Reclaiming My Time - Symphony Program featuring Time for Three

THE UNIVERSITY OF SOUTHERN MISSISSIPPI SYMPHONY ORCHESTRA 102nd SEASON 2021-22

Reclaiming my time Featuring Time for Three

November 11, 2021, 7:30 p.m.

Mannoni Performing Arts Center Auditorium

uncharted territory from the music director

Welcome to the 102nd Season of The University of Southern Mississippi Symphony Orchestra!

We are thrilled to welcome back live audiences and so pleased that you are here with us tonight.

We titled this year’s season series Uncharted Territory as a means of acknowledging that the world is entering a new phase, as we continue to wrestle with a pandemic and social, racial, economic, and climate issues on many fronts.

We don’t know what lies ahead of us, and many of us can’t remember a period of such uncertainty in our lifetime.

The theme for each of our concert presentations this season will focus on an element in our lives that has been impacted by the events of the past year.

“Reclaiming my time” became a battle cry during a hearing of the House Financial Services Committee in which Secretary of the Treasury Steven Mnuchin provided elusive answers and comments not associated with the question at hand. This caused Representative Maxine Waters to repeat over and over, “Reclaiming my time.”This response went viral and inspired thousands of creative memes, songs and tweets. It is now part of the social media landscape and a reclamation rallying cry for those in our society who have been pushed aside and not had their voices heard.

Our guest artists tonight, Time for Three, are themselves a unique blend of classical training, popular culture and creativity. Those of us who have been classically trained know that far too often, we isolate ourselves into a genre of music that only appeals to a small fraction of the society at large. In our performances, we repeat the classical canon year-in and year-out, giving due credit to the masters of classical composition. Time for Three breaks down all the barriers of classical music bringing their own unique spin on classical, pop, country and bluegrass music, all spun into a performance that is entertaining for all segments of society. It doesn’t matter what music you like; you will like this group. I’m so excited to have them share their talent with you.

We can’t sign off without thanking everyone who has continued to support the Symphony Orchestra and our students through these difficult times. We missed you dearly and can’t wait to hear the sweet sound of applause once again. You are the reason we are here, and we wouldn’t want to be anywhere else.

program

THE UNIVERSITY OF SOUTHERN MISSISSIPPI COLLEGE OF ARTS AND SCIENCES SCHOOL OF MUSIC presents

The University of Southern Mississippi Symphony Orchestra Dr. Michael Miles, Music Director

Thursday, November 11, 2021 Mannoni Performing Arts Center Auditorium 7:30 p.m.

Reclaiming my time Don Juan

Richard Strauss (1864-1949)

Introducing

Time for Three Ranaan Meyer, double bass Nick Kendall, violin Charles Yang, violin

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

Time for Three Sweet Child of Mine Vertigo She Don’t Care

Guns N’ Roses Arranged by Time for Three Composed by Steve Hackman Composed by Meyer/Yang/Kendall

Csardas Vittorio Monti

Arranged by Time for Three

Intermission

Hamilton Composed by Lin-Manuel Miranda Arranged by Eggar/Palmer/Meyer/Yang/Kendall Deanna Stand By Me

Hallelujah

Sunday Morning Learn to Love

Composed by Meyer/Kendall/Yang Ben E. King, Mike Stoller, Jerry Leiber, Michael Marino Arranged by Time for Three Leonard Cohen arr. S. Hackman Jesse Carmichael, Adam Levine Arranged by Time for Three Composed by Meyer/Yang/Kendall

Eleanor Rigby/Bittersweet Symphony John Lennon, Paul McCartney, Richard Ashcroft Joy Music and Lyrics by Time for Three

