21|22 Season: UF Symphony Orchestra - Beethoven Symphony No. 9 - Performance Program

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presents

UNIVERSITY OF FLORIDA SYMPHONY ORCHESTRA

BEETHOVEN SYMPHONY NO. 9 RAYMOND CHOBAZ, CONDUCTOR

THURSDAY, OCTOBER 7, 2021 | 7:30 P.M. Curtis M. Phillips Center for the Performing Arts

Sponsored by

RUSSELL AND BRENDA ROBINSON THE INDEPENDENT FLORIDA ALLIGATOR UF HEALTH

UNIVERSITY OF FLORIDA SYMPHONY ORCHESTRA RAYMOND CHOBAZ, CONDUCTOR MATTHEW WARDELL, ASSISTANT CONDUCTOR UNIVERSITY OF FLORIDA CONCERT CHOIR AND GAINESVILLE MASTER CHORALE CHORUS MASTER: WILL KESLING Program Return the Echo, Fanfare for Large Orchestra (2019)

Fantasia for Piano, Chorus and Orchestra in C minor “Choral Fantasy,” op. 80 (1808, rev. 1809)

Paul Richards (b. 1969) Ludwig van Beethoven (1770-1827)

Adagio Finale: Allegro

Adagio ma non troppo

Marcia assai vivace

Allegretto ma non troppo

with final chorus “Schmeichelnd hold”

Presto

JASMIN ARAKAWA, piano

INTERMISSION

Symphony No. 9 in D minor, op. 125 (1823-24)

Ludwig van Beethoven

Allegro ma non troppo, un poco maestoso Scherzo: Molto vivace Adagio molto e cantabile Presto ­— Allegro assai with final chorus from Schiller’s “Ode to Joy”

LORI GUILBEAU, Soprano RONNITA MILLER, Mezzo-Soprano COOPER NOLAN, Tenor JOHN ROBERT GREEN, Bass-Baritone

LUDWIG VAN BEETHOVEN — IN CELEBRATION OF A GIANT “Keep an eye on him, he’ll make a big noise in the world one day.”

Wolfgang Amadeus Mozart (1756-1791)

In honor of one of the great musical geniuses of notated Western music and whose 250th birthday we celebrated in 2020 we have programmed three distinct yet closely associated pieces for tonight’s special concert: Paul Richards’s Return the Echo, drawing and quoting from Beethoven’s Ninth Symphony, Beethoven’s Choral Fantasy for Piano, Chorus and Orchestra, a forerunner to Beethoven’s Ninth, and Beethoven’s groundbreaking Ninth Symphony as one of the great achievements of the human spirit.

Return the Echo by Paul Richards was co-commissioned by The Florida Orchestra and The University of Florida School of Music in commemoration of Beethoven’s 250th birthday and premiered by The Florida Orchestra on December 6, 2019 at the Straz Center for the Performing Arts in Tampa, Florida.

In the composer’s own words: A notorious lover of nature, Beethoven once wrote “… woods, trees and rocks return the echo man wishes to hear.” Many, myself included, find that Beethoven’s music itself “returns the echo” we wish to hear. In that spirit, I have written this piece as a celebration, or echo, of a fleeting moment from the final movement of his Ninth Symphony that occurs just before the baritone soloist enters for the first time. All of the material in my fanfare is drawn from this five-measure passage, which is quoted toward the end of my piece, just after a brief, slow chorale.

