The University of Southern Mississippi Symphony Orchestra presents Future Stars
NEW WORLDS 2024-25 I 105 th SEASON
THE UNIVERSITY OF SOUTHERN MISSISSIPPI SYMPHONY ORCHESTRA
Gregory Wolynec, Music Director
FUTURE STARS
March 13, 2025 - 7:30 p.m.
Thomas V. Fraschillo Stage at the Mannoni Performing Arts Center
Welcome to our Future Stars program, as we continue our 105th season of performances by the USM Symphony Orchestra. This is a program that has been circled on our calendars since we unveiled the season over the summer. It offers us a chance to marvel at the skills that our talented musicians bring to our community both individually and collectively.
As I am sure you can tell from Dr. Tammy Yi’s bio, she is an immensely talented musician and educator with an impressive list of accomplishments. She is also a wonderful person. At the recommendation of a colleague, I had the opportunity to feature her as a guest when I was in Tennessee. Her views on the role of the arts and their potential to impact change and transform communities are inspirational. I am delighted to be able to introduce you all to her from the stage and see her bring a terrific work to life.
This program has brought together a handful of “small world” moments. I first heard Ivette Herryman Rodriguez’s A danzón done my way in a rehearsal. I was captivated by the infectious rhythms and unusual melodies but had no idea what I was listening to. I then learned that the composer was originally from Cuba and now taught at my alma mater - the Crane School of Music. I mentioned her name to a then-student conductor, who looked at me dumbfounded. “Ivette HERRYMAN Rodriguez – she was my orchestration teacher at conservatory in Cuba!” she exclaimed. What a small world!
The William T. Gower competition is a long-standing tradition here at USM. In alternating years, different areas of our school are eligible to compete for the opportunity to perform with our orchestra. I have run competitions such as these for more than two decades, but this past fall’s was by far the most enjoyable. For an entire Sunday afternoon and part of an evening in November, I watched in amazement as nearly 30 students took this same stage and poured their hearts out for three judges. Except for a few prominent solos played from the orchestra, I had only heard our students in a group. Like the judges, I was dazzled by what I experienced. As one of them remarked afterwards, “You are so fortunate; we would do anything for strings like this.” And there is not a day that our faculty take it for granted!
As you can tell from our students’ bios, they are from all over the world. We have been featuring country after country on our social media channels, and I have loved getting to know them. I do want to call your attention to one particularly poignant story. In early 2020, a young
teacher and bass player-turned-conductor was preparing to present the first movement of Shostakovich’s first cello concerto with one of his most talented students. The world had different plans, and that performance was called off as the pandemic shuttered concert halls all over the globe. The conductor was named Carlos Tello, and the soloist was Brian Lorett. Again, small world.
Few works are more universally celebrated than Igor Stravinsky’s epic ballet score of Petrushka. This is the second of three iconic scores that the master created for Sergei Diaghilev’s Ballet Russes. The first, Firebird, is a celebration of Russian folk melodies and sizzling orchestral colors. The last, The Rite of Spring, caused a famous riot in Paris with its primal rhythms and pagan influences. In between lies perhaps the most influential of the two and, in many ways, the most challenging to perform.
I find the combination of melodies, rhythms and orchestral color to be rewarding on their own merits. However, here are a few thoughts to prepare you for what you will experience. Petrushka is the story of three puppets brought to life in an enchanted fair in St. Petersburg in the early 1800s. The scene is colorful and festive, and Stravinsky’s orchestration captures the atmosphere brilliantly. The piece is divided into four distinct sections.
The opening Shrove-tide Fair portrays the rush of the crowd and is captured by the enthusiastic chaos of different groups playing out of time together, the barrel organ player with not quite all his notes working, and some very complicated rhythms. Part way through, the Charlatan (puppet master) is conjured up by the rumble of the contrabassoon. He shows off his three puppets – the colorful and athletic Moor, the lovely Ballerina, and the awkward title character. With three taps of his wand, in this case the flutes, he amazes the crowd by bringing them to life. They dance the Russian Dance to entertain the crowd. As they will do a few more times, repeated strokes on the drums announce the change of scene.
Scene two takes us into Petrushka’s cell. His theme is played in an off-putting fashion by the clarinet known as bitonality. We soon learn that he possesses complex human emotions. He loves the Ballerina but is tormented by the Moor. Anger and nostalgia, sorrow and longing are all
portrayed until the Ballerina appears in his room. Petrushka tries to dance for her, but he is grotesque, and she fleas in horror. Drums again announce the change of scene.