arr. TJ Cole

program notes

Richard Georg Strauss, (1864– 1949) was born to a musical family in Munich, Germany. His father, Franz Strauss, was the principal horn player of the Munich Court Orchestra, and the young Richard Strauss was able to meet many important musicians through his father’s connections— including famed conductor Hans von Bülow. At only 20 years old, conductor Hans von Bülow commissioned Strauss to write his Suite for 13 Winds for the Meiningen Orchestra. Strauss conducted the premiere of his piece in 1884, and Bülow consequently offered Strauss the position of assistant conductor at Meiningen. While at Meiningen, Strauss met the composer Alexander Ritter. Ritter encouraged Strauss’ admiration of the German composer Richard Wagner, an admiration he had kept a secret from his father who did not approve of Wagner as a person nor of his music. Ritter also inspired Strauss to step away from classical musical forms and explore the expressive potential of Franz Lizst’s invention: the tone poem, also called symphonic poems. A tone poem is a composition most commonly written for orchestra and usually consists of a single movement based on a poem, story, painting or other extramusical element. These single movement pieces tell a story, or program, through music. Of this genre, Strauss composed nine symphonic poems. His first, Aus Italien (1886), was based on his trip to Italy during summer of the same year. His second, which was met with great success and earned him the regard of being Wagner’s successor, was Don Juan (1888)— written at the age of 24.

First appearing in a drama attributed to Tirso de Molina, titled El burlador de Sevilla (1630) or “The Seducer of Seville,” the promiscuous Spanish character Don Juan has been used repeatedly in literature, operas and other works. Strauss based his symphonic poem on Don Juans Ende, which is a play that follows the story of Don Juan as depicted by Austrian poet Nikolaus Lenau in his unfinished retelling of the legend, which was published posthumously in 1851. In contrast to other versions of Don Juan,

such as in Mozart’s Don Giovanni (1787), Lenau’s portrayal of Don Juan as an idealist and romantic perfectionist, rather than an immoralistic salacious womanizer, aims to earn a degree of sympathy from the audience rather than pure condemnation. Lenau wrote, “My Don Juan is no hot-blooded man eternally pursuing women. It is the longing in him to find a woman who is to him incarnate womanhood... Because he does not find her, although he reels from one to another, at last Disgust seizes hold of him, and this Disgust is the Devil that fetches him.” Whether one can spare sympathy for Don Juan and accept “idealism” as a valid excuse for debauchery is debatable. Either way, as this story is a drama and not a comedy, one could correctly infer that the story will end in death.

While Strauss did not provide a written program for listeners to follow during the performance, there are several musical clues that can be used to identify the story. Don Juan’s heroic and eager personality is presented in the opening by the strings and brass, which quickly descends making way for adventurous upward moving melodic material in the violins, perhaps to represent Don Juan in pursuit of his conquest. This theme is repeated several times to introduce a new woman of interest to Don Juan. As the excitement goes down after the opening, listen for small interruptions of more delicate motifs with longer downward motions in the woodwind section and later in the strings. Don Juan is already quickly losing his excitement for his adventure as he longs for true love, represented by these sighs of dissatisfaction. The scuttling staccato in the strings sound impatient, and suddenly the mood shifts and the violin solo introduces a new beautiful character. Fantastical, romantic and layered textures build in a drawn out crescendo, with material reminiscent of Wagner’s Tristan und Isolde. The climax falls into a somewhat tragic mood followed by melancholy; Don Juan realizes she is not the one. The introductory ascending theme follows quickly as Don Juan continues on his quest. He comes across another woman, first heard in the oboe solo. The intimate and loving theme is passed to the clarinet, bassoon and the horn. There is a small break as the mood dissipates and the strings begin an ascending arpeggio, which builds in volume and is then joined by the horns. The section that follows imitates some of the previous material in a mocking manner, as if to taunt Don Juan’s actions. In Lenau’s retelling, Don Juan is forced to a duel after growing tired of his never-ending pursuit of the perfect love. The last massive crescendo leads unexpectedly into silence followed by a sustained ominous chord. Don Juan drops his weapon in the duel and accepts his fate declaring, “My deadly foe is in my power, and this too bores me, as does life itself.” The piece ends with pizzicato revealing his final heartbeats.

