2023 War of the Romantics

President’sNote

Fellow enthusiasts of the musical arts,

It is with great joy and pride that I welcome you all to Solstice Symphony Orchestra’s inaugural concert. As the organization’s President and one of its co-founders, it fills me with excitement to see our long-term dream and eforts manifest as firm, exhilarating reality this evening

Tonight, our incredible musicians, guided by our talented Music Director Reilly Bova, will weave a tapestry of colorful melodies, rich harmonies, and stunning rhythms that will coat you all with some of the most stunning pieces of the Romantic era. This concert signifies not just a beginning, but a celebration of the limitless possibilities ahead for this group

On behalf of the entire Solstice board, I extend my gratitude to our orchestra members, the staf and organization of Town Hall Seattle, and our generous sponsors for making this evening’s performance possible. Your dedication and support is the bedrock upon which Solstice Symphony Orchestra stands

To our esteemed audience, thank you for gracing this occasion with your time and presence. Your connection with our music makes this journey all the more meaningful, and we couldn’t do this without you.

Sit back, relax, and let the music kindle your emotions. Here's to the start of a long and enchanting voyage. I hope you enjoy the thrilling journey that War oftheRomantics will undoubtedly provide.

Warmly, Jessica Pan President | Solstice Symphony Orchestra

SolsticeSymphonyOrchestraPresents

War of the Romantics

Inaugural Concert

Saturday, August 19, 2023 • 7:30pm • Town Hall Seattle

ReillyBova Conductor Program

FelixMendelssohn Overture to AMidsummerNight'sDream, Op. 21

RichardWagner Prelude to Act I of Lohengrin, WWV 75

Prelude to Act I of DieMeistersingervonNürnberg, WWV 96

JohannesBrahms Symphony No. 4 in E Minor, Op. 98

I. Allegro non troppo

II. Andante moderato

III. Allegro giocoso

IV. Allegro energico e passionato

Solstice Symphony Orchestra kindly asks that you silence your devices and turn of any upcoming alarms during the performance.

ProgramNotes

Written by Reilly Bova, Music Director

Framing the Program

In the mid-19th century, the musical landscape of romantic-era Europe was marked by an intense ideological battle known today as the "War of the Romantics" This period saw serious divisions emerge between traditional and progressive schools of compositional thought, leading to debates about structure, harmonic limits, and the very essence of music itself At the heart of this conlict was a fundamental question: is music as an art-form enhanced or reduced by connecting it to external concepts? Such “programmatic music”, championed by figures like Richard Wagner, aimed to convey specific imagery through sound. This approach defied conventional forms, allowing composers to tell stories in ways previously unexplored In contrast, the proponents of “absolute music”, such as Johannes Brahms, upheld beliefs that music transcends narrative and is most efective when it exists solely for its own sake Their compositions celebrated mastery of pure musical forms, emphasizing structure and harmony as the ultimate artistic goals Our program tonight takes us on an exciting musical expedition through this tumultuous era, exploring how three titans of music engaged with the ideas and conlicts framing the “War of the Romantics” through their own works of art As you listen this evening, consider how Mendelssohn's magical forest, Wagner's grand narratives, and Brahms' intricate counterpoint all emerged from a crucible of artistic fervor and philosophical debate Each work represents a unique facet of an impassioned period, ofering us a glimpse into the profound struggles and triumphs that shaped the very course of music history

Overture to AMidsummerNight'sDream, Op. 21

Composed 1826 • Premiered in Stettin, February 20, 1827

FelixMendelssohn

Born in Hamburg, February 3, 1809

Died in Leipzig, November 4, 1847

• About 12 minutes in length

Felix Mendelssohn was a German composer, conductor, and pianist, whose remarkable versatility bridged the worlds of classical and romantic era music From a young age, Mendelssohn displayed prodigious abilities. His works are characterized by their elegance, clarity, and adherence to traditional forms, textures, and idioms.

Though Mendelssohn is oten labeled a conservative, his innovative concert overture to William Shakespeare’s A Midsummer Night's Dream challenges this classification Composed when Mendelssohn was just 17 years old, this work exemplifies Mendelssohn’s willingness to experiment with programmatic elements and ofers a unique vantage point into Mendelssohn's creative trajectory Amidst the overture's vibrant passages, attentive listeners wil experience moments that evoke the charming narrative and playful spirit of Shakespeare’s comedy: hear the delicate luttering of fairy wings shimmer across the strings, listen for the hunting horns that echo through an enchanted forest, and laugh along with the cheeky braying of Bottom ater he is transformed into a donkey

Towards the end of his life, Mendelssohn revisited his early overture and expanded it with incidental music for the full play (including the famous "Wedding March"). At the close of this expanded work, Mendelssohn recalls the final bars of his overture unchanged and sets them directly to Puck’s famous closing soliloquy composed by a mere teenager, this music nevertheless captures the profound emotional gratitude that permeates Puck's speech as he thanks the audience and bids farewell

