THURSDAY, SEPTEMBER 4, 2025 at 7:30 p.m. HODGSON CONCERT HALL
Thursday, September 4, 2025 at 7:30 p.m.
Hodgson Concert Hall
UGA Performing Arts Center
Mark Cedel, Conductor
Nicholas Han, Assistant Conductor
Theme and Variations, Op. 42
PROGRAM
Erich Korngold (1897-1957)
Cello Concerto in A minor, Op. 129
I. Nicht zu schnell
II. Langsam
III. Sehr lebhaft
Symphony No. 8 in G major, Op. 88
I. Allegro con brio
II. Adagio
III. Allegretto grazioso — Molto vivace
IV. Allegro ma non troppo
James Kim, cello
INTERMISSION
Robert Schumann (1810-1856)
Antonin Dvorak (1841-1904)
Erich Wolfgang Korngold – Theme and Variations, Op. 42 (9’) two flutes, oboe, two clarinets, bassoon, two horns, two trumpets, two trombones, cymbal, snare drum, bell, timpani, piano, and strings
Erich Wolfgang Korngold (1897–1957) was a musical prodigy in fin-de-siècle Vienna, hailed by Gustav Mahler as a “genius” before he was even a teenager. After an early career as an opera composer in Europe, Korngold emigrated to the United States in the 1930s, where he became one of Hollywood’s most influential film composers, shaping the lush, late-Romantic sound that would define cinema’s “Golden Age.” The sweeping, golden-hued scores he wrote for adventure epics and romances—The Adventures of Robin Hood, Captain Blood, The Sea Hawk—became the blueprint for generations of film composers.
Korngold never stopped writing for the concert stage. His Theme and Variations, Op. 42, composed in 1940, is a perfect example of how the two halves of his life met and flourished together. Commissioned by the League of Composers for a high school orchestra, the piece could have been a modest, didactic exercise. Instead, Korngold treated it with the same care and imagination he would give a full-scale symphony. The result is a work that’s as satisfying for seasoned professionals as it is approachable for young musicians.
It begins with a noble, warmly glowing theme—immediately memorable, like the main motif of a great film score. Throughout seven variations, this melody is transformed again and again, each time revealing a new facet of its character. One variation dances with playful lightness; another swells with tender lyricism. There are moments of hushed intimacy and others of vibrant grandeur. Throughout, Korngold’s gift for orchestration shines: he paints with the full palette of the orchestra, giving every section—strings, winds, brass, percussion—moments to shimmer in the spotlight.
While the work’s accessibility makes it appealing to young players, its craftsmanship and emotional depth reveal the hand of a mature composer steeped in both late-Romantic tradition and the dramatic flair of the silver screen. In Theme and Variations, Korngold bridges the world of European concert music and the narrative immediacy of film, creating a work that is at once elegant, approachable, and unmistakably his own.
Robert Schumann – Cello Concerto in A minor, Op. 129 (24’)
two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings
Robert Schumann (1810–1856) was a key figure of the Romantic era—a composer, critic, and literary dreamer whose works aimed to blend music and poetry into a single expressive art form. Born in Zwickau, Germany, Schumann had a strong passion for both literature and music during his youth, and his compositions often have a distinctly narrative, almost novelistic quality. After initially pursuing a career as a concert pianist, an injury to his right hand shifted his focus toward composition and music criticism. His marriage to the pianist Clara Wieck, herself a prominent musical figure, became one of the great artistic partnerships of the 19th century, with each inspiring the other’s work. Schumann’s music—whether in his piano miniatures, symphonies, songs, or concertos—embodies a rich emotional world, fluctuating between tenderness, passion, melancholy, and joy.
PROGRAM NOTES
The Cello Concerto in A minor, Op. 129, was composed in 1850, during Schumann’s first months as Music Director in Düsseldorf—a period of renewed creative energy. Remarkably, he completed the piece in just two weeks, yet it does not feel rushed. Unlike the grand, extroverted style typical of Romantic concertos, Schumann’s approach here is introspective and conversational. The cello is not presented as a heroic soloist battling the orchestra but as a lyrical voice engaging in an intimate, ongoing dialogue with it.