The “Fantasia for the piano which ends as a finale with gradual entrance of the entire orchestra and finally the introduction of choruses” or simply “Choral Fantasy,” as it has come to be known, was first performed on December 22, 1808 in Vienna with Beethoven improvising the entire opening. The awkward description of the initial announcement was necessary, for the piece defies classification by genre and certainly is one of Beethoven’s most unconventional compositions. Beethoven’s idea was to close the concert with a “splendid final piece” that brought together the varied forces he had assembled: choruses, orchestra and himself at the keyboard. The mammoth program also included not only his fifth and sixth symphonies, but also his Coriolan Overture, fourth piano concerto, as well as three movements of his Mass in C. This opening piano solo, written out later for its first publication, must be one of the finest extant examples of what his brilliant improvisations must have been like. The main body of the work with orchestra following the opening is a set of variations (like the finale of the Ninth) of consummate subtlety on a theme borrowed from an earlier song, Love Returned, that foreshadows the great “Joy” theme in the Ninth Symphony. When the voices are finally ushered in, intoning a newly written poem by Christoph Kuffner (1780-1846) in praise of beauty and the divine harmony of life and nature, we realize that the music has entered the final stage of the piece, a coda—albeit considerably extended—where all is joyfulness and freshness. That it served as an early model for an even greater finale, namely that of the Ninth Symphony, will become clear after intermission.

The Ninth Symphony by Beethoven claims a special place, not only in the history of the symphony but also in our own hearts. A performance of it can never be an ordinary event. Insistently, its shadow falls across the music of our own time. Moreover, by carrying to new heights the concept of the symphony, it redefines the nature of symphonic ambition. Explicitly, as a symphony on the universal brotherhood of man (realized within a harmonious holy family, shielded by protective maternal and paternal images), it seeks to make an ethical statement as much as a musical one. It stands as inspiration and model of human transformation, it reports on the human condition and urges us to respond questioningly to its affirmation. It still demands that we come to terms with it, with its path from darkness to light, from doubt to belief, from suffering to redemption, with its ultimate conquest of D major at the center of the entire work and the mighty headache for generations of composers to follow: what are we going to do for a finale? By introducing the human voice into the tonal fabric with a setting of Schiller’s “An die Freude” (To Joy)!

Beethoven had long been drawn to the work of Friedrich Schiller (1759-1805) and a plan cherished over thirty years to set his ode To Joy (written in 1785 and revised in 1803) in this precedent-shattering choral finale, a finale of great emotional depth and intensity, a finale of all finales with its prophetic vision and optimism. After three tries and three rejections of going back to and quoting the previous three purely orchestral movements Beethoven’s quest for simplicity, for immediacy, his great gamble, to invent the quintessentially popular tune finally succeeds miraculously. After the vision of the Creator beyond the stars, all is pure joy, and the music rushes headlong to its intoxicated finish. It is impossible, though intriguing, to guess how Schiller might have reacted to Beethoven’s symphony. But Beethoven read into it what he needed.

What is sure is that he transformed it, not only in spirit, but literally, by selecting, omitting, transposing, reordering and adding his own words, O friends, not these sounds! And once the words have entered, they, and of course even more, Beethoven’s transcendent responses to them, cannot but sweep us along “As joyously as His suns fly Across the glorious landscape of the heavens, … Gladly, like a hero to the conquest.”

Though a financial catastrophe for Beethoven, the concert in Vienna on May 7, 1824 evoked intense enthusiasm. When the performance ended, Beethoven, by then totally deaf, was still turning the pages of his score “standing with his back to the audience, beating time” and had to be turned around so that he might see the applause generated by a “volcanic explosion of sympathy and admiration” he could not hear. To this day, has there ever been a symphony since that succeeded in bringing so much manifold diversity, powerful contrasts and often contradictory musical ideas and an utopian message—“All men become brothers,” with a hint of the imperative, a prayer that “All men should become brothers” and should dwell in harmony with a “loving father” under the protection of that feminine “Freude (Joy), daughter of Elysium”—into such total unity by joining cantata form with the sonata cycle?

Beethoven’s Response to Today’s Fashionable Academic Deconstructivism: “O friends, not these sounds! Rather, let us tune our voices in more pleasant and more joyful song.”

