University of Georgia Symphony Orchestra - Symphonie Fantasique by ugamusic

Symphonie Fantastique

Friday, March 28, 2024 at 7:30 p.m.

Hodgson Concert Hall

UGA Performing Arts Center

University of Georgia Symphony Orchestra

Mark Cedel, Conductor

Nicholas Han, Assistant Conductor with Michael Stern, Guest Conductor

Reid Messich, oboe

PROGRAM

Concerto in D major for Oboe and Small Orchestra

Allegro moderato

Andante

Vivace

Rieid Messich, oboe

INTERMISSION

Symphonie fantastique, opus 14

Rêveries – Largo: Allegro agitato e appasionato assai

Un bal – Valse, allegro non troppo

Scène aux champs – Adagio

Marche au supplice – Allegretto non troppo

Songe d’une nuit du sabbat – Larghetto: Allegro

Richard Strauss (1864-1949)

Hector Berlioz (1803-1869)

Concerto in D major for Oboe and Small Orchestra, A V 144, TrV 292 scored for: 2 flutes, english horn, 2 clarinets, 2 bassoons, 2 horns, and strings. 25:00

Richard Strauss (1864–1949) was a German composer and conductor renowned for his lush orchestration, innovative harmonies, and masterful tone poems. A key figure of late Romanticism and early modernism, he pushed the boundaries of orchestral music with works like Also sprach Zarathustra, Don Juan, and Ein Heldenleben, vividly depicting dramatic narratives through music. His operas, including Salome, Elektra, and Der Rosenkavalier, showcase his gift for rich harmonies and psychological depth. Though his career spanned tumultuous political times, Strauss remains one of the most influential composers of the 20th century, bridging the Romantic and modernist traditions with unparalleled artistry.

The Oboe Concerto in D Major is a late masterpiece, written in 1945 when the composer was in his 80s. Unlike the grand, sweeping orchestration of his tone poems and operas, this concerto is marked by elegance, lyricism, and a classical restraint reminiscent of Mozart. The work was inspired by John de Lancie, the former principal oboist for the Philadelphia Orchestra and served in the U.S. Army, who, during the Allied occupation of Germany. He casually asked Strauss if he had ever considered writing an oboe concerto. To de Lancie’s surprise, Strauss took the suggestion seriously and composed a work that has since become a cornerstone of the oboe repertoire.

The concerto is structured in three movements, played without pause. The first movement, Allegro moderato, begins with a long, flowing oboe melody, setting the stage for an intricate dialogue between the soloist and orchestra. The music is pastoral and lyrical, filled with beautifully spun phrases and moments of delicate interplay. Unlike Strauss’s earlier works, which often feature rich orchestration, the accompaniment here is transparent and light, allowing the oboe’s expressive character to shine.

The second movement, Andante, is the emotional heart of the concerto. It unfolds as a meditative and song-like passage, with the oboe floating above warm, sustained harmonies in the strings. The melodies are tender and introspective, evoking a sense of nostalgia and serene beauty. This movement highlights Strauss’s gift for long, singing lines and subtle harmonic shifts, creating a moment of pure lyricism.

The final movement, Vivace – Allegro, begins with lively, playful energy, leading into a brilliant display of virtuosity for the oboe. The writing is nimble and buoyant, requiring dexterity and precision from the soloist. The movement culminates in an extended cadenza, where the oboist weaves through rapid flourishes and expressive gestures before resolving into a joyful and spirited conclusion.

Symphonie fantastique, Op. 14

scored for: 2 flutes (one doubling piccolo), 2 oboes (one doubling english horn), 2 clarinets (one doubling Eb clarinet), 4 bassoons, 4 horns, 2 cornets, 2 trumpets, 3 trombones, 2 tuba, 4 timpani, percussion, 2 harps, strings. 55:00

Hector Berlioz (1803–1869) was a visionary French composer known for his bold orchestration, emotional intensity, and groundbreaking approach to musical storytelling. A leading figure of the Romantic era, he challenged classical conventions, pioneering the use of large orchestras and innovative instrumental effects. His music, often inspired by literature and personal experiences, includes masterpieces such as Symphonie fantastique, Harold en Italie, and Les Troyens. Though he faced resistance from the conservative musical establishment during his lifetime, Berlioz’s works profoundly influenced later composers like Wagner, Mahler, and Liszt, securing his place as one of the most original and imaginative composers in history.