Formed in three movements and played without pause, the concerto maintains a seamless narrative flow. The first movement (Nicht zu schnell) begins with the cello nearly immediately entering, singing a long, flowing melody that sets the introspective tone of the piece. The second movement (Langsam) is the emotional core—a tender aria for the cello, interwoven with delicate exchanges from the woodwinds. The final movement (Sehr lebhaft) introduces lightness and rhythmic energy, though moments of reflection remain, showcasing Schumann’s talent for blending contrasting emotions within a single gesture.
Antonín Dvořák – Symphony No. 8 in G major, Op. 88 (36’)
two flutes with piccolo, two oboes with English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings
Antonín Dvořák (1841–1904) was a master at balancing two musical worlds: the precise formal structure of the Austro-German symphonic tradition and the melodic charm, rhythmic energy, and earthy warmth of his Czech homeland. Born in the Bohemian village of Nelahozeves, near Prague, he was raised amid the songs, dances, and rhythms of rural life—an influence that would shape his music from his earliest works to his final compositions. By the late 1880s, Dvořák was no longer just a humble village musician; he had become an internationally acclaimed composer, celebrated in England, Germany, and beyond, and considered one of the leading symphonists of his era.
The Symphony No. 8 in G major, Op. 88, was composed in 1889, a particularly productive period in Dvořák’s career. It followed the turbulent, Brahms-inspired Seventh Symphony and presents a striking contrast in mood. While the Seventh is tight, dramatic, and filled with stormy Romanticism, the Eighth is expansive, lyrical, and imbued with the atmosphere of the Bohemian countryside. Dvořák himself described it as “different from the other symphonies, with individual thoughts worked out in a new way,” indicating that he intentionally aimed for a freer, less academic approach to symphonic writing.
The circumstances surrounding the symphony’s creation reveal a lot. In April 1889, Dvořák was elected to the Bohemian Academy of Science, Literature, and Arts, an honor that highlighted his status as the leading Czech composer of his generation. Instead of releasing the new symphony through his longtime German publisher, Simrock, he chose the London firm Novello. This choice was partly due to disagreements with Simrock over artistic control and payment, but it also symbolized Dvořák’s independence and expanding international influence. The symphony was finished in just two and a half months at his country retreat in Vysoká, a quiet village south of Prague, where he found inspiration in the surrounding fields, forests, and birdsong.
The music itself is as generous and diverse as the natural landscapes that inspired it. The first
PROGRAM NOTES
movement begins with a dark, almost mournful theme, quickly giving way to a radiant G-major melody that blooms with rustic charm. The second movement flows like a slow walk through the countryside, alternating between reflective lyricism and sudden bursts of color. In the third movement, Dvořák replaces the traditional scherzo with a gentle waltz—wistful and graceful— while the trio section breaks into a lively Czech dance. The finale, introduced by a bold trumpet fanfare, features a set of variations on a joyful theme, moving through pastoral scenes, moments of drama, and lively dance before ending in a celebration of orchestral grandeur.
