FIELD OF BLUE

THE UNIVERSITY OF

SOU THERN MISSISSIPPI

SY M P HONY ORCHESTRA 106th SEASON 2025-26

Opening Night

Field of Blue

Greetings and welcome to the opening program of our ambitious “American Perspectives” season as our country approaches its 250th anniversary. A quote attributed to Betsy Ross describing our country’s flag was used as inspiration for our programming. This evening, we explore a Field of Blue – a color that, among other things, embodies tradition, reliability, calm and creativity. One of the greatest masters’ most acclaimed works will highlight an evening of great emotional breadth.

“Stars on a field of blue; one for each colony; bars of red, for the blood of sacrifice; on a ground of white for love and peace.”

- Betsy Ross

PROGRAM THE UNIVERSITY OF SOUTHERN MISSISSIPPI COLLEGE OF ARTS AND SCIENCES SCHOOL OF MUSIC present

Field of Blue

The University of Southern Mississippi Symphony Orchestra Gregory Wolynec, music director

Thursday, September 25, 2025 The Thomas V. Fraschillo Stage at the Mannoni Performing Arts Center

John Adams (b. 1947) Short Ride in a Fast Machine (1986) George Walker (b. 1922-2018) Lyric for Strings (1946/1990) Carlos Tello, guest conductor Franz Joseph Haydn (1732-1809) Concerto No. 2 for Cello in D (1783) I. Allegro moderato II. Adagio III. Rondo: Allegro Alexander Russakovsky, cello

Intermission Johannes Brahms (1833-1897) Symphony No. 4 in E minor (1885) I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato

This program is presented in part by a generous grant from Partners for the Arts.

CONDUCTOR’S NOTES We open our season with two brief works by American composers. John Adams’ iconic fanfare captures the exhilarating rush of a ride in a friend’s sportscar. It uses a musical language referred to as postminimalism. Written in the 1980s, Short Ride differs from the minimalism of a half generation before, which was characterized by very slowly evolving ideas through repetition. While this piece features repetition, there is absolutely nothing slow about it. You will probably never hear a more important woodblock part in a symphony orchestra!

If Adams’ work seems optimistic in tone, George Walker’s poignant Lyric is certainly more, well, blue. Written by a youthful composer, this is a tender testament to the bond he felt toward his maternal grandmother shortly after she passed. Melvina King had been an enslaved person and even lost her first husband when he was sold.

This powerful role model certainly influenced Walker, who went on to become the first African American composer to win the Pulitzer Prize in Music in 1996.

The first half of the program will close with a dazzling work for cello and orchestra by Haydn. This is a composer that I have invested a great deal of time with over the last 20 years, and I am delighted that our students have developed such a passion for his music.

We presented his Morning symphony a year ago and launched our “Haydn in Hattiesburg” festival this past June. One of the three great early Viennese masters, Haydn was a master of form and musical efficiency.

While Haydn is most widely celebrated for his symphonies and string quartets, a handful of his concertos have become standard literature for their respective instruments. The D major cello concerto is certainly one of his most frequently performed. When we envision music from the classical period, we think of grace, elegance, balance and structure. In architecture, Thomas Jefferson’s Monticello home is a perfect example of

these qualities. However this piece, while quite tuneful, contains staggering virtuosity.

The first movement of the concerto begins with a lovely melody that is decidedly classical. Yet I always find this movement incredibly awkward to conduct. It is marked Allegro moderato (moderately fast), and I believe it sounds that way. However, if you notice the speed of the beats that I am conducting, they are quite slow. For reasons I do not understand, Haydn chose to write the piece in what feels like the wrong meter. There are plenty of fast notes to be found for orchestra and soloist alike, and they appear on the page in a most intimidating fashion.

The lovely second movement provides a sense of calm after the dramatic cadenza (solo passage) from our soloist ends the first. The finale casts a most joyful mood as the technical fireworks resume. By the time Haydn wrote this concerto, the emotionally measured language of classicism tended to dampen the demands on soloists. With this mighty concerto in D, “Papa” Haydn seems to anticipate the rise of the Romantic virtuoso that would follow in the next century. Cellists have never forgiven him!

