th
Season Finale
NEW WORLDS 2024-25 I 105
SEASON
THE UNIVERSITY OF SOUTHERN MISSISSIPPI SYMPHONY ORCHESTRA
Gregory Wolynec, Music Director
Majestic Sibelius
April 24, 2025 – 7:30 p.m.
Thomas V. Fraschillo Stage at the Mannoni Performing Arts Center
FROM THE CONDUCTOR
Welcome to our closing concert of the 105th season of the USM Symphony Orchestra. As these fine musicians and I finish our first year together, I would like to thank each and every one of you for supporting Hattiesburg’s orchestra. The performances (and the rehearsals) have been some of the most rewarding of my career, and I could not be prouder of what we have accomplished together. In many ways, this will be our most ambitious concert yet.
We open this evening’s program with a sparkling work from an incredibly versatile musician. Jessie Montgomery has taken the musical world by storm over the past decade. Equally at home as a violinist, a composer and an educator, Montgomery was raised in New York City, where her father ran a music studio. Like so many composers of her generation, she draws from a wide range of influences, including popular, folk and classical idioms. Starburst explodes in a kaleidoscope of colors from the string orchestra and serves as a wonderful introduction to its composer and our program.
Our first of two major works by the great Finnish composer Jean Sibelius epitomizes his early, Nationalistic style. For those of you who are new to Sibelius’ music, I think it is important to understand two things. First, he was profoundly influenced not only by the people and culture of his native land, but also by its landscape and the wildlife. Second, his style constantly evolved. As Gustav Mahler once lamented to him, “With every new symphony, one loses the partisans gained with the previous.” In other words, each work seems to represent a new direction from the previous, costing them the audience they had already acquired.
The violin concerto, like much of our program this evening, is a journey from dark to light. The first work of Sibileus’ that I ever heard live in concert was his second symphony, which immediately grabs the audience’s attention with a soft opening. The violin concerto accomplishes the same feat when an exotic but melancholy melody from the soloist emerges above
pulsing chords in the strings. This is transformed into a majestic anthem with an almost operatic character. A virtuosic cadenza (an unaccompanied moment for the soloist) plays an important role and is located most unusually in the very center, instead of the end, of the movement. Restating the opening series of melodies, Sibelius seems to play games with the orchestra and conductor by writing music that sounds almost the same to the ear but looks completely different on the page. The opening movement ends in a blaze of energy.
The second movement begins with a tender shift from the minor key of the opening movement into a very noble major key, which is made more so by the use of the horns for the accompaniment. I am struck again by the operatic nature of this music. The orchestra swells in dramatic fashion before almost disappearing for the soloist to perform a staggeringly difficult section of two lines at the same time – written in different meters! The tender music of the opening returns and dies away.
The final movement was famously called “a polonaise for polar bears” by influential British musicologist Donald Tovey. This rustic romp starts with percussion and strings establishing a driving rhythm before our soloist enters at the bottom of the violin’s range. To keep the orchestra from overwhelming the melody, the strings are reduced from the full sections to just the players at the first stands. The end of the movement shifts to D major for an action-packed finale that will leave us all breathless. What a pleasure this has been to assemble this work with our terrific violin professor, Borislava Iltcheva!
I was first introduced to Kareem Roustom’s music around 2016 when I led a performance of his “Dabke.” A tremendously talented composer originally from Syria, his music blends worlds by introducing traditional Syrian musical elements to Western classical ideas. The exotic nature of his melodies and the rhythmic drive that he harnesses are unique and captivating.
While “Dabke” drew me in with its haunting beauty, ‘Ramal’ has a very different inspiration. Mr. Roustom borrowed from the rhythm of early Arabic poetry, which creates a fascinating musical idea on which to base the piece. He was also emotionally inspired by the ongoing Syrian Civil War, which was still in its early stages at the time that he wrote the work. The work has been a tremendous challenge for all of us. I divide it
into five distinct sections, which alternate between the fierce rhythmic idea I mentioned above and a more lyrical and somber music. I think this brief work of just about 10 minutes serves as a wonderful introduction to a culture not frequently heard from on Western concert stages.
We will close our program with one of the most unique works in the symphonic repertoire. The last of Sibelius’ seven symphonies is in the least original of all keys – C major (the white keys of the piano). Over the course of his career, he tried to unify the many movements of the symphony into something more cohesive. Movement refers to the various sections of a piece that sound complete, causing audiences to applaud where historically they are asked not to. For centuries, composers had sought to find ways to unify these works. Melodies from one movement might appear in another, a rhythmic idea might be used in multiple movements, or a composer might eliminate the break by going directly from one into another. Sibelius continued to look for another idea.