Program Notes by Nicholas Han
UNIVERSITY OF GEORGIA SYMPHONY ORCHESTRA
Mark Cedel, Conductor
Nicholas Han, Assistant Conductor
VIOLIN I
Alexis Boylan, concertmaster
Sarah Nienhiser, co-concertmaster
Karla Mejias
Jhonni Campos
Jocelyne Andronache-Opris
Chelsea Afful
Ellis Kim
Sageiana Codispoti
Zeyu Yuan
Simms Murray
Ruhua Zhang
Kiera Johnson
VIOLIN II
Hyejun Kang, principal
Raunak Das
Abigail Kim
Vic Jeon
Mei Takuno
Han Yang
Briana Darden
Leo Jahn
Athziri Moreno-Martinez
Glona Bang
Sarah Wheeler
VIOLA
Rachel Liu, co-principal
Jensi Perng, co-principal
Asha Baylor, co-principal
Daniel Boscan
Mason Minutella
Devin Bennett
Marissa Evans
Caleb Paradis
Pedro Prudencio
Ashley Belcher
Zeb Tate
Dorothy Park
Benedict Nguyen
Glenn Jiles
Lily White
CELLO
Thomas LaMon, principal
Ryan Dater, assistant-principal
Joshua Nguyen
David Zoblisein
Ian Koontz
Tianbo Zhang
Benjamin Hackworth
Mary Allison Swaim
Katherine Lamback
Olivia Durrence
Joshua Aderhold
Kate Selby
BASS
Austin Carter, principal
FLUTE
Kimmie Bateman, co-principal
Madeline Shell, co-principal
Heesoo Jeong
OBOE
Anisa Herbert, principal
Xander Herman
Brenna Sexton
Ashlyn Long
CLARINET
Luis Umbelino, principal
Claudia Revè Romero, associate-principal
BASSOON
Daniel Johnson, principal
Hsin Cheng
Tarryn Goldner
HORN
Joseph Johnson, principal
Connor Parr, associate-principal
Baylee Cook
Peter Dixon
Gibson Krolikowski
Antonio Peirano Acostay Lana
Ricardo Karelisky
Peyton Lightcap
Madeline Bower
TRUMPET
Victor Pires, principal
Will Tomaszewski
Adriano Estraiotto
Michael Mank
TROMBONE
Ben Novo, principal
Matthew Quach
Trip Drennan
TUBA
Hunter Kane
PERCUSSION
Rachel Martin, principal
Hsiao-Tsu Huang
Dane Warren
Drake Smith
PIANO
Eli Kenyon
LIBRARIAN
Alexis Boylan
PERSONNEL MANAGER
Thomas LaMon
PRODUCTION MANAGER
Ricardo Karelisky
ARTISTIC TEAM BIOGRAPHIES
Now in his 31st year at UGA, Mark Cedel brings a wealth of professional experience to his position as Director of Orchestral Activities. Prior to his appointment at UGA, he was Associate Conductor of the Charlotte Symphony Orchestra. In his four seasons with that orchestra, he conducted over 200 performances; appearing on every series offered by the orchestra. Before joining the Charlotte Symphony, Cedel was Principal Viola and Assistant Conductor of the Charleston (SC) Symphony Orchestra for nine years. While in Charleston, he served for two seasons as that orchestra’s Acting Music Director. From 1986-1990, he was a member of the artist faculty at the Brevard Music Center and was principal conductor of the Brevard Repertory Training Program.
In addition to directing orchestral activities at UGA, Cedel served as professor of viola from 19942002. During that period he performed, toured, and recorded regularly as extra/substitue viola with the Atlanta Symphony Orchestra, including its northeast tour with concerts in Carnegie Hall. He returned to teaching viola for the 2009-2010 academic year, while a search was conducted to fill the position.
Cedel has been associated with many orchestras in the southeast. This includes Principal Viola of the South Carolina Chamber Orchestra and the Guest Principal Viola of the Savannah Symphony, and orchestras in Augusta, Macon, and Jacksonville.
Cedel earned a bachelor of music degree in viola performance from the Curtis Institute of Music where he was a student of Joseph dePasquale, and studied chamber music with members of the Guarneri Quartet, Budapest Quartet and Beaux Arts Trio. He holds a master of music degree in conducting from the North Carolina School of the Arts.
Born and raised in Seattle, Washington, Nicholas Han earned his Undergraduate degree in Violin Performance at Central Washington University in 2020, and his Masters in Orchestral Conducting at Oklahoma State University in 2023. He is currently pursuing his Doctoral of Music Arts degree at University of Georgia.
In 2022, Nicholas was named assistant conductor for the Oklahoma Chamber Symphony and was the Apprentice Conductor for the Oklahoma City Philharmonic in May 2023. He also is currently the Cover Conductor for the Gwinnett Symphony Orchestra. His recent conducting engagements include guest conducting LA Conducting Workshop and Competition Orchestra and Gwinnett Symphony Orchestra. During the summer of 2022, Nicholas was selected as one of 3 winners for the ICWC (International Conducting Workshop and Competition) in Atlanta, Georgia. He was also selected as a 1st place winner and received the Audience Prize in the LA Conducting Workshop and Competition in Garden Grove, California.