-Alaina Belisle

orchestra personnel

THE UNIVERSITY OF SOUTHERN MISSISSIPPI SYMPHONY ORCHESTRA Violin I Marlene Gentile, Concertmaster Alejandro Junco Federico Franco Casey Macklin Juan Lincango Icaro Santana Guillermo del Prado Rodolfo Torres John Uzodinma

Cello Ameni Zouehid, principal Congcong Bi Alejandro Restreppo Cardozo Franco Galetto Kassandra Henriquez Brian Mille Lorett Evelin Lopez Casey Johnson Courtney Francois

Violin 2 Genesis Aguilar, principal Lily Martinez Julian Gallon Adelle Paltin Laura Lopera Grace Pineda Victor Amaut Jonathan Chen Trinady Moore

Bass Elton Machado, principal Wendell de Rosa Rodrigues Daniel Magalhaes Jose Cuellar Pedro Areco Matheus Henriquez Carlos Herrera Manuel Jara Ramirez Charlie Levindoski

Viola Ana Sofia Suarez, principal Alaina Belisle Christian Avila Cecilia Araujo Diana Lopez Nicole Herrera

Flute Katerina Bachevska, principal Candem Sidenstricker Miracle Johnson, piccolo

Trumpet Caleb Guilbeau, principal Mariah Atwood Rachel Castañeda

Oboe Ruth Moreno Calderon, principal Nathaly Pagoaga

Trombone Caleb Owenby, principal Julianna Hinton Sage Michael, bass

English Horn Becca Chadwick Clarinet Adam Stallings, principal Freddy Mora Bassoon Osvaldo Redondo Alfaro, principal Jordan Vestal Contrabassoon Ethan Potesta Horn Brandon Garrison, principal Connor Hammond, asst. principal Robby Brandon Brian Alston Chance Rootes

Tuba James Fair Timpani Eduardo Prado Harp Melissa Wiggins Percussion Josh Hale Dalton Page Jeff Prosperie Jr. Chris Stuart

about the artists

Dr. Michael Miles is a unique brand of musician, whose career includes a blend of musical and academic positions. Dr. Miles’ academic career includes appointments at Western Carolina University and Florida International University. He also served for seven years as chair at Southeastern Oklahoma State University and six years as director of the School of Music at The University of Southern Mississippi.

Dr. Miles’ interest in arts advocacy and education in the community has led him to administrative positions in several community and state organizations. He served on the Hattiesburg Concert Association staff and as executive director and founder of the Red River Arts Academy, an intensive summer arts training experience for students 14-18 years of age. Dr. Miles also served eight years as president of the Board of Directors of the Red River Arts Council in Durant, Oklahoma.

Dr. Miles’ appreciation for all forms and styles of music are evident in the variety of performing, conducting and music directing positions he has enjoyed. As a trumpet artist, Dr. Miles has performed with dozens of symphony orchestras as featured soloist and principal trumpet and released a compact disc recording of new music for trumpet and piano by Robert Suderburg and James Wintle, titled Reflections in Times’ Mirror. In addition to his current duties as director of orchestral activities at Southern Miss, Miles’ conducting appointments include music director of the Hattiesburg Civic Light Opera Company, music director of the Oklahoma Youth Symphonies, and music director of the Oklahoma Shakespearean Festival. Miles recently conducted the USM Chamber Orchestra in its Carnegie Hall debut and served as guest conductor of the Festival Orchestra at the V Clinicas Instrumentalis in Cartegena, Columbia.

In 2013, Dr. Miles served as guest conductor with The University of Southern Mississippi Symphony Orchestra, backing the legendary Beach Boys at the Beau Rivage Casino in Biloxi, Mississippi.

Dr. Miles has also served as guest conductor with the Xinghia Conservatory Orchestra of Guangzhou, China, Vidin (Bulgaria) Philharmonic, Springfield Symphony, Tulsa Philharmonic, Tallahassee Symphony, New Mexico University Symphony and Oklahoma Youth Orchestra.

In his career, Dr. Miles has served as music director/ conductor for over 190 musical theatre performances involving 55 different musical theatre productions, including the recent highly acclaimed Southern Miss productions of The Drowsy Chaperone, The Phantom of the Opera, Magic of the Musical Stage, West Side Story, Mary Poppins, Ragtime, Showbiz Showstoppers, Showbiz Harmony and Sweeney Todd. Dr. Miles served as music director of HCLO’s

productions of Into the Woods, Cabaret, Wizard of Oz, Camelot and Tommy. Dr. Miles also served as chorus master for the Hub City Players production of Rock of Ages and music director for their production of James and the Giant Peach. The Phantom of the Opera and James and the Giant Peach productions were awarded the prestigious American Prize for Musical Theater in 2018.

