REALM in
2024-2025 SEASON | FALL
WELCOME FROM THE EXECUTIVE
DIRECTOR
Dear Friends and Supporters of the Worthington Chamber Orchestra,
It is with great pride and excitement that I introduce myself as the new Executive Director of the Worthington Chamber Orchestra. As I step into this role, I am honored to join an organization with such a rich tradition of artistic excellence and community engagement. Antoine T. Clark and our incredible musicians have built a legacy of bringing the transformative power of music to Worthington, and I am eager to support and amplify that vision.
In Nature’s Realm is a celebration of the connection between music, the natural world, and the community we are privileged to serve. As we explore the beauty of nature through the timeless works of the Benedicta Enrile Masterworks Series, we will continue our deep commitment to making music accessible to all, through family programming and educational outreach. The Worthington Chamber Orchestra is more than a performance ensemble—it is a cornerstone of cultural enrichment for our community, and it is a responsibility I take seriously to ensure we continue to thrive for many seasons to come.
In addition to supporting the artistic vision of the WCO, I’m dedicated to ensuring that the orchestra remains a strong and lasting part of our community. By carefully managing our resources and planning thoughtfully for the future, we can continue to grow while staying on solid financial ground. Whether you’ve been a supporter for years or are considering becoming an individual donor or corporate sponsor for the first time, please know that every contribution is used with great care to ensure the WCO thrives for many years to come. Together, we can make sure that the joy and inspiration we bring through music is something we can all enjoy for generations.
To our Board, staff, musicians, and, most importantly, our patrons—you are the foundation of our success, and it is with your passion and commitment that we are able to realize our mission. I look forward to embarking on this journey with all of you, and I am confident that, together, we will continue to elevate the Worthington Chamber Orchestra to new heights.
Thank you for your trust, support, and belief in the power of music. I am thrilled to share this season with you and to begin my tenure in partnership with such an extraordinary community.
Wishing you Peace, Harmony, and Community,
Executive Director Worthington
Chamber Orchestra
Dear Friends,
LETTER FROM THE ARTISTIC AND MUSIC DIRECTOR
Welcome to the Worthington Chamber Orchestra’s 2024-2025 season! As we embark on our 12th year, I feel immense pride and excitement in seeing how far we’ve come. What began as a small initiative has blossomed into a vibrant musical force, deeply woven into the fabric of the Worthington community.
This season, In Nature’s Realm, celebrates our journey and the growing bond between the orchestra and the community we serve. The WCO has expanded in both performance scope and programming, as well as in our connections with local artists and you—our loyal supporters. Your enthusiasm has fueled our growth, inspiring us to reach new heights.
We are thrilled to present a season that reflects our commitment to artistic excellence and community engagement. In collaboration with the Worthington Partnership’s “Green Team” and the Ohio Plein Air Society, we embrace the beauty of nature and foster environmental stewardship. The Benedicta Enrile Masterworks Series will transport you through changing seasons, glowing sunsets, and the majesty of the sea and mountains, while celebrating the connection between music, visual art, and nature.
But our evolution is not just about what we perform—it’s also about how we engage. This season, we proudly continue our Education and Family Series, offering opportunities for young people and families to experience the joy of live music. Programs like Peter and the Wolf with Hixon Dance and WorthingTunes: Kate and the Beanstalk, in partnership with Worthington Libraries, aim to spark curiosity and foster a lifelong love of music in the next generation.
As we begin this new season, I am incredibly grateful for the support of the WCO Board, staff, musicians, and, most of all, you. Your commitment has been vital to our journey, and I look forward to continuing our growth together. This season promises to celebrate not just music, but community, connection, and the beauty around us.
Thank you for being part of the Worthington Chamber Orchestra family. I am excited to share this remarkable season with you.
Warm regards,
Antoine T. Clark Artistic and Music Director Worthington Chamber Orchestra
Board of Trustees
Michael Ball, President
Darnell Perkins, Treasurer
Frank Shepherd, Secretary
Beth Ann Ball
Ben Cooper