The Moor’s room is exotic, and we find him posed on a couch, flaunting his imposing figure. The Ballerina tries to get his attention with a dance in the form of a truly iconic trumpet solo. Her second attempt, a waltz, seems to elicit at least some reaction. Petrushka, who in his anguish at the end of the previous scene, punched a hole in the wall, has observed the proceedings, and is distraught. He attacks the Moor but is no match for his foe.
At this point, the story needs a little guidance. We are now transported back out to the fair, where Stravinsky introduces us to a whole series of characters through vignettes. The soaring melodies of the nurses give way to the roar of the peasant’s bear. Coachmen, gypsies and others entertain us before Petrushka and the Moor come crashing onto the scene continuing the action we left off earlier. The Ballet Russes had a huge roster of stars, and they all needed their time in the spotlight.
With a fierce blow, our outmatched puppet is felled. He staggers and finally falls with a ceremonial drop of the tambourine on the floor. As the horrified crowd looks on, the Charlatan picks up the lifeless doll and holds it for the crowd. “Don’t worry, it’s just a puppet made of straw and sawdust,” he seems to say. The crowd departs, and night has fallen. On a rooftop nearby, the ghost of Petrushka appears. The Charlatan shudders, and the curtain closes, as if in mystery.
DON’T MISS OUR SEASON FINALE!
Majestic Sibelius April 24, 2025 – 7:30 p.m.
Thomas V. Fraschillo Stage at the Mannoni Performing Arts Center
PROGRAM
Jessie Montgomery – Starburst
Jean Sibelius – Violin Concerto featuring Borislava Iltcheva
Kareem Roustom – Ramal
Jean Sibelius – Symphony No. 7 in C
Program
THE UNIVERSITY OF SOUTHERN MISSISSIPPI
COLLEGE OF ARTS AND SCIENCES
SCHOOL OF MUSIC
present
FUTURE STARS
The University of Southern Mississippi Symphony Orchestra
Gregory Wolynec, music director
Thursday, March 13, 2025 - 7:30 p.m.
Thomas V. Fraschillo Stage at the Mannoni Performing Arts Center Auditorium
Ivette Herryman Rodriguez (b. 1982) Un danzón a mi manera (A danzón done my way)
Tammy Yi, guest conductor
Dmitri Shostakovich (1906-1975)
Cello Concerto No. 1 in Eb (1959)
I. Allegretto
Brian Lorett, violoncello
Carlos Tello, guest conductor
Edward Elgar (1857-1934)
Cello Concerto in E minor, Op. 85 (1919)
I. Adagio - Moderato
Cristian Sanchez, violoncello
Gregory Wolynec, conductor
Joaquín Rodrigo (1901-1999)
Concierto de Aranjuez (1939)
I. Allegro con spirito
II. Adagio
III. Allegro gentile
Daniel Petrocelli Ugas, guitar
Robert Pico, guest conductor
Igor Stravinsky (1882-1971)
Petrushka (1911/revised 1947)
First Part: The Shrove-tide Fair
Danse Russe
Second Part: Pétrouchka
Third Part: The Blackamoor
Valse
Fourth Part: The Shrove-tide Fair
Nurses’ Dance
Peasant with Bear Gypsies and a Rake Vendor Dance of the Coachmen Masqueraders
The Scuffle: Blackamoor and Pétrouchka Death of Pétrouchka Police and the Juggler Apparition of Pétrouchka
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 Liancango*
Allyson Gomes
João Vitor Gonzaga
Katarzyna Gwiazda
Camila Alonso
Laura Lopera
Ethne Killgore
Angelina Sidiropoulou
Oliver Galager
Violin 2
Icaro Santana*
Nohelia Gutierrez
Paulo Victor
Dexter Rodkey
Sofia Araujo
Lucas Gonzalez
Elizabeth Brown
Paloma Vieira
Grace Pineda
Katelyn Ferguson
Aubrey Sparkman
Ellen Jones
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
Marcus Silva*
Daniel Magalhaes
Matheus Ferreira de Souza
Jose Cuellar
Nick Shellenberg
Manuel Jara
Daniel La Mere
Flute
Claudio Palazzi*
Hallie Ward
Piccolo
Sarah Hinchey
Oboe
Josh Strobel*
Darbi George*
Geordie Nabors
Juan Piedra Carvajal
English Horn
Darbi George
Clarinet
Gerby Keiny*
Caitlyn Austin
Bass Clarinet
Cameron Nix
Bassoon
Gabe Flores*
Zachary Howell*
Nancy Diaz
Contrabassoon
Gabe Flores
Horn
Abby Loftin*
Anna Zurawski
Ashley Boyington
Andrew Cooke
Trumpet
Zach Dake*
Mariah Atwood
Rob Smith
Trombone
Brandon Domingue*
Patrick Moore
Bass Trombone
Ben Dondanville
Tuba
Taylor Winkler*
Harp
Isaiah Way
Piano
Yin Apple Lin
Celesta
Erick Diaz Quispe
Timpani
Aday Olivero*
Percussion
Yu Chih Cherry Chen
Kolby Paquett
Destiny Sims
Nathan Wright
* denotes principal players
About the Artists
Dr. Tammy S. Yi is a first-generation Korean American conductor and music education scholar whose artistry and scholarship are deeply rooted in the transformative power of music. A passionate advocate for social change through the performing arts, she has dedicated her career to inspiring and empowering young musicians worldwide through her unwavering commitment to artistic excellence and social transformation.