Symphonie fantastique is one of the most revolutionary works of the 19th century, a vivid example of programmatic music that tells a dramatic and hallucinatory tale of obsessive love. Written in 1830, the symphony was inspired by Berlioz’s infatuation with the Irish actress Harriet Smithson, whom he saw on stage in Hamlet and Romeo and Juliet. Overcome with passion, he poured his emotions into this epic five-movement symphony, which follows a young artist’s descent into despair and delusion. The work is notable for its use of a recurring theme—the idée fixe—a musical motif representing the beloved, which appears in various guises throughout the symphony. Berlioz’s orchestration is bold and unprecedented, using the full resources of the orchestra to create a soundscape of love, longing, ecstasy, and horror.

The first movement, Rêveries – Passions, introduces the protagonist, a young musician who becomes infatuated with an unattainable woman. The movement opens with a slow, introspective introduction, as the artist drifts between melancholic reveries and restless agitation. Gradually, the main theme—the idée fixe—emerges, a lyrical and yearning melody that represents his beloved. The music swells with emotion, moving through a series of surging climaxes and moments of tender nostalgia. Berlioz masterfully portrays the volatility of passion, with the theme transforming to reflect the protagonist’s changing state of mind, from blissful adoration to torment and jealousy. The movement ends in a feverish, hymn, setting the stage for the unfolding drama.

The second movement, Un bal, transports the listener to a grand ball, where the artist finds himself amid a dazzling whirl of dancers. The waltz theme sparkles with elegance, its graceful contours evoking the opulence and glamour of the 19th-century society. The idée fixe suddenly reappears, weaving its way through the dance, a ghostly presence haunting his mind. Berlioz’s orchestration heightens this contrast between the external gaiety and internal turmoil, with shimmering strings and harps evoking the dazzling ballroom, while the intrusive theme reminds us of the protagonist’s inner fixation.

In the third movement, Scène aux champs, the setting shifts to the tranquility of the countryside. Seeking peace, the artist wanders through rolling fields, where shepherds play a simple duet on an English horn and oboe, calling to one another across the landscape. At first, the scene is serene,

evoking the idyllic beauty of nature. However, the artist’s unease lingers beneath the surface. As he contemplates his love, doubt creeps into his thoughts. What if she is unfaithful? What if he will never win her affection? The distant calls of the shepherds return, but this time, one of them is unanswered—a subtle but ominous sign of isolation. The movement ends with the quiet rumble of distant thunder, foreshadowing the storm that is about to break.

The fourth movement, Marche au supplice, plunges the listener into a nightmarish vision. Having consumed a large dose of opium in a desperate attempt to escape his despair, the artist dreams that he has murdered his beloved and is being led to the scaffold. The movement begins with a menacing march, its steady, inexorable rhythm mimicking the heavy footsteps of the execution procession. The orchestra grows louder and more frenzied as the crowd gathers, reveling in the impending spectacle. Just before the fatal moment, the idée fixe returns, appearing briefly in a plaintive clarinet solo—a fleeting memory of his love—before being brutally cut off by the crashing final chords, symbolizing the guillotine’s blade falling. The music ends with an ominous, detached pluck of the strings, as the severed head falls into the basket.

The final movement, Songe d’une nuit de sabbat, unleashes the full force of Berlioz’s imagination in a surreal, nightmarish vision. The artist now finds himself in the midst of a witches’ sabbath, a grotesque gathering of spirits, demons, and monsters. The idée fixe reappears, but it is no longer a noble, romantic melody—it has been transformed into a vulgar, grotesque dance, as if mocking the protagonist’s former passion. The music grows increasingly wild and chaotic, with eerie glissandos, shrieking woodwinds, and pounding rhythms creating an atmosphere of unhinged delirium. The infamous Dies irae, the ancient chant of the dead, emerges in the brass, mingling with the frenzied witches’ dance in a nightmarish counterpoint. The movement builds to an electrifying climax as the forces of darkness celebrate the artist’s doom, ending in a whirlwind of sound that leaves the listener breathless.