The Ninth, today, is being perceived in certain circles of political ignorami, academic ideologues and self-appointed agitators as a (for them) unsurpassable and unattainable model of affirmative culture, a culture that by its beauty and idealism anaesthetizes the anguish and the terror of modern life, thereby standing in the way of a realistic perception of society. Such provocateurs against the established “dead white man’s culture” also rebel against the beautiful in that culture, against its all too sublimated, orderly, harmonizing forms. The refusal now hits the chorus which sings the ode ‘To Joy,’ the song which is invalidated in the culture that sings it. The fatal (and destructive) misconception underlying such attitude is this: if we lose our awareness of the transcendent realms of play, beauty and kinship that are portrayed in the great affirmative works of our culture, if we lose the reconciling dream of the Ninth Symphony, there may remain no counterpoise against engulfing terrors of civilization, nothing to set against the ongoing horrors of wars as a paradigm of humanity’s potentialities, especially not then when slogans such as “There is no such thing as wrong notes” make the rounds in educational institutions and art gets diminished to primarily hedonistic and narcissistic gratification and pushed to the margin of society.

Masterpieces of art are instilled with a surplus of constantly renewable energy— an energy that provides a motivating force for changes in the relations between human beings—because they contain projections of human desires and goals that have not yet been achieved (and may very well never be achieved). The work of art holds mankind’s creative power in a crystalline suspension from which it can again be transformed into living energies. Beethoven was no stranger to such ideas, for he wrote, “Only art and science give us intimations and hopes of a higher life.” To Beethoven and people like Goethe or Hegel, it was clearly the mission of art to lead humanity to an inner harmony and toward a social order that would permit the unconstrained development of the universally human, the fulfillment of beautiful possibilities. The Ninth Symphony, as an example, keeps alive humanity’s hopes and has the power to sustain faith in the possibilities of renewal. Is it the defects of immediate reality which drive us forward inevitably to the idea of the beauty of art? Perhaps so, but Beethoven expressed his own view when he perceived the opposite process at work: “To arrive at a solution even in the political problem, the road of aesthetics must be pursued, because it is through beauty that we arrive at freedom.”

— Raymond Chobaz, Ph.D.

Fantasia for Piano, Chorus and Orchestra in C minor “Choral Fantasy,” op. 80 (1808, rev. 1809) Ludwig van Beethoven Text by Christoph Kuffner

Translation

Schmeichelnd hold und lieblich klingen unsres Lebens Harmonien, und dem Schönheitssinn entschwingen Blumen sich, die ewig blühn.

Fried und Freude gleiten freundlich wie der Wellen Wechselspiel.

Was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl.

With grace, charm and sweet sounds The harmonies of our life, And the sense of beauty engenders The flowers which eternally bloom.

Peace and joy advancing in perfect accord, Like the alternating play of the waves; All harsh and hostile elements fall into place in bliss.

Wenn der Töne Zauber walten und des Wortes Weihe spricht, muss sich Herrliches gestalten, Nacht und Stürme werden Licht. Äuß’re Ruhe, inn’re Wonne herrschen für den Glücklichen.

Doch der Künste Frühlingssonne lässt aus Leiden Licht entstehn.

When the magic of sound will reign And the awe of language is spoken, Something wonderful will engender, night and tempest transform into light.

Calm without and joy within will reign for the lucky man.

After all the spring sun of the arts forms light out of suffering.

Großes, das ins Herz gedrungen, blüht dann neu und schön empor.

Hat ein Geist sich aufgeschwungen, hallt ihm stets ein Geisterchor.

Nehmt denn hin, ihr schönen Seelen, froh die Gaben schöner Kunst Wenn sich Lieb und Kraft vermählen, lohnt den Menschen Göttergunst.

Something great, when it’s touched the heart, Blooms anew in all its beauty.

Which spirit taken flight, And all a choir of spirits resounds in response.

Accept then, oh you gracious souls, Joyously the gifts of art.

When love and strength are united, The favour of the Gods rewards Man.