Johannes Brahms was named the successor to Beethoven by prominent composer and critic Robert Schumann when he was barely 20 years old. This burden created a legendary struggle for Brahms as he toiled for 21 years to create his first symphony. Ironically, because of similarities to both the earlier composer’s 5th and 9th symphonies, Brahms’ first is frequently referred to as Beethoven’s 10th. As the young composer said, “You can’t have any idea what it’s like to hear a giant marching behind you.”

While Brahms’ music was deeply informed by many of the great masters who preceded him, it was unique in a way that has earned him near universal acclaim by musicians. I once heard it said that Tchaikovsky claimed he could not write a note unless it was beautiful while Brahms felt that he could not write a note unless it was perfect. Brahms’ dedication to the forms of the earlier generations was the equivalent of tending an heirloom garden to make new dishes.

I would like to take just a moment and mention the seating that you will see us using in this concert. Typically, you would find the cellists on the edge of the stage to the right with the second violins seated next

to the firsts over on the left. We will be using the seating that Brahms preferred, which will allow you to experience some interesting musical effects when the two sections of violins play passages together but also when they separate musically. Our string section is as large as ever, but we have made them a little more compact, which can help strengthen and darken the sound. I think Brahms would have approved.

It is difficult to put into words what Brahms’ symphonies mean to most musicians. For me, this work is about as close to perfection as any composer could achieve. The first movement begins delicately and with a bit of nostalgia. This is interrupted by the winds with some short but rhythmic outbursts. This turns into a glorious melody first heard in the horn and cellos and then repeated in the upper strings. When the opening material returns, it feels like perhaps we are about to repeat everything we just heard as Mozart or Beethoven might have done. This is the first of a few surprises as Brahms effortlessly changes directions as he explores the possibilities of each of the opening ideas. Some almost cinematic moments of very soft chords with pulsing strings introduce the return to the opening ideas. The ending to this movement is absolutely riveting and is one of his most exciting conclusions.

The second movement is put together in a fairly simple fashion, even if it does not sound that way. Essentially there are two different melodies – the first introduced in the clarinet and the second introduced in the cellos. Between those two statements we have one of the most beautiful crescendos in all of Brahms’ creations, where a soaring melody is accompanied by rhythmic figures that seem designed to confuse our ears.

The violas bring back the clarinet melody from the beginning before the entire string section returns to the cellos’ earlier theme. This is glorious music that gives way to the most tender of endings.

The brief third movement is an emotional break after the dramatic two that preceded. Three simple ideas that we hear in just the first few seconds are turned into just over six minutes of joy and wild dynamic changes. I think Brahms is just setting the stage for something revolutionary.

The finale of this symphony defies description. Brahms, a lifelong fan of the music of J.S. Bach, had become fascinated with a chaconne from one of his cantatas. This is a brief melody, usually played in the bass voices, and repeated throughout the duration of the work. Turning something as archaic as a chaconne into a monumental closing movement such as this required unbelievable skill and creativity. After the initial chorale in the winds, you will hear 29 variations. They are usually grouped in units of two or three with lots of similarities. This gives the movements a sense

of direction and prevents the listener from getting fatigued. A few of my favorite variations are numbers 8 and 9 (dominated by strings with some acoustical effects very present from our seating), 12 (solo flute with disorienting accompaniment), 14 and 15 (the chorale that sounds more like Wagner than Brahms), and numbers 23 through 25 (where suddenly louder horns build to a moment where the earth seems to split apart with violent explosions on beat two of every measure).

At the end of these variations, Brahms marks the score as “somewhat faster” and the strings seem to take off into the coda or musical ending. As we approach the very end, Brahms employs a rhythmic trick that he is famous for. This is called hemiola, and it means that the music is written as divided into three, but he actually makes it sound like it is divided in two. A decidedly tragic conclusion marks the end of Brahms’ career as a symphonist -- four symphonies of beauty and majesty, but most of all perfection, and none are better than this one.