This symphony lasts for just about 20 minutes, yet it contains many of the traits that make Sibelius’ music so unique. A roadmap for what you are about to hear follows. I will add that this is incredibly mature music that is performed far too infrequently. It has provided some magical moments for us in rehearsal, and we are anxious to share it with you.
Play-by-play
The opening notes in the timpani seems to bring to life two scales in the strings, with the basses seeming to lag just behind. A series of interesting chords that act like a musical kaleidoscope, along with fragments of melody, seem to pose musical questions. This is common practice for Sibelius — he presents material that might at first seem disjunct, but that will grow over the entire work. Eventually the piece finds its footing with hushed middle strings presenting a chorale that blossoms into an incredibly uplifting moment in glorious C. Trombone and horn seem to take turns as the hero. The music seems to break apart before finding its way to a faster tempo. The strings turn a rapid passage into an ostinato (a repeated idea with strong pulse that Sibelius is known for) that becomes the basis for more majestic brass, this time in a minor key. I always hear this as some sort of maritime adventure on an arctic ocean. This too dissolves into a dance before another ostinato returns us to the majestic chorale. When the music seems to once again dissolve, this time softly in the brass, we find that the composer has left his best for last. This resounding C chord would prove so final that Sibelius could never convince himself to complete another note of a symphony, despite living another 34 years.
Program
THE UNIVERSITY OF SOUTHERN MISSISSIPPI
COLLEGE OF ARTS AND SCIENCES
SCHOOL OF MUSIC
present
MAJESTIC SIBELIUS
The University of Southern Mississippi Symphony Orchestra
Gregory Wolynec, music director
Thursday, April 24, 2025 - 7:30 p.m.
Thomas V. Fraschillo Stage at the Mannoni Performing Arts Center Auditorium
Jessie Montgomery (b. 1981)
Starburst (2012)
Carlos Tello, guest conductor
Jean Sibelius (1865-1957)
Violin Concerto in D minor, Op. 47 (1904)
I. Allegro moderato
II. Adagio di molto
III. Allegro, ma non tanto
Borislava Iltcheva, violin
Intermission
Kareem Roustom (b. 1971)
Ramal (2014)
Jean Sibelius
Symphony No. 7 in C, Op. 105 (1923)
This program is generously presented with support from Partners for the Arts.
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
Stacey Miles
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 Finn Langley
ACADEMIC ADVISEMENT COORDINATOR Lauren Gerhart
GRADUATE COORDINATOR
Dr. Melody Causby
PR/MARKETING AND EVENT COORDINATOR
Dr. Mike Lopinto
PIANO TECHNICIAN
Carlos Boza
ORCHESTRA PERSONNEL
Violin 1
Julia Finney*
Juan Lincango*
Allyson Gomes
João Vitor Gonzaga
Katarzyna Gwiazda
Camila Alonso
Laura Lopera
Ethne Killgore
Angelina Sidiropoulou
Oliver Galagher
Violin 2
Icaro Santana*
Nohelia Gutierrez
Paulo Victor
Dexter Rodkey
Sofia Araujo
Lucas Gonzales
Elizabeth Brown
Paloma Vieira
Grace Pineda
Katelyn Ferguson
Aubrey Sparkman
Viola
Ana Sofia Suarez*
Christian Avila
Adelle Paltin Panella
Renata Andrade
Ronnie Ortiz
Alejandro Lopez
Jessica Dykes
Violoncello
Brian Lorett*
Cristian Sanchez
Gabriel Barros
Mauricio Unzueta Salas
Vivian Herring
Evelin Lopez
Kassandra Henriquez
Bass
Daniel Magalhaes*
Marcus Silva
Matheus Ferreira de Souza
Jose Cuellar
Nick Shellenberg
Manuel Jara
Daniel La Mere
Flute
Hallie Ward*
Angel Hamel
Piccolo
Sarah Hinchey
Oboe
Josh Strobel*
Darbi George*
Geordie Nabors
Juan Piedra Carvajal
Clarinet
Gerby Keiny*
Madison Prattini
Bass Clarinet
Cameron Nix
Bassoon
Gabe Flores*
Zachary Howell*
Nancy Diaz
Contrabassoon
Zachary Howell
Horn
Abby Loftin*
Anna Zurawski
Ashley Boyington
Andrew Cooke Trumpet
Zach Dake*
Rob Smith
Anthony Leggio
Trombone
Richard Horne*
Jonathan Henneveld
Bass Trombone
Ben Dondanville
Tuba
Taylor Winkler*
Harp
Kristina Finch
Celesta
Erick Diaz Quispe
Timpani
Aday Olivero*
Percussion
Kolby Paquett
Nathan Wright * denotes principal players
About the Artists
Borislava Iltcheva is a celebrated violinist and educator, renowned for her exceptional talent and dedication to the art of music. Her journey began at the age of five, culminating in a robust academic foundation that includes a bachelor’s degree from the Bulgarian National Academy, followed by maaster’s and doctoral degrees in violin performance from Louisiana State University, and a post-doctorate from Indiana University. Throughout her studies, Dr. Iltcheva was mentored by prominent musicians such as Alexander Iltchev, Evgenia Maria Popova, Kevork Mardirossian, and Mauricio Fuks.
