University of Georgia Symphony Orchestra
Mark Cedel, conductor
Nicholas Han, assistant conductor
Thursday, September 14, 2023 at 7:30 p.m.
Hugh Hodgson Concert Hall
UGA Performing Arts Center
with David Starkweather, cello
Sinfonia Concertante in E Minor for Cello and Orchestra, Op. 125 Andante
Allegro giusto
Andante con moto – Allegretto – Allegro marcato
David Starkweather, cello
BRIEF INTERMISSION
Symphony No. 5 in B-flat Major, Op. 100 Andante
Allegro marcato Adagio
Allegro giocoso
Phone: 706-542-3737
Undergraduate Admissions: musicad@uga.edu
Graduate Admissions: musicgrad@uga.edu
Sergei Prokofiev (1891-1953)
Sergei Prokofiev (1891-1953)
Jhonni Campos, concertmaster
Lyu Lian, assistant concertmaster
André Araujo De Souza
Molly Schneider
Alexis Boylan
Brian Roach
Sean Smith
Clarissa Tamara
Lucas Nyman
Adelmo Gimenez
Carlos Brena
Ranjani Vasudevan
Zeyu Yuan
Simms Murray
Ellis Kim
Rea Aiyer
Sarah Ling
Alicia Li
Sarah Nienhiser, principal
Sage Codispoti, assistant principal
Surya Blasiole
Jen Edwards
Shazan Samnari
Lauren McClary
Garry Fulcher
Andreea Barra
Frances Prager Zarragoitia
Chelsea Afful
Nicholas Olmstead
Kiera Johnson
Yaewon Cho
Athziri Moreno-Martinez
Chloe James
Lleyton Aguilar
Eileen Cheng
Emma Hu
Mark Cedel, conductor
Nicholas Han, assistant conductor
VIOLA
Bryan Johnson, principal
Nina Nagarajan, assistant principal
Kailey Ford
Jodie Stone
Anna Murphy
Daniel Boscan
Mason Minutella
Clinton Stempen
Jensi Perng
Ashley Belcher
Libby Zavadil
Lexi Simmons
CELLO
Gabriella McClellan, principal
Thomas LaMon, assistant principal
Zach Helms
Ian Koontz
William Slater
Tristan Dempsey
Joshua Aderhold
Olivia Durrence
Charlton Hills
Kemp McArthur
Ocean Liu
BASS
Wueltion Dal Pont, principal
Daniel Pina, assistant principal
Leonardo Lopes, associate principal
Austin Carter
Ricardo Karelisky
Jordan Askew
Madeleine Bower
Kenia Garcia
FLUTE
Emily Elmore, principal
Shana Stone
Isabel Brock
OBOE
Amanda Withrow, principal
Carter Reed, assistant principal
Emma Gordon
Marcus Lewis
CLARINET
Bailey Hume, principal
Aaron Guthrie
Jaden Skelton
Emily Johnston
BASSOON
Ethan Surles, co-principal
Natsha Pizarro, co-principal
Daniel Johnson
HORN
Joshua Wood, principal
Marianna Schwark, assistant principal
Cal Hughes
Jake Wadsworth
Jordan Chase
TRUMPET
Marco Cubillas Bolado, principal
Will Tomaszewski
Andrew Morris
Michael Mank
TROMBONE
David Cain, principal
Trey Heaton
Jonas Ventresca, bass trombone
TUBA
Robert Boone
PERCUSSION
Camden Briggs, principal
Angelica Wright
Meme Walton
Carrington Lauck
HARP
Violet Waterhouse
KEYBOARD
Annabel Shue
LIBRARIAN
Molly Schneider
PERSONNEL and PRODUCTION
Ricardo Karelisky Deho
Sergei Prokofiev (1891–1953) was a Russian composer whose music spanned the early 20th century. Prokofiev was born in rural Sontsovka, Russia, in 1891. He started composing music around the age of five and went on to study at the St. Petersburg Conservatory, graduating in 1914. Prokofiev’s compositional style, which combined neoclassical and avant-garde techniques with traditional Russian music, was considered innovative in his time. He composed across a wide variety of genres including ballets, operas, symphonies, concertos, film scores, and more.
In 1948, Prokofiev fell under government scrutiny for the music he composed, which the Soviet authorities deemed to be too formalistic and individualistic. He was expelled from the Composers’ Union, which severely limited his musical career. Despite this setback, Prokofiev continued to compose, using his experience to adapt his style to the government’s demands.
Prokofiev passed away in 1953, the same day as Stalin’s death, thereby receiving limited coverage in the media. Nonetheless, his music continues to be celebrated and is regularly performed by orchestras and ensembles worldwide. In conclusion, Sergei Prokofiev is a prominent composer known to have played a vital role in the development of 20th-century music. His musical language bridges the gap between romanticism and modernism, combining rich melodic lines with dissonance, rhythmic complexity, and unconventional tonalities.
Scored for: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, celesta, and strings. 37:00
Sergei Prokofiev began writing an E minor Cello Concerto in 1933 or early 1934. After many delays it was finally premiered in November 1938. It was received with such dreadful negativity that Prokofiev promptly withdrew the score. But nearly a decade later, in 1947, Mstislav Rostropovich – a worldrenowned Russian cellist in the 20th and 21st century – acquired a copy and performed it in the Small Hall of the Moscow Conservatory. Prokofiev attended the concert, and after the performance he told Rostropovich he would revise the concerto for him. Rostropovich’s name is also attached to the published score of the Sinfonia concertante as its editor. It is said that he provided much input concerning the solo part and assisted Prokofiev in orchestrating the final version. The genre Sinfonia Concertante, popular during the late-eighteenth century and early-nineteenth century, has more than one solo instrument. In Prokofiev’s Sinfonia Concertante, the cello is the most prominent instrument during the work. The work is often referred to as his Symphony-Concerto, a title promoted by the music historian Boris Schwarz as the best translation of the work’s Russian heading, which would be transcribed as Simfonia-Kontsert. For better or worse, “Sinfonia concertante” is the title on the standard score. Whether Sinfonia concertante or Symphony-Concerto, the title stands as proof of the extremely active and challenging orchestral parts.