Prelude to Act I of Lohengrin, WWV 75

Composed 1847 – 1848

•Premiered in Weimar, August 28, 1850

• About 10 minutes in length

RichardWagner

Born in Leipzig, May 22, 1813

Died in Venice, February 13, 1883

Renowned for his revolutionary contributions that forever altered the course of Western classical music, Richard Wagner was a visionary composer of German opera whose career was marked by an unwavering pursuit of artistic, dramatic, and philosophical innovation. Central to his legacy is his groundbreaking concept of Gesamtkunstwerk, or "total art” Wagner championed a seamless fusion of music, drama, poetry, and visual elements to create immersive, all-encompassing artistic experiences

His ambitious operatic works, characterized by their grand narratives and daring harmonic explorations, served as the canvas for his visionary concept. Lohengrin, the

first of Wagner’s three Arthurian operas (along with TristanundIsolde and Parsifal), is a Gothic spin on the ancient tale of “Zeus and Semele”, blending sorcery and Christian imagery into the myth about a godlike figure unable to reveal his identity to his lover The narrative of Lohengrin juxtaposes ideals of spiritual purity and goodness against a medieval backdrop of earthly malevolence and scheming.

One of the central musical ideas in Lohengrin is a short theme (leitmotif) representing the Holy Grail. This theme is featured prominently in the prelude to the first act of Lohengrin, which depicts the Grail descending down from the heavens While the prelude begins calm and serene, it slowly crescendos over the course of fity measures until it climaxes with a great crash as the Grail lands on Earth

Prelude to Act I of DieMeistersingervonNürnberg, WWV 96

Composed 1862 •Prelude premiered in Leipzig, November 2, 1862 • About 10 minutes in length

Die Meistersinger von Nürnberg, Wagner’s only mature comic opera, unfolds in the vibrant city of Nuremberg during the 16th century. Exploring themes of love, art, and societal norms, the narrative follows Walther von Stolzing, a young knight aspiring to win the hand of Eva Pogner. Unfortunately for him, his path to love is intertwined with the city's obtuse artistic guild, the Mastersingers, as Eva’s hand has been promised to the winner of their upcoming singing contest.

The opera comments on the importance of cultural heritage and creative expression amidst complexities of tradition and individuality Intriguingly, the themes of Meistersinger are a direct meta-commentary by Wagner on the ongoing schism we know today as the "War of the Romantics." The opera's central conlict between the conservative Mastersingers and progressive young Walther mirrors the ideological feud between conservative and progressive composers, with Walther and his quest for individual artistic expression serving as a bit of a stand-in for Wagner himself

In the prelude, Wagner creates a sonic representation of this schism by fusing his innovative techniques with older musical forms like counterpoint and fugue. In total, he introduces five distinct musical ideas: the stately opening song of Nuremberg, the “Meistersinger march” (based on the real 16th-century Meistersinger song, langer Ton), Walther’s prize song from the opera’s finale, a “derision” motif, and finally Hans Sachs’ admonition to townspeople about the importance of tradition. At the triumphant end of the prelude, these five themes are all simultaneously woven together in a thrilling display of Wagner’s cratsmanship

Symphony No. 4 in E Minor, Op. 98

Composed 1884 – 1885 •Premiered in Meiningen, October 25, 1885 • About 40 minutes in length

JohannesBrahms

Born in Hamburg, May 7, 1833

Died in Vienna, April 3, 1897

Brahms is one of the “three great Bs” of classical music, widely revered for his mastery of counterpoint. On the single occasion that Wagner met Brahms, Wagner remarked, “It’s remarkable what can still be achieved with the old forms in the hands of someone who knows what to do with them.” Amid the "War of the Romantics," Brahms served as the defacto leader of the conservative camp, evident in his compositional respect for classical forms. With his fourth symphony, Brahms uses his masterful command of structure to chisel-out an enduring testament to the timeless musical traditions he revitalizes with extraordinary finesse.

I Allegro non troppo The first movement opens with a motif of descending thirds borrowed from Beethoven’s Hammerklavier sonata. Throughout the symphony, these descending thirds are used as a kernel to generate nearly all other thematic material. Ater unfurling with the capriciousness of a feather loating in the wind, the movement takes an unexpected turn to its second theme, carried over a habanera-like accompaniment. Ater a short development section marked by Brahms’ signature technique of shiting the rhythmic pulse around, the movement builds to an explosive coda and closes with a cataclysmic plagal cadence, intertwining a sense of resolution with a lingering air of tension

II. Andante moderato In this sublime slow movement, set between the Phrygian and Major modes, Brahms captures a sense of melancholic introspection, casting a unique tonal color that resonates with a profound emotional depth. Ater erupting into an intense fugue, the music slowly returns to calmness and closes with a colorful Andalusian cadence reminiscent of Spanish Flamenco.