Symphony No. 9 in D minor, op. 125 Ludwig van Beethoven Ode an die Freude

Ode to Joy

Text by Friedrich Schiller

Adapation by Tracy K. Smith

O Freunde, nicht diese Töne!

Sondern laßt uns angenehmere anstimmen und freudenvollere!

O friend, my heart has tired Of such darkness.

Now it vies for joy.

Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!

Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

Joy, bright God-spark born of Ever Daughter of fresh paradise— Where you walked once now walk rancor, Greed, suspicion, anger, fright.

Joy, the breeze off all that’s holy, Pure with terror, wild as flame.

Make us brothers, give us comfort, Bid us past such fear and hate.

Wem der große Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein!

Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund!

Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.

If you’ve loved another’s beauty If you’ve craved the warmth of flesh, If your spirit is invested In another’s sense of worth, Lift your voice to touch my voice now, Let our song bring joy to earth.

Lift your voice to touch my voice now, Let our song bring joy to earth.

Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur.

Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott!

Joy like water, milk of mothers.

Kind and wicked all deserve Joy’s compassion freely given, Joy which can’t be sold or earned.

In the depths of blackest soil In the lightless atmosphere In the atom and the ether, Animating all that is.

Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.

Let us feel it, let us heed it, Let us seek its deepest kiss.

Let us live our brief lives mining That which joy alone can give.

Seid umschlungen, Millionen.

Diesen Kuß der ganzen Welt!

Brüder! Über’m Sternenzelt Muß ein lieber Vater wohnen.

Battered planet, home of billions, Our long shadow stalks your face.

All we’ve fractured, all we’ve stolen, All we’ve sought blind to your grace.

Ihr stürzt nieder, Millionen?

Ahnest du den Schöpfer, Welt?

Such’ ihn über’m Sternenzelt! Über Sternen muß er wohnen.

Earth, forgive us, claim us, let us Live in humble thanks and joy.

Let our hearts wake from our stupor, Let us praise you in one voice.

RAYMOND CHOBAZ Conductor Raymond Chobaz holds the Provost’s UF Term Professorship and is music director and conductor of the University of Florida Symphony Orchestra and conductor of Dance Alive National Ballet. He holds a Bachelor of Science degree in physics and mathematics summa cum laude, and a Master of Arts degree in music theory. As an International Rotary Scholar at the University of Utah he received both a Master of Music degree in orchestral conducting and a Ph.D. in music composition under Vladimir Ussachevsky. Further studies allowed him to work with Herbert Blomstedt in San Francisco, Kyrill Kondrashin in Amsterdam, Raphael Kubelik in Lucerne, Erich Leinsdorf in New York, Witold Rowicki in Vienna, and Georg Tintner in Prague. Additional training in contemporary music interpretation he acquired from Pierre Boulez in Paris and Lucerne.

Chobaz is the recipient of numerous federal grants, scholarships, awards and first prizes in both composition and conducting, which include the Leroy Robertson, Intercollegiate Bicentennial Composition Competition, Utah Composers Guild, Paul Sacher Stiftung, Martha Baird Rockefeller, Blomstedt International Conducting Award for Orchestral Performance and Symphonic Literature, the Beethoven Festival in Marienbad, and Czech National Opera and Radio Prague International Conducting Competition. As top winner he was invited to conduct all major symphony orchestras and opera companies in the Czech Republic and appointed conductor-in-residence of the Bohuslav Martinu Philharmonic, the Marienbad International Music Festival with the West Bohemian National Orchestra, and the annual International Composition Workshop with the Olomouc Symphony Orchestra.

In recognition of his national and international accomplishments, he has received grants for Advanced Research in Music Performance from the International Research and Exchanges Board, the US Department of Education, US Information Agency, US Department of State, US Army, the National Endowment for the Humanities, the National Endowment for the Arts, International Symphonic Workshops (Canada), Florida Department of Cultural Affairs to perform with Dance Alive National Ballet at the International Ballet Festival in Havana, Cuba, a special Research Leave by the Office of the Provost to work with Nobel Prize Laureate, Richard Ernst, at the Swiss Institute of Technology (ETH) in Zurich, and most recently, both a Distinguished Alumnus and Lifetime Achievement Award from the University of Utah. This fall, Dr. Chobaz has also been asked to take over the Florida Symphony Youth Orchestra in Orlando.