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SOUTHERN MISS

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ORCHESTRA PERSONNEL Violin 1 Kevin Andre Zerrate Aria* Allyson Gomes Keyu Zheng Sofia Araujo Dexter Rodkey Katarzyna Gwiazda Ameila Brencick João Vitor Gonzaga Lucas Gonzalez Oliver Galagher Violin 2 Ethne Killgore* Juan Lincango Paul Armijos Yambay Paulo Victor Alves Grace Pineda Elizabeth Brown Veronica Morales Paloma Vieira Guillory Katelynn Ferguson Aubri Sparkman Viola Christian Avila* Adelle Paltin Panella Rene Espinal Reyna Renata Andrade Natalia Escobedo Nicole Herrera Violoncello Brian Lorett* Mauricio Unzueta Salas Evelin Lopez Cristian Sanchez Kassandra Henriquez Vivian Herring Gabriel Barros

Bass Marcus Silva* Matheus Ferreira de Souza Daniel Magalhaes Raegan Fisher Jose Cuellar Nick Shellenberg Daniel LaMere JaLaan Dubose Manuel Jara Flute Hallie Ward* David Reyes Piccolo Erin Russell Carson LeDoux Oboe Juan Carlos Piedra Carvajal* Geordie Nabors* Joshua Strobel English Horn Joshua Strobel Clarinet Brad Pilcher* Matt Barron Maddison Prattini Nicole Johnston

Horn Abby Loftin* Andrew Cooke Chance Rootes Eli Wright Gracie Bridges Trumpet Mariah Atwood* Robert Smith* Clayton Jacocks Anthony Leggio Trombone Brandon Domingue* David Bretz Bass Trombone Jonathan Henneveld Tuba Ember Evans* Synthesizer Henrique Tartare Fortunato Johanna Tarcson Timpani Nathan Wright*

Percussion Yu Chih Cherry Chen* Malachi Collins Bassoon Osvaldo Redondo Alfaro* Brenden Wickliffe Zachary Howell* Paulo Siqueira Contrabassoon Nancy Diaz

* denotes principal players

AMERICAN PERSPECTIVES Don’t mss a single event!

Die Fledermaus

By Johann Strauss II October 30 and 31, 2025 – 7:30 p.m.

November 1, 2025 – 1 p.m.

The Thomas V. Fraschillo Stage at the Mannoni Performing Arts Center Auditorium

Stars

November 6, 2025 – 7:30 p.m.

The Thomas V. Fraschillo Stage at the Mannoni Performing Arts Center Auditorium

Holiday Choral Spectacular

December 2 and 4, 2025 – 7:30 p.m.

Main St. Baptist Church

Star-Spangled

Tuesday, February 10, 2026 – 7:30 p.m.

Bennett Auditorium

Bars of Red

Thursday, March 26, 2026 – 7:30 p.m.

The Thomas V. Fraschillo Stage at the Mannoni Performing Arts Center Auditorium Closing Night

Ground of White

Thursday, May 7, 2026 – 7:30 p.m.

Main St. Baptist Church

Bring a friend!