Conductor Michael Stern has long been devoted to building and leading highly acclaimed orchestras known not only for their impeccable musicianship and creative programming, but also for collaborative, sustainable cultures that often include a vision of music as service to the community. He also is passionate about working with young musicians not only in music making, but also to incorporate the idea of “service” into their experiences as they become the artists and advocates of the future who will take classical music into the 21st century and beyond.

Stern is Music Director of Orchestra Lumos (formerly the Stamford Symphony) and the National Repertory Orchestra, a summer music festival in Breckenridge, CO which, for over 60 years, has provided an intensive, unique fellowship program for aspiring young musicians, and whose alumni populate every major orchestra across the United States. His is Music Director Emeritus of the Kansas City Symphony where he just concluded his 19-year tenure at the end of the 2023-2024 season. Following a 22-year tenure as founding Artistic Director of Iris Orchestra in Germantown, Tennessee, he now serves the newly reimagined Iris Collective as Artistic Advisor.

During Stern’s tenure with the Kansas City Symphony, he and the orchestra have been recognized for their remarkable artistic ascent, original programming, organizational development, stability, and extraordinary audience growth. Under Stern’s leadership, the orchestra explored a wide range of repertoire and commissioned a number of new works. Stern and the KC Symphony also partnered with GRAMMY® Award-winning Reference Recordings for a collection of very well-received CDs that includes commissions by American composer Adam Schoenberg and by Jonathan Leshnoff, whose Symphony No. 3, inspired by World War I soldiers’ letters home, was premiered by the KC Symphony at the National WWI Museum and Memorial in Kansas City. The orchestra’s Reference Recordings releases also include Gustav Holst’s “The Planets”; a pairing of music Elgar and Vaughan Williams; “Miraculous Metamorphoses,” with music by Hindemith, Prokofiev and Bartók; and a disc of works by Saint-Saëns. In 2021, Stern and the orchestra put out another widely praised recording, bringing together three one-movement symphonies by Sibelius, Barber, and Scriabin.

Stern co-founded Iris Orchestra in 2000 and was Founding Artistic Director and Principal Conductor until 2021-22, when he had planned to step down from his post. With his departure, staff, community and musicians joined together to reinvent the orchestra as the Iris Collective, devising a new way for a 21st-century organization to offer a spectrum of events, from chamber music and smaller ensemble programs to full orchestral performances, while also prioritizing a variety of community engagement initiatives. This new model of the Iris Collective is built on the strong foundation created during Stern’s 22-year tenure, when the orchestra was widely praised for its musical virtuosity; programming that included acclaimed new commissions by American composers; a flexible, non-hierarchical structure; and the active partnership of its musicians. The Iris Collective will team up with a number of creative partners, including Stern, who will also continue his involvement as Artistic Advisor.

As part of his ongoing activities to engage and mentor young musicians, he was asked by Yo-Yo Ma to be the Music Director of YMCG, Youth Music Culture Guangdong, where he and Ma worked with students and young professionals in partnership with the Guangzhou Symphony Orchestra. He has also been invited to the National Orchestral Institute, Music Academy of the West, and has been a regular guest at the Aspen Music Festival and School, where he also worked with students at the American Academy of Conducting at Aspen.

Stern’s illustrious American conducting engagements have included the Boston Symphony at Tanglewood; the Chicago Symphony at Ravinia; the Atlanta Symphony; and the Minnesota Orchestra. He debuted with the New York Philharmonic in 1986 in a program titled, “Leonard Bernstein and Three Young America Conductors.” He conducted the New York Philharmonic again in 2001, at several NY Philharmonic Concerts in the Parks and at PNC Bank Performing Arts Center with Audra McDonald; in 2018, he conducted the film score to The Red Violin at David Geffen Hall with soloist Joshua Bell. Stern has served as guest conductor with the Philadelphia Orchestra for performances at the Saratoga Performing Arts Center, the National Arts Centre in Ottawa, Ravinia, the Napa Valley Festival del Sole and at the Shanghai Isaac Stern International Violin Competition in China.