During his tenure at the University of Florida he founded the Gainesville Symphony Orchestra and initiated many new experiences for his students with unprecedented ballet and opera productions, television and radio broadcasts, children’s and pops concerts, multi-media collaborations and interdisciplinary concerts with painters, poets, writers, dancers and ethnic ensembles enabling many first performances which earned the orchestra an ASCAP Nissim Award for innovative programming.

UNIVERSITY OF FLORIDA SYMPHONY ORCHESTRA RAYMOND CHOBAZ, MUSIC DIRECTOR & CONDUCTOR MATT WARDELL, ASSISTANT CONDUCTOR PAMELA MIRELES, PRESIDENT • SAVANNA DOWNING, VICE-PRESIDENT ERYNNE SAN ANTONIO, ORCHESTRA MANAGER

BASSOON VIOLIN VIOLONCELLO

Pamela Mireles, Concertmaster Brett Bechakas, Associate Concertmaster Katarina Christie, Asst.

Concertmaster Heather Andrasik, Principal QiQi Anderson Nathaniel Bain Stephanie Baldwin Samuel Bruce Isabella Caffee Langley Chanlueng Aaron D’Zurilla Brooke Erickson Juan Florez Frank Gomez Sarah Gutierrez Kaitlyn Haslam Sasha Haslam Jacqueline Kim Kyle Lam Emily Levine Andrew Long Gillian Lord Stephanie Miller Karina Ortega Jessica Rinosa Erynne San Antonio Evan Thornton Maria Varas Emelia Ulrich Ashley Wu Isaac Yoder Mingyin Zhu

Mattia Imponenti, Principal Xander Boggs, Asst. Principal Nicholas Alonso Tabitha Becklund Ricky Cheng Sidney Fire Aidan French Daniel Hardwick Leah Kath Kaleb Kunkle Sean Morris Sean Muller Valentina Perez Madison Piguet Jason Schandorf-Lartey Lauren Takacs

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Principal Steven Couch Isaac Hammons Gabriel Isenberg McKayla Keels Madeline O’Sullivan Baily Palmer Terence Sorel FLUTE Natalie Wolpert, Principal Isabella Lolus, Asst. Principal Yerim Ahn Kristen Stoner Alejandro Valdes Kimberly Vega

OBOE Jacob Hutchinson, Principal Al Mandese, Asst. Principal Lyn Allen Peyton Redmyer CLARINET Anne Glerum, Principal Julia Lanni, Asst. Principal Savanna Downing Joseph McFarland

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Principal Alexander Foster Isabella Urena

CONTRABASSOON Colin Whatley FRENCH HORN Philip Shuler, Principal Joe Johnson, Assoc. Principal Lucas Davey Michael Dixon Brendan Eisner Kevin Grant José Gutierrez Adrian Velez TRUMPET John Dixon, Principal Gabriel Gekoskie, Asst.

Principal Benjamin Carver Laura Holmi TROMBONE Michael Stanton, Co-Principal James Anderson, Co-Principal Michael Murphy, Asst. Principal Rebekah Mahusay BASS TROMBONE Zack Kauffman Jacob Massena TIMPANI Lucas Bradshaw, Principal PERCUSSION Jared Potter, Principal Amelia Paquette Samuel Shlafer Daniel Smith PERSONNEL Erynne San Antonio LIBRARY Mattia Imponenti STAGE MANAGER Sasha Haslam EQUIPMENT MANAGER Lucas Bradshaw