TICKETS 800.844.8425 601.266.5418 usm.edu/symphony

SOUTHERN MISS

SCHOOL OF

Music

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STRINGS Dr. Borislava Iltcheva, violin Dr. Hsiaopei Lee, viola Dr. Alexander Russakovsky, cello Dr. Marcos Machado, bass Dr. Nicholas Ciraldo, guitar WOODWINDS Dr. Danilo Mezzadri, flute Dr. Pablo Hernandez, oboe Dr. Jackie McIlwain, clarinet Dr. Kim Woolly, bassoon Dr. Dannel Espinoza, saxophone BRASS Dr. Rob Detjen, horn Dr. Tim Tesh, trumpet Dr. Ben McIlwain, trombone Dr. Richard Perry, tuba PERCUSSION Dr. John Wooton, percussion PIANO Dr. Michael Bunchman, piano Dr. Ellen Elder, piano Dr. Hongzuo Guo, staff pianist Dr. Elizabeth Moak, piano Dr. Zhaolei Xie, staff pianist ORCHESTRAL ACTIVITIES Dr. Gregory Wolynec CHORAL ACTIVITIES Dr. Gregory Fuller Dr. Jonathan Kilgore VOICE Dr. Kimberley Davis Dr. Taylor Hightower Dr. Meredith Johnson Dr. Jonathan Yarrington MUSIC EDUCATION Dr. Ashley Allen Dr. Melody Causby Dr. Ian Cicco Dr. Kelli Clark

UNIVERSITY BANDS Dr. Catherine Rand Dr. Travis Higa Dr. Cody Edgerton JAZZ STUDIES Larry Panella MUSIC HISTORY Dr. Vanessa Tonelli Dr. Edward Hafer Dr. Joseph Jones MUSIC THEORY Dr. Danny Beard Dr. Joseph Brumbeloe Dr. Douglas Rust DIRECTOR Dr. Colin McKenzie ASSOCIATE DIRECTORS Dr. Joseph Jones Dr. Timothy Tesh ASSISTANT TO THE DIRECTOR Laurie Rinko FINANCIAL MANAGER Jennifer Knue ACADEMIC ADVISEMENT COORDINATOR Lauren Gerhart GRADUATE COORDINATOR Dr. Melody Causby PR/MARKETING AND EVENT COORDINATOR Dr. Mike Lopinto PIANO TECHNICIAN Carlos Boza

ABOUT THE ARTISTS Dr. Alexander Russakovsky joined the music faculty of The University of Southern Mississippi in 2001. He also has served on the faculty of the Adriatic Chamber Music Festival in Bonefro, Italy, and the Violoncello Biennial in Lima, Peru. A founding member of the Jerusalem Academy String Quartet, he has performed with the group throughout Israel and Europe. Most recently, Dr. Russakovsky has given master classes and recitals in Taiwan, Israel, and Latin America. He holds a master’s degree from Yale University, where he studied under Aldo Parisot, and a doctorate in cello performance from UC Santa Barbara. Compact discs featuring Russakovsky and pianist Amber Shay Nicholson have been released by Centaur and Brilliant Classics record labels. A recipient of many awards, he won the Angela and Maurice M. Clairmont Competition in Tel Aviv, the Performing Arts Scholarship Foundation Competition in Santa Barbara, and the Career Grant of the Esperia Foundation.

Gregory Wolynec is in his second year as director of Orchestral Activities at The University of Southern Mississippi. He directs the Symphony Orchestra, oversees the graduate program in orchestral conducting, and conducts performances of the Southern Opera and Musical Theatre Company. He is also the founder and music director emeritus of Middle Tennessee’s acclaimed Gateway Chamber Orchestra (GCO), which he directed for 17 years. Wolynec previously served as director of instrumental ensembles at Austin Peay State University (APSU) in Clarksville, Tenn., from 2003-24.

Wolynec has sought to revolutionize the potential of the 21st century orchestra. His unique programming philosophy received national attention with GCO producer Blanton Alspaugh receiving two GRAMMY nominations and a win as Classical Producer of the Year. Ambitious multi-media family concerts have been recognized by the National Endowment for the Arts and the League of American Orchestras. He spearheaded pandemic projects, including the Magical Music & Timeless Tales video series, the YouTube broadcast of the

Beethoven @250: Humanity in 2020 concert, and America’s Haydn Festival in May of 2021, featuring performances by GCO, as well as the St. Lawrence String Quartet, pianist Henry Kramer and hosted

by Bill McGlaughlin. In 2021, Wolynec also worked with composer Cristina Spinei to successfully launch the first NFT of a musical work commissioned by an American orchestra. This was profiled on NPR’s Marketplace Money. He also oversaw a multi-year project in collaboration with Nashville Ballet to create a new Nutcracker employing the music of Tchaikovsky, Duke Ellington and Vinico Meza. In 2025, Wolynec oversaw the groundbreaking release of recordings of Osvaldo Golijov’s massive La Pasión según San Marcos in audio, video and virtual reality formats.