As an international conductor, Dr. Yi’s expansive conducting portfolio spans professional and youth orchestras worldwide, with notable engagements in South Korea, Thailand, South America, Europe, and the United States. She has conducted international El Sistema orchestras, the California and Texas All-State Orchestras, and honor orchestras in Tennessee, New York, and Nevada, earning widespread recognition for her dynamic leadership and artistic leadership with symphony orhcestras. She has led performances at some of the world’s most prestigious venues, including Walt Disney Concert Hall, the Hollywood Bowl, Teatro Mayor, and Carnegie Hall. Her collaborations with world-renowned artists—such as Gustavo Dudamel, Nina Shekhar, Ray Chen, the Juilliard Orchestra, the Los Angeles Philharmonic, the National Children’s Symphony Orchestra of Venezuela, and Janet Jackson—underscore her versatility and influence as a conductor. As a Carlos Miguel Prieto Conducting Fellow with the Orchestra of the Americas, she continues to make an indelible impact on the global stage.
Beyond the podium, Dr. Yi is a trailblazer in music education and pedagogy. She mentors pre-K–12 music educators, leads professional development for teaching artists, trains aspiring conductors, and designs comprehensive music curricula for the Los Angeles Philharmonic. By seamlessly integrating pedagogy with performance, she bridges the worlds of artistic excellence and educational innovation, demonstrating music’s profound capacity to inspire, educate, and transform communities.
Currently, Dr. Yi serves as the Director of Music Education at Chapman University, where she is also the founding director of Mariachi Panteras and orchestra conductor for the Los Angeles Philharmonic’s Youth Orchestra Los Angeles (YOLA). Additionally, she teaches graduate courses in music performance research and pedagogy at the Colburn Conservatory of Music, further solidifying her influence on the future of music education and performance.
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 in Orchestral Conducting studying with Dr. Michael Miles. His musical foundation began with a Bachelor’s 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, which he served as chief conductor. Carlos’ artistic vision emphasizes music’s transformative power, bridging cultures and ideas through performance.
Robert Pico is a native of coastal Montería, Colombia. From a young age, he showed great interest and passion for the arts with a keen interest in folk music from his homeland. Throughout his native country, he has performed several styles of music from different periods with musicians from all over the world. Robert is a devoted lover of instrumental music, piano repertoire, and orchestral conducting, However, since he found his passion for conducting, his life has been focused on growing professionally as a leader. Robert holds a Bachelor’s degree in music with an emphasis in piano performance from the University of Fine Arts in the city of Cartagena, Colombia, and a master’s in music in Wind Conducting from The University of Southern Mississippi where he studied with Dr. Catherine Rand. He was a graduate assistant to University Bands at USM and worked with all the concert ensembles. He is currently pursuing a DMA in Orchestral Conducting under the guidance of Dr. Gregory Wolynec.
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. During 2024-25, Wolynec will oversee 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 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.