UNIVERSITY OF FLORIDA SYMPHONY ORCHESTRA 2021-22 CONCERT SCHEDULE November 18, 2021 • NEW: 7:20 p.m. • University Auditorium All-American Program December 5, 2021 • 7:00 p.m. • Phillips Center Sounds of the Season February 10, 2022 • NEW: 7:20 p.m. • University Auditorium John Williams 90th Birthday March 25 & 26, 2022 • 7:30 p.m. • Phillips Center Carmina Burana with Dance Alive National Ballet — Tickets Required April 14, 2022 • NEW: 7:20 p.m. • University Auditorium Concerto Competition Winners

UNIVERSITY OF FLORIDA CONCERT CHOIR DR. WILL KESLING, CONDUCTOR TANÉ DEKREY, ACCOMPANIST

SOPRANO ALTO BASS TENOR

Alexis Ault Leah Bolles Alek Naul Concepción Lafe Arens*

Valerie Cabrera Katie Delk James D. Cain* Rivera* Joelie Campana Jessica Edelmann Axel Castro Owen Fucile Karrah Christensen Erin Fuzer Simon Coolican Raul Giovannetti Tiffany M. Dang Julia Harbord Matthias C. Daemyung Hyun* Lisa Dias* Siena Nguyen* Dinkelbach* Carson Jones Rachel Evans Camden O’Donnell David Eaton, Jr. Stephen Lane Nigist Feleke* Gabrielle Pagano* Samuel Garner Anthony Montalto Kelsey Hostetler Emma Paschal Gabriel Gilvary Derek Nirenberg* Leigh Ives* Samantha Pruitt* Jacob Gutierrez Brian Taylor Breanna Johnson* Ella Romaine Colin Hall Michael Varilla* Lydia King Megan Sabella Mitchell Johnson Tyler Walsh* Emma Ladd Hannah Schenkel Aston Lowe Tyler Wankowski Lily Mancini Annakah Smolensky Eric Murianki Vincent Weatherly Olivia Miller* Katherine Terlizzese Dylan O’Bryan* Laurie Mullowney Meagan Valliere William Ross Gabriella Pizzi Roxane Van Horn Devin Valdes Ybriana Rodriguez Me-Gan Vu Shichu Xie* Riley Russell Isabella Stolarczyk *Ensemble, Choral Leela Sundaram Fantasy Logan Wax*

GAINESVILLE MASTER CHORALE DR. WILL KESLING, CONDUCTOR TANÉ DEKREY, ACCOMPANIST SOPRANO Alexis Ault Sylvie F. Beukelman Emilie Bonilla Ann Leshy Fuller Andrea Gallo Susan D. Gillespie Julia Haley Lee Hyun-Jeong* Adriane Isenberg* Elaine M. Jacobson Shaneice O. Johnson Lydia King Mary Kladde Anna Sullivan Kvam Hannah Loomis Rebecca Micha Hannah Norton Caroline Sachse Noëlle Silk Sharon Yang

ALTO Marina Bolser Kassandra Crompton Wendy Dever Sandy Douglas Rachael Downs Elena Ellis Ann Elnicki Aimee Fluriach Adia Gomes Alyssa Jackson Kim Kazimour Ju Hyun Lee Joanna Long Nancy Macaulay Babara Martin Zerrin Agabigum* Martin Daryl Mullee Raquel Scotten Linda Spurny Chris Vivian

TENOR Tom Beukelman Thor Blevins Lawrence C. Hartley* David Hickey Daemyung Hyun James Keesling, Jr. Derek Nirenberg Alek Naul Concepción Rivera Don Suther Brian Taylor Franklin Termine

BASS Lafe Arens John Bevis Tom Bullock Peter S. Bushnell James D. Cain Jonathan Christopher Charles Fulton Billy Kipersztok Bill Lovett Andy Olivenbaum Michael Ramos Richard Sadove Lenny Terry Peter VanRysdam Kenrick Watkins* ShiChu Xie *Ensemble, Choral Fantasy

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