Wolynec holds a BM in music education and clarinet performance from SUNY Potsdam’s Crane School of Music, as well as the MM and DMA in instrumental conducting from Michigan State University. He was a recipient of a Fulbright Grant to Prague, Czech Republic, where he studied conducting at the Prague Conservatory. There he also worked with the Karlovy Vary Symphony.

For Carlos E. Tello Herrera, conducting is more than leading an orchestra—it is about channeling music’s profound ability to inspire and transform.

A native of Cali, Colombia, he currently serves as the Symphony Orchestra conducting graduate assistant and co-conductor of the new Hattiesburg Civic Orchestra.

Carlos is currently pursuing a Doctor of Musical Arts (DMA) in orchestral conducting at Southern Miss with Dr. Gregory Wolynec, where he also received his master’s degree in orchestral conducting studying with Dr. Michael Miles. His musical foundation began with a bachelor’s degree in double bass performance from the Conservatorio Antonio María Valencia in Cali, Colombia, and a Master of Music Research from the International University of La Rioja, Spain.

Previous conducting experiences include leading the Bolívar Symphony Orchestra and the Chamber Orchestra Tito Sangiorgi, where he served as chief conductor. Carlos’ artistic vision emphasizes music’s transformative power, bridging cultures and ideas through performance.

ENDOWMENTS When it comes to making a long-term impact on Southern Miss, there are many giving options to choose from besides simply writing a check.

To find a charitable gift that best meets your family's goals and supports Southern Miss for years to come, please contact us and join this family that will sustain the Symphony for generations.

Edna and Dave Perkins Endowed Scholarship in Strings Harry Wells McCraw Violin Scholarship Endowment Harold Luce Orchestra Scholarship Endowment June Ross Vardaman Violin Chair Orchestra Endowment John P. and Ellene Moseley Scholarship Endowment Hilda and George McGee Endowed Music Scholarship Tom and Claire Brantley Trombone Scholarship William T. Gower Orchestra Scholarship Endowment Mississippi Orchestra Teachers Association – Sara Dean Music Scholarship Endowment Jamie Jimenez Endowed Cellist Scholarship Beau Rivage Orchestral Chair Scholarship

Mary Jordan Symphony Orchestra Scholarship Endowment Gertrude C. Ford Orchestra Scholars Endowment Chisholm-Lindsey Orchestra Chair Scholarship Endowment Garland and Sally Sullivan Symphony Orchestra Brass Scholarship Endowment Beau Rivage Endowment for the Mississippi Gulf Coast Herbert Allen Hart Symphony Percussion Endowment Allen Hale Southern Mississippi Symphony String Scholarship Endowment Jay Dean USM Symphony Woodwind Scholarship Endowment Hattiesburg Civic Association Orchestra Scholarship Endowment

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Richard Fabian and Katherin Smith McCarthy Violin Scholarship Endowment Hattiesburg Coca-Cola Symphony String Scholarship Endowment Orpheus Orchestral Scholarship Endowment Voice of the Century Centennial Orchestra Scholarship Endowment Rebecca Smart Montague Symphony Scholarship Endowment J. Larry and Linda B. Smith Music Scholarship Endowment Jay Dean International Music Scholarship Endowment Joe B. Price Horn Scholarship Endowment

The University of Southern Mississippi Foundation is a nonprofit organization committed to serving the University community by overseeing fundraising efforts to raise private support for scholarships and other academic needs at Southern Miss. The Foundation manages donor dollars to provide the most advanced educational opportunities available to students, faculty, staff, alumni and friends of Southern Miss.

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Amy Antoinette Batiste 601.266.6114 amy.batiste@usm.edu

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