In his tenure at Southeastern Oklahoma State University, Dr. Miles led an award-winning Jazz Ensemble that was recognized by the Oklahoma State Legislature as the “Official Jazz Ambassadors of Oklahoma.” This ensemble made three concert tours of the People’s Republic of China.

Defying convention and boundaries, Time For Three stands at the busy intersection of Americana, modern pop and classical music. To experience Time for Three (TF3) live is to hear the various eras, styles and traditions of Western music fold in on themselves and emerge anew. Bonded by an uncommon blend of their instruments fused together with their voices, Charles Yang (violin, vocals), Nicolas “Nick” Kendall (violin, vocals) and Ranaan Meyer (double bass, vocals) have found a unique voice of expression to share with the world.

Earning praise from NPR, NBC, The Wall Street Journal, and the Chicago SunTimes to name a few, the band has become renowned for their charismatic and energetic performances. Having graced the stages of Carnegie Hall, The Kennedy Center and the Royal Albert Hall, their inimitable and mutable style fits equally well in an intimate club setting, like Joe’s Pub in New York or Yoshi’s in San Francisco. In 2016, Time for Three was featured on the famed “Night of the Proms” tour, sharing the stage with such artists as Chaka Khan and Ronan Keating, playing arenas throughout several European countries. The trio has

collaborated with artists as diverse as Ben Folds, Branford Marsalis, Joshua Bell, Aoife O’Donovan, Natasha Bedingfield and Arlo Guthrie, and have premiered original works - written for the band - from composers Chris Brubeck and Pulitzer Prize-winners Jennifer Higdon and William Bolcom. An upcoming commission project includes a work by Pulitzer Prize-winning composer, Kevin Puts. They’ve appeared on ABC’s Dancing with the Stars and won an Emmy for “Time for Three in Concert,” produced by PBS. Yet for all their accolades and diverse experiences, the irrepressible band constantly hungers for new ones. In 2020, the band partnered with cellist and composer Ben Sollee to put together the soundtrack to the new Focus Features film Land, starring and directed by Robin Wright. The film first premiered at the Sundance Film Festival on January 31, 2021.

With a collection of new songs, the band has teamed up with GRAMMYwinning songwriter Liz Rose and GRAMMY-winning producer Femke Weidema for new recordings released through Warner Music.

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instrumental applied faculty

STRINGS

Dr. Stephen Redfield, violin Marta Szlubowska-Kirk, violin Dr. Hsiaopei Lee, viola Dr. Alexander Russakovsky, cello Dr. Marcos Machado, bass Dr. Nicholas Ciraldo, guitar

WOODWINDS

Dr. Danilo Mezzadri, flute Dr. Galit Kaunitz, oboe Dr. Jackie McIlwain, clarinet Dr. Kim Woolly, bassoon Dr. Dannel Espinoza, saxophone

BRASS

Dr. Jacquelyn Adams, horn Dr. Tim Tesh, trumpet Dr. Ben McIlwain, trombone Dr. Richard Perry, tuba Dr. John Wooton, percussion

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DON’T MISS A SINGLE EVENT OF THE 2021-22 SEASON!

Peace on Earth

Holiday Choral Spectacular

Hattiesburg Choral Union, USM Symphony Orchestra Michael Miles, Greg Fuller, Jonathan Kilgore, conductors November 30 and December 2, 2021, 7:30 p.m.

Main Street Baptist Church

By the people, for the people

USM Symphony Orchestra, Michael Miles, Carlos Fernandez, conductors

Featuring Joseph Alessi and Ben McIlwain, trombone, and the William T. Gower Concerto Competition Winners February 19, 2022, 7:30 p.m.

Bennett Auditorium

Nevertheless, she persisted

Dolly Parton’s 9 to 5: The Musical

Mike Lopinto, director, and Michael Miles, music director March 3-5, 2022, 7:30 p.m.

Mannoni Performing Arts Center Auditorium

…and justice for all

USM Symphony Orchestra, Michael Miles, conductor

Featuring Xavier Foley, bass, and John Uzodinma, violin

EOE/F/M/VETS/DISABILITY

April 21, 2022, 7:30 p.m.

Bennett Auditorium