The Sinfonia Concertante is a monumental work for the cello because of its difficulty and longevity, a full 37 minutes of music. It is divided into three movements, where there are a wide range of tempos in within the movements. The first movement contains a wide variety of melodies accompanied by the orchestra and difficult techniques from the solo cello. In other cello concertos, the low range
of the cello can be drowned out by the orchestra. But in this work, Prokofiev uses the orchestra to embellish and enhance the soloist, by engaging the winds as secondary soloists, again reinforcing the genre Sinfonia Concertante. Prokofiev makes use of the lower pitched instruments; bassoon, horn, cello, and basses, adding color without harming the soloistic timbre.
The second movement, unlike the course of the classical era, starts off fast with ever changing tempos. This is the center of the work because of its length (18 minutes). Prokofiev gives the soloist a substantial cadenza and segues back to the flow of the movement.
The third movement opens with a glorious melody played by the solo cello. As the orchestra accompanies the cello, we arrive at the Vivace. Here is where we are presented with wonderful counterpoint, performed by the solo cello while the orchestra plays the intro melody. We are also shown the extent of the cello technique, four note chords, and low to high arpeggios. Towards the end, we hear the celesta gracefully playing before the rambunctious climax of arpeggios from the solo cello and orchestra.
Symphony No. 5 in B-flat Major, Op. 100
Scored for: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, harp, and strings. 45:00
The seven symphonies of Sergei Prokofiev cover a span of thirty-six years, from his First, the muchloved Classical Symphony, composed in 1916-17, through to his Seventh, his last major work, written in 1951-52. Symphony No. 5 in B-flat major, Op. 100, is a powerful and significant work that reflects the composer’s unique voice and the tumultuous time during which it was written. Composed between 1944 and 1945, this symphony stands as a testament to hope and resilience in the face of war and hardship. This work was premiered with the composer conducing with the State Symphonic Orchestra of the U.S.S.R in the great hall of the Moscow Conservatory.
The symphony is divided into four movements, each capturing a distinct mood and musical character. It begins with an energetic and imposing opening movement marked by a driving rhythmic pulse and bold orchestral colors. The theme, introduced by a mournful clarinet, undergoes a transformation throughout the movement, evolving from somber and dark to triumphant and victorious.
The second movement, marked Allegro marcato, offers a contrasting atmosphere of lightness and tension. It opens with motivic rhythmic notes starting in the 1st violins, creating an eerie and unsettling atmosphere. The clarinets introduce the second main part of the movement. Then, a sinister march played by the trumpets gives us an uneasy feeling, building back to the first theme, promptly stated by the winds and snare drum. The musical narrative unfolds with bursts of brutal force, showcasing Prokofiev’s masterful use of orchestral textures and his ability to create a sense of urgency and anxiety.
In contrast to the previous movement, the third movement, marked Adagio, offers a moment of respite and reflection. It opens with a poignant melody in the clarinet, which is later taken up by other instruments, creating a sense of longing and introspection. The lush harmonies and lyrical melodies
evoke a feeling of melancholy and nostalgia, while moments of soaring beauty provide a glimmer of hope amidst the sadness.
The final movement, marked Allegro giocoso, brings the symphony to a triumphant and celebratory close. It bursts forth with a lively and energetic theme, showcasing Prokofiev’s signature rhythmic drive and vibrant orchestration. The music unfolds with a sense of joy and enthusiasm, building to a thrilling and grand conclusion.
Prokofiev’s Symphony No. 5 is a work that reflects the human spirit’s ability to endure and find hope even in the darkest times. The bold and dramatic orchestration, the masterful exploration of contrasting moods, and the underlying sense of optimism make this symphony a powerful and exhilarating listening experience. With Symphony No. 5, Prokofiev created a musical journey that is both emotionally charged and intellectually stimulating. It is a testament to his mastery as a composer and his ability to capture the complexities of the human experience through music. This monumental work continues to captivate audiences and remains one of Prokofiev’s most distinguished and enduring compositions.
Program Notes prepared by Nicholas Han
DAVID STARKWEATHER is professor of cello at The University of Georgia Hodgson School of Music in Athens where he has been on the faculty since 1983. He was awarded a certificate of merit as semifinalist in the 1986 Tchaikovsky Competition. Starkweather grew up in the San Francisco bay area. He attended the Eastman School of Music, followed by graduate studies with cellist Bernard Greenhouse at the State University of New York at Stony Brook, earning a doctorate degree in 1983. In 1985 Starkweather spent six months in Switzerland with Pierre Fournier, receiving the French cellist’s accolade, “Pure talent as an interpreter at the devotion of music and one of the best cellists of his generation.” Starkweather’s 3-DVD set of the Bach Six Suites, which incorporates his manuscript edition, was selected for a UGA Creative Research medal in 2009. Two CDs with pianist Evgeny Rivkin are available at iTunes and CDBaby, featuring sonatas by Shostakovich, Rachmaninov, Beethoven, Brahms, and Britten. Additionally, numerous video recordings are available on Starkweather’s YouTube channel. His publications include articles in American String Teacher and Strings, and an edition of two Locatelli sonatas published by Artaria Editions, Wellington, New Zealand. The cello he has played since 1975 is a Jean Baptiste Vuillaume from c.1830.
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