Currently, Dr. Iltcheva holds the esteemed position of concertmaster for the Baton Rouge Symphony Orchestra and serves as the around-the-world assistant to Professor Mauricio Fuks at Indiana University. In 2021, she joined the faculty at The University of Southern Mississippi as adjunct faculty, and in 2023, she was appointed assistant professor of violin, where she nurtures both graduate and undergraduate violin students.
Dr. Iltcheva’s talent has been recognized in numerous national and international competitions, including the “Closter Shöntal” International Violin Competition, the MTNA Chamber Music Competition, the LSU Deans Concerto Competition, and the “Saverio Mercadante” International Competition. As a versatile performer, she has graced stages around the globe, collaborating with orchestras such as the Louisiana Sinfonietta, Baton Rouge Symphony, Acadiana Symphony, Thessalonica Camerata, and Chengdu Symphony Orchestra. Her performances span Europe, Asia, Latin America and the United States, with notable appearances at Carnegie Hall, including a sold-out concert featuring a world premiere in 2024.
In the 2023-24 season, Dr. Iltcheva’s engagements took her to Brazil and Peru for recitals and concertos, alongside a three-week European tour featuring performances and masterclasses in Greece, Poland and Romania. She returned to Brazil in July 2024 for additional concerts and masterclasses, and traveled to Poland in December for further teaching engagements. Additionally she will join the faculty of the Esmeralda’s Festival in Ecuador, where she will conduct masterclasses and perform.
This year, Dr. Iltcheva has performed the Sibelius Violin Concerto in Peru, Cuba, Mexico and the United States. In August 2025, she will become a faculty member of the International String Academy in Hummelburg, Germany, and during the 2025-26 season, she plans to record Vaughan Williams’ “Lark Ascending” for a CD featuring music for violin and organ.
An internationally sought-after teacher, Dr. Iltcheva frequently conducts masterclasses worldwide, inspiring the next generation of violinists. Her
students have achieved remarkable success, winning accolades at prestigious competitions such as the Rudolpho Lipitzer International Violin Competition, the Mirecourt International Violin Competition, and the Stuttgart International Violin Competition. With masterclasses held in the United States, Brazil, Germany, Poland, Turkey, Greece and China, Dr. Iltcheva continues to make a significant impact on the global music community.
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 USM 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 USM 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.
Gregory Wolynec is the newly appointed director of Orchestral Activities at The University of Southern Mississippi, where he directs the Symphony Orchestra and oversees the graduate program in orchestral conducting. He also serves as the music director of Middle Tennessee’s acclaimed Gateway Chamber Orchestra (GCO), which he co-founded in 2008. Wolynec previously served as director of instrumental ensembles at Austin Peay State University in Clarksville, Tenn., from 2003-24.
Over the last 15 years, 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 multimedia 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, as well as America’s Haydn Festival in May of 2021, featuring performances by GCO, the St. Lawrence String Quartet and pianist Henry Kramer, 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 is currently overseeing a multi-year project in collaboration with Nashville Ballet to create a new Nutcracker, employing the music of Tchaikovsky, Duke Ellington and Vinico Meza. Wolynec will oversaw the groundbreaking release of recordings of Osvaldo Golijov’s massive La Pasión según San Marcos in audio, video and virtual reality formats. Now available on all digital platforms.
Wolynec holds a B.M. in music education and clarinet performance from SUNY Potsdam’s Crane School of Music, as well as the M.M. and D.M.A. 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.
THURSDAY, JUNE 5 - 7:30 p.m.
THURSDAY, JUNE 12 - 10 a.m.
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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 Ellen 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
Partners for the Arts Orchestra Scholarship Endowment
Elizabeth M. Irby Orchestral Chair Scholarship Endowment
John N. Palmer Foundation Orchestral Scholarship Endowment
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 Opera Endowment
Sonya Rebecca Jordan Fox Symphony Orchestra & Opera Endowment
Thomas D. And Lorraine Smith Ott Wind Scholarship
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.