He has worked with Mark Gibson, Neil Thomson, Diane Wittery, and Philip Greenberg. His principal mentors include Nikolas Caoile, Thomas Dickey, Alexander Mickelthwate, and Mark Cedel.
ARTISTIC
James Kim has appeared as soloist with orchestras such as Boston Symphony and Royal Philharmonic, working with conductors David Zinman, Michael Sanderling, Alexander Shelley, Keith Lockhart, onstage at Carnegie Stern Auditorium, Zankel Hall, Boston Symphony Hall, Jordan Hall, and Metropolitan Museum of Art. He has given solo recitals at Carnegie Weill Hall, Greene Space, Seoul Arts Center IBK Hall, and Kumho Art Hall. His performances have been broadcasted on radio stations NPR and WQXR.
He has also collaborated with numerous orchestras in his native Korea, concertizing at Lotte Concert Hall—where he is the first soloist in its history—Tongyeong Concert Hall, Daegu Concert House, Seoul Arts Center, and DITTO Festival. In 2021, Sony Classical released his album Death and Offering presenting works dedicated to him by Korean composer Shinuh Lee.
He is a recipient of Salon de Virtuosi’s Sony Career Grant and a top prizewinner of Isang Yun and David Popper International Cello Competitions. From 2016 to 2021, he performed on a Matteo Goffriller cello from Venice ca. 1715, generously loaned by Samsung Cultural Foundation and Stradivari Society® of Chicago, Illinois.
HUGH HODGSON SCHOOL OF MUSIC FACULTY
Daniel Bara, Interim Director
Brandon Craswell, Associate Director, Director of Undergraduate Studies
Emily Gertsch, Associate Director, Director of Graduate Studies
Amy Pollard, Associate Director, Director of Performance Activities
PERFORMANCE FACULTY
Josh Bynum
Brandon Craswell
Jean Martin-Williams
James Naigus
*Matthew Shipes
Gilbert Villagrana
Kimberly Toscano Adams
*Timothy Adams
John Coble
Damon Denton
Scott Higgins
Grace Huang
Emely Phelps
Evgeny Rivkin
Anatoly Sheludyakov
*Liza Stepanova
Alan Woo
Levon Ambartsumian
Shakhida Azimkhodjaeva
*Daniel Bolshoy
Monica Hargrave
Michael Heald
James Kim
Edward Kreitman
Milton Masciadri
Maggie Snyder
Gregory Broughton
Jay Ivey
*Elizabeth Knight
Amy Petrongelli
Anne Slovin
Wanda Yang Temko
*Angela Jones-Reus
D. Ray McClellan
Reid Messich
Amy Pollard
Brandon Quarles
Shaun Baer
Levi Dean
Elizabeth Durusau
Heather Gozdan-Bynum
Tony Graves
Scott Higgins
trombone trumpet horn horn tuba/euphonium trumpet percussion percussion organ piano piano piano piano piano piano piano piano violin violin guitar harp violin cello
Edith Hollander, Administrative Assistant to the Director
Director of Public Relations
Development Associate
Music Library Manager
Undergraduate Academic Advisor
Piano Technician
Senior Piano Technician
Marcus Morris
Kathleen Powell
Rocky Raffle
James Sewell
Jared Tubbs
Marshall Williams
MUSIC THERAPY
*Ellyn Evans
Sally Ann Nichols
Jenny Stull
MUSICOLOGY & ETHNOMUSICOLOGY
Karen Bergmann
Naomi Graber
*David Haas
Jared Holton
Jean Kidula
Sarah Pickett
Rumya Putcha
Joanna Smolko
OPERA
Daniel Ellis
Andrew Voelker
ORCHESTRA
Mark Cedel
RECORDING & STREAMING
Eric Dluzniewski
Paul Griffith
*Area Chair
Assistant Director of Athletic Bands
Graduate Program Administrator
Administrative Associate in Bands
Production & Events Manager
Sectioning Officer
Director of Admissions
SUPPORT THE SCHOOL OF MUSIC
HOW TO GIVE
Under each of the available funds below is a QR code where you can scan and donate directly to that fund. However, if you would like to learn more about alternative ways to donate, scan the QR code now to visit our “How to Give” page with additional details and options.
Scholarships and Graduate assistantships funded by donations to the Thursday Scholarship Fund make it possible for students to learn and pursue their passions at the Hugh Hodgson School of Music. Please consider a taxdeductible gift to the Thursday Scholarship Fund so we may continue to support our students and make their education possible. Scan the QR code now or reach out to Melissa Roberts at roberts@uga.edu or 706-254-2111.
AREAS OF THE SCHOOL OF MUSIC
In addition to our primary Support and Scholarship Funds, many specialized areas of interest, including our orchestra and choral programs, have support and scholarship funds you can contribute to directly. You can now learn more about all the ways and areas you can support the Hugh Hodgson School of Music. Scan the QR code or visit music.uga.edu/giving-and-alumni to the support the Hugh Hodgson School of Music area of your choice.
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Gifts of all amounts are greatly appreciated. However, annual giving at the $1,500 level and higher provides membership in the Director’s Circle, our Hugh Hodgson School of Music Honor Roll. Director’s Circle members are invited to exclusive events and performances throughout the academic year.
For large gifts, please contact Melissa Roberts at roberts@uga.edu or 706-254-2111.
THANK YOU FOR YOUR CONTINUED SUPPORT OF THE UNIVERSITY OF GEORGIA HUGH HODGSON SCHOOL OF MUSIC.
JOIN US FOR A FULL SEASON OF FINE AND PERFORMING ARTS AT UGA
On stage and in the gallery — over 100 performances, exhibitions and lectures await you this season at the Franklin College of Arts and Sciences. Enjoy a dazzling variety of free events plus explore our ticketed seasons in dance, theatre and music starting at just $15. Students, faculty and guests of UGA fine and performing arts offer Athens premier programming all year round.
Scan QR code or visit franklin.uga.edu/fine-and-performing-arts | Box office: 706-542-4400
MON 9/8
7:30 p.m.
Ramsey Concert Hall FREE CONCERT
TUES 9/9
7:30 p.m.
Ramsey Concert Hall
RSVPs are encouraged but not required. To RSVP, please scan the QR code.
ImaginePossibilities the
GUEST ARTIST RECITAL: DAVID ZERKEL, tuba
David Zerkel is Professor of Tuba and Euphonium at the University of Michigan, leading an active career as both a performer and educator.
Thursday Scholarship Series Performance FACULTY ARTIST SERIES: ALAN WOO, piano
Praised by the New York Times as a pianist with “assurance and vitality,” Alan Woo made his Lincoln Center debut performing with the Juilliard Orchestra under Yannick Nézet-Séguin. He has made solo appearances with the Houston and Fort Worth Symphonies and presented recitals throughout the United States, Brazil, Europe, and Asia. As a chamber musician, he has performed at the New York Philharmonic Ensembles, Lake George Music Festival, and La Jolla Music Society’s SummerFest series.
This event is free and includes a reception with the artist immediately following.
MON 9/15
7:30 p.m.
Edge Concert Hall FREE CONCERT
TUES 9/16
7:30 p.m.
Ramsey Concert Hall
$15, Adult $3, Student
GUEST ARTIST RECITAL: COR MOTO HORN DUO
Cor Moto is a professional horn duo comprised of James Naigus and Drew Phillips. Both composers, performers, and teachers.
Ten of our powerhouse instrumental faculty returning to the stage this fall make up the Georgia Brass Quintet (GBQ) and the Georgia Woodwind Quintet (GWQ).
BYNUM | CRASWELL | DENTON | NAIGUS
SHIPES | VILLAGRANA | JONES-REUS
MARTIN-WILLIAMS | McCLELLAN
QUARLES | POLLARD
Additional fees apply for online ticket purchases.
