idée fixe] that is impassioned in character, but also noble and shy, as he imagines her to be.

“II. A Ball: The artist finds himself in the swirl of a party, but the beloved image appears before him and troubles his soul.

“III. Scene in the Country: In the distance, two shepherds play a ranz des vaches in dialogue [solo oboe and English horn]. The pastoral setting, the gentle evening breeze, the hopeful

feelings he has begun to have--all conspire to bring to his spirit an unaccustomed calm, and his thoughts take on a more cheerful cast. He hopes not to be lonely much longer.

But his happiness is disturbed by dark premonitions. What if she is deceiving him! One of the shepherds resumes his playing, but the other makes no response.... In the distance, thunder.

Solitude. Silence.

“IV. March to the Scaffold: Convinced that his love is unrequited, the artist takes an overdose of opium. It plunges him into a sleep accompanied by horrifying visions. He dreams that he has killed his beloved, has been condemned and led to the scaffold, and is witnessing his own execution.

The procession advances to a march that is now somber and savage, now brilliant and solemn. At its conclusion the idée fixe returns, like a final thought of the beloved cut off by the fatal blow.

“V. Dream of a Witches’ Sabbath: He sees himself in the midst of a frightful throng of ghosts, witches, monsters of every kind, who have assembled for his funeral. Strange noises, groans, bursts of laughter, distant cries. The beloved melody again reappears, but it has lost its modesty and nobility; it is no more than a vulgar dance tune, trivial and grotesque; it is she, coming to the Sabbath. A joyous roar greets her arrival.... She joins in the devilish orgy.... A funeral knell, a parody of the Dies irae. A Sabbath round dance.

The Dies irae and the round-dance are combined.”

In an interesting footnote to Berlioz’s obsession with Smithson, she found his advances threatening and avoided him until an 1832 concert where she heard the work. The two became engaged and were married the next year - a not-always-happy union that lasted until her death in 1854.

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