OUR SOLOISTS
Brian Lorett is a versatile cellist, arranger, and composer from Pamplona, Colombia. He began his musical training in Cúcuta, where he studied under violinist Rafael Pineda at the Cúcuta Youth Symphony Orchestra where he was immersed in the pedagogical principles of Antonio Abreu, founder of Venezuela’s renowned “El Sistema.” In 2016, he pursued a Bachelor of Musical Arts at the Adolfo Mejía Conservatory in Cartagena, Colombia, studying with cellist and arranger Jorge Nordmann. During this period, he began arranging and composing for small ensembles and incorporating Latin American and African folk rhythms into his academic compositions. He also explored electronic sampling and live looping, layering cello sounds to create intricate, rhythmically dense structures. In 2020, Lorett released Acercamientos Op.11, a self-produced album of programmatic music inspired by visual artworks from young Colombian artists. That same year, he won the Convocatoria de Estímulos award twice for his compositions Bambuco No.1 Op.2 and Fantasy No.2 Op.17, both rooted in Colombian folk traditions. In 2021, he moved to the U.S. to study at The University of Southern Mississippi under Dr. Alexander Russakovsky. The following year, he joined the Colombian Youth Philharmonic, performing in world-class venues such as Hamburg’s Elbphilharmonie, Vienna’s Konzerthaus, and Amsterdam’s Concertgebouw. Currently pursuing a master’s degree at USM, Lorett serves as principal cellist of the USM Symphony Orchestra. He continues to expand his work in live looping composition and performance, blending classical cello with modern technology to push creative boundaries.
Cristian Alexander Sánchez Cálix is originally from Tegucigalpa, Honduras. He began his musical studies at the age of 12 at Escuela Nacional de Música, taking the cello as his main instrument under the tutelage of Lic. Carlos Licona. Sanchez has participated in multiple orchestras and musical groups, with the Tegucigalpa Symphony Orchestra being the main orchestra in which he was a member. He has also worked with the Honduras Philharmonic Orchestra and is currently gaining experience in orchestras such as the Baton Rouge Symphony Orchestra, the Meridian and Gulf Coast Symphony. Sanchez has received master classes with renowned musicians, among them the most outstanding cellists, Gautier Capuçon, Pablo Ferrandez, Santiago Cañon-Valencia, among others. He has participated in numerous music festivals, the most recent being his participation in the Vienna Summer Music Festival, Youth Symphony Orchestra, Cellisimo, Chelistiko, among others. Sanchez is currently pursuing his bachelor’s degree at USM with
great ambition and motivation, with his most important performance being at Carnegie Hall in New York City in June 2024 with his main chamber music group, a source of inspiration within classical music. For Sanchez, playing the Elgar cello concerto holds great sentimental significance, as it was the first concerto he hears before studying music, inspiring him to never give up and one day be able to play it. Likewise, this concerto represents memories throughout his career, and performing it with USM symphony orchestra is one of the most important of his current achievements.
Daniel Petrocelli is a leading Venezuelan guitarist of his generation, recognized for his achievements in national and international competitions, winning first prize at the 2014 III Alirio Díaz National Guitar Competition in Carora, Venezuela, and third prizes at the 2015 XVIII Alirio Díaz International Guitar Competition, the 2020 Rust International Guitar Competition in Austria, and the 2024 Florida Guitar Competition and Festival in Tallahassee, Florida. He has performed at festivals in Venezuela, Mexico, the U.S., Russia and Saint Lucia, captivating audiences with his charisma and energy.
Petrocelli has premiered works such as Variaciones Lumière by Luis Ochoa and Cita Concertante by Eduardo Martín, performing with notable musicians like José Luis Lara. As part of the Amalgam Guitar Duet with Wolfgang Salazar, he played major works, including Castelnuovo-Tedesco’s Concerto for Two Guitars and Orchestra, Op. 201, and Piazzolla’s Tango Suite. Most recently, he premiered Juan Erena’s Heart of Earth, featured in the album, The World We Build. Petrocelli also composes for solo guitar and ensembles, with works like Tensión Líquida and Waltz Impromptu available on Spotify and Apple Music.
His education includes an associate degree with honors from the Carlos Afanador Real Conservatory, a summa cum laude bachelor’s in classical guitar performance from the Universidad Nacional Experimental de las Artes, and a Bachelor’s in Education from Universidad Nacional Experimental Simón Rodríguez.
With 14 years of teaching experience, Petrocelli has mentored students who achieved national recognition. In 2024, he received a graduate assistantship at The University of Southern Mississippi, where he pursues a master’s degree in guitar performance under the guidance of Dr. Nicholas Ciraldo. He continuously performs at national and international competitions in the United States and also offers public performances in various communities in Hattiesburg, bringing some of his Venezuelan heritage within his repertoire.
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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
Tennessee Ernie Ford Music Scholarship Endowment
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
J. Larry and Linda B. Smith Music Scholarship Endowment
Mary Bess Matthews Memorial Orchestral Annual Scholarship
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.