Internationally, he has led major orchestras in London, Stockholm, Paris, Helsinki, Budapest, Israel, and Moscow, Taiwan, and Tokyo. Stern has been Chief Conductor of Germany’s Saarbrücken Radio Symphony Orchestra (the first American chief conductor in the orchestra’s history), Principal* Guest Conductor of the Orchestre National de Lyon in France, and Principal Guest Conductor of the Orchestre National de Lille, France.

Stern received his music degree from the Curtis Institute of Music in Philadelphia, where his primary teacher was the noted conductor and scholar Max Rudolf. Stern co-edited the third edition of Rudolf’s famous textbook, The Grammar of Conducting, and a collection of Rudolf’s writing, A Musical Life: Writings and Letters (Dimension & Diversity). Stern is a 1981 graduate of Harvard University, where he earned a degree in American history. In addition to Rudolf, he counts Leonard Bernstein, David Zinman and Charles Bruck among those who have been a major influence on his musical life.

Reid Messich serves as Associate Professor of Oboe at the University of Georgia where he is an active member of the Georgia Woodwind Quintet. Messich also serves as Co-Principal Oboist with Memphis’s IRIS Orchestra, under the direction of Maestro Michael Stern and as the Principal Oboist of the Hilton Head Symphony Orchestra, under the direction of Maestro John Morris Russel. Each year during the summer months, Messich serves as instructor of oboe and woodwind literature at the MasterWorks Music Festival. In demand, Messich maintains an active international and national performance career as an orchestral musician, soloist, and clinician. He has presented recitals and been a guest artist at the International Double Reed Society on numerous occasions. Under the direction of Joseph Silverstein, he toured Japan and in 2017 Messich performed and taught at the Harbin Summer Music Festival in China.

Messich has performed with many of the world’s greatest musical artists and has played under the baton of prestigious conductors such as Christoph von Dohnanyi, Christoph Eschenbach, OttoWerner Mueller, Sir Roger Norrington, Sir Simon Rattle, David Robertson, Mstislav Rostropovich, Wolfgang Sawallisch, Robert Spano, Yuri Temirkanov, and Hans Vonk.

Messich records on the Mark Masters label. The CD Chroma, featuring the Georgia Woodwind Quintet, can be found on ITunes as well as his recording of Bozza’s Suite breve en trio. In 2016 he was part of the world premiere as well as recording solo artist for Christopher Stark’s, Velocity Meadows, for solo oboe, wind ensemble, and electronics.

Messich received his Bachelor of Music degree at the prestigious Curtis Institute of Music where

he studied under the direction of Richard Woodhams. He received his Master of Music degree and Doctor of Music degree from the Florida State University where he studied with Dr. Eric Ohlsson. His other primary teachers include, Elaine Douvas, John Mack, and Joseph Robinson. Messich performs on a Yamaha YOB 841 Duet Series. In his spare time Messich is an avid Pittsburgh Steeler fan and enjoys spending time with his wife, Kaitlin, and daughter, Lowry.

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.