III. Allegro giocoso This third movement is the closest Brahms ever came to writing a symphonic scherzo In this case, the orchestra engages in a lively dance, characterized by vibrant melodies and rhythmic exuberance. With spirited and playful energy prevailing, this movement eventually breaks out into a full blown jig.

IV. Allegro energico epassionato The finale is a tour de force that showcases Brahms’ ingenuity and artistic audacity A rare example of a symphonic passacaglia (a baroque form characterized by variations over a repeating bass line), Brahms unleashes a staggering 30 variations that propel the symphony to its mesmerizing conclusion and stretch the very boundaries of musical expression. As Brahms takes the audience through his series of thematic transformations, rhythmic explorations, and tonal shits, everything is woven neatly on top of the ever-present bass line This thrilling use of an old form illustrates how “Brahms the conservative” reinvigorates traditional structures with his signature harmonic complexity and intricate counterpoint. This movement encapsulates the essence of the "War of the Romantics", where the clash between tradition and innovation is met with Brahms's ingenious ability to blend both. Brahms would live another twelve years, but he would never write another symphony

AbouttheOrchestra

Founded in 2023, Solstice Symphony Orchestra is one of Seattle’s newest performing arts ensembles, guided by our unwavering passion for classical music Collaboration and community are at the very core of what we do, exemplified in our all-volunteer orchestra, composed of talented musicians from across the PNW We strive to create a vibrant tapestry of musical experiences for our audience and to deliver engaging music-making opportunities for our players Our cause unites exceptional volunteer musicians, creating unforgettable performances like this that inspire and elevate music-making Through our work, we hope to enrich the cultural fabric of Seattle, foster deep appreciations for the transformative power of classical music, and establish meaningful and enduring connections within our community

ReillyBova|MusicDirector

Born and raised in the vibrant musical city of Philadelphia, Reilly Bova’s journey to the podium began with a fascination for the timpani the great kettledrums that boom from the back of the orchestra While training as a timpanist, Reilly caught an early case of “Baton Fever” and discovered his deep-set passion for conducting At Princeton University, Reilly entered the studio of Michael Pratt and earned a musical performance minor in orchestral conducting. As an undergrad, Reilly conducted two full operas, two full orchestras, and he also participated in a conducting masterclass with Gustavo Dudamel.

As the Music Director for Solstice, Reilly leverages his boundless enthusiasm to foster a collaborative environment that empowers musicians to showcase their talents Under his leadership, Solstice has grown from an idea into a symbol of artistic unity over 80 musicians strong a living celebration both of the performing arts and of our amazing local music community here in the heart of the PNW Embracing our thriving music scene here in the Pacific Northwest, Reilly also regularly performs as a timpanist with the Puget Sound Symphony Orchestra and as a percussionist with the Seattle Philharmonic Orchestra

OurMusicians

ViolinI

Daniel Shen, Concertmaster

Andrew Morgan

Andrew Liu

Christine Chu

Daniel Wood

Darren Leung

Gustavo Berho

Joanna Kuo

Jonathan Liu

Matthew Weiss

Raisa Asriyants

Shannon Chen†

ViolinII

Lusha Zhang, Principal

Dan Sutton

Emily Hsieh†

Heather Borror

Jason Forman

Kevin Tao

Lisa Qian

Melanie Gunn

Natalie Toida

Pam Guntrum

Sheila Oh

Teresa Sandys

Viola

Andy Wickell, Principal

Anna Kwa

Catherine Lamb

Colleen Chlastawa

Keith Cohon

Kerry Bollinger

Maren Kilmer

Robert Babs†

Ryan May

Xinru Li

Cello

Chris Worswick, Principal

Francis Fedora

Jennifer Chapman

Jessica Jerrit

Jonas Chen

Juha Niemisto

Kate Miller

Liam Frye-Mason

Madison Bromel

Yoonjung Lee

Yumi Hiraga

DoubleBass

Laura Preslan, Principal

Ariel Kemp†

Jef Brooks†

Megan Spielbusch

Michael Moore

Todd Larsen

Flute

Frieda Chan

Grace Jun

Jennifer Ridout

Piccolo

Jennifer Ridout

Oboe

Adam Parnell

Madeleine Scypinski

EnglishHorn

Bhavani Kotha

Clarinet

Steven Nofsinger

Dayv Doberne

BassClarinet

Cynthia Ely

Bassoon

Samantha Epp

Kerry Philben

Jef Eldridge

Contrabassoon

Jef Eldridge

Horn

Anna Perry Sanchez

Ben Johnson

Craig Kowald

Nicholas Bawcom

Tom Roeder

Trumpet

David Spangler

Denise Cline

Mark Anstadt

Trombone

John Ochsenreiter

Ryan Shepherd

BassTrombone

Nathaniel Oxford

Tuba

Mark Wiseman

Timpani

Tyler Bateman

Percussion

Karen Lin

James Beck

Harp

Ellen Trinklein