VIOLIN I

Carlos Brena co-concertmaster

Jhonni Campos, co-concertmaster

Sarah Nienhiser

Clarissa Tamara

Brian Roach

Alexis Boylan

André Araújo de Souza

Zeyu Yuan

Lela Stair

Chelsea Afful

Simms Murray

Ellis Kim

Adelmo Giménez

Rohan Pise

Rea Aiyer

VIOLIN II

Ori Kang, principal

Sage Codispoti

Ruanak Das

Nick Olmstead

Kiera Johnson

Surya Blasiole

Athziri MorenoMartinez

Jen Edwards

Sarah Wheeler

Briana Darden

Leo Jahn

Hazel Moreno

Shazan Samnani

Chloe James

Mark Cedel, Conductor

Nicholas Han, Assistant Conductor

VIOLA

Rachel Liu, co-principal

Asha Baylor, co-principal

Jensi Perng, assistant principal

Kailey Ford

Daniel Boscan

Marissa Evans

Mason Minutella

Adam Starks

Ashley Belscher

Clinton Stempien

Vic Jeon

Dorothy Park

Tess Redden

CELLO

Gabriella McClellan, principal

Tristan Dempsey, assistant principal

Joshua Nguyen

Thomas LaMon

Olivia Durrence

Ryan Dater

Ian Koontz

William Slater

Joshua Aderhold

Benjamin Hackworth

Zach Helms

BASS

Wueliton Dal Pont, principal

Bianca Wilson

Michael Farrick

Austin Carter

Ricardo Karelisky

Jordan Askew

Madeline Bower

Peyton Lightcap

FLUTE

David Ma, principal

Lauren Wiggens

Kimmie Bateman

OBOE

Michelle Moeller, principal

Marissa Ankeny

Xander Herman

Anisa Herbert

CLARINET

Claudia Reve Romero, principal

Emily Johnston

Tim Fitzgerald

BASSOON

JT Holdbrooks, principal

Natasha PizarroGuerrero

Hsin Cheng

Drew Kruszynski

HORN

Josh Wood, principal

Baylee Cook

Anleah Walker

Marianna Schwark

Connor Parr

TRUMPET

Victor Pires, principal

Will Cuneo

Will Tomaszewski

Colin Kennedy

TROMBONE

Jose Vasquez, principal

Ben Novo

Victor Guevara, bass

TUBA

Jack Neja, principal

Hunter Kane

PERCUSSION

Hsiao Huang, principal

Grayson Pruitt

Meme Walton

Dane Warren

KEYBOARD

Tiffany Yin

HARP

Isabel Hardy

Dania Lane

LIBRARIAN

Alexis Boylan

PERSONNEL and PRODUCTION

Ricardo Karelisky

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.

SUPPORT INDIVIDUAL 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.

JOIN THE DIRECTOR’S CIRCLE

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.

MON 3/31

5:30 p.m.

Ramsey Concert Hall FREE CONCERT

TUE 4/1

TUES 4/1

UNIVERSITY OF GEORGIA JAZZ ENSEMBLES I & II

Jazz Ensemble I is the Hodgson School’s advanced level big band, and as such is made up of advanced students. Jazz Ensemble II introduces students to the experience of performing in a traditional big band. Both ensembles play music of various styles both on campus and in the community.

UGA JAZZ COMBOS

2:20 p.m.

12:45 p.m.

UNIVERSITY OF GEORGIA JAZZ COMBOS

Edge Concert Hall

FREE CONCERT

Edge Concert Hall FREE CONCERT

WED 4/1

7:30 p.m.

5:30 p.m.

Ramsey Concert Hall FREE CONCERT

Ramsey Concert Hall FREE CONCERT RECEPTION TO FOLLOW

TUES 4/1

7:30 p.m.

Hodgson Concert Hall

$15 - Adult

Hodgson Concert Hall

$15 - Adult

$3 - Child/Student

WED 4/2

5:30 p.m.

Ramsey Concert Hall FREE CONCERT

WED 4/2

7:30 p.m.

Ramsey Concert Hall

FREE CONCERT

Edge Concert Hall is located on the third floor in the Hugh Hodgson School of Music

Edge is located in the Hugh Hodgson School of Music, 250 River Road, Athens GA

HODGSON STRING QUARTET

Formed in spring 2009, the Hodgson String Quartet reflects the quality of its student and faculty performers. The intent of the quartet is to provide a featured performing ensemble for music students at UGA.

UNIVERSITY OF GEORGIA WIND ENSEMBLE - “SHAPESHIFTER”

“Shapeshifter” by Andrew Blair will feature the Georgia Brass Quintet Philip Smith, Trumpet; Brandon Craswell, Trumpet; James Naigus, Horn; Joshua Bynum, Trombone; and Matthew Shipes, Tuba. Other pieces in this performance include: “Vientos y Tangos” by Michael Gandolfi, “En mi Familia” by Ivette Herryman Rodríguez, and “Festive Overture” by Dmitri Shostakovich.

UGA PERCUSSION ENSEMBLE SPRING CONCERT

Under the leadership of co-directors Timothy Adams, Jr. and Kimberly Toscano Adams, the University of Georgia Percussion Ensemble has gained notoriety in the collegiate percussion community.

LATIN AMERICAN MUSIC

ENSEMBLE

The UGA Latin American Music Ensemble is a nonauditioned performance group that features a variety of music from Latin America. This year features a special focus on Brazilian music, Afro- Brazilian percussive forms, and the role these traditions play in the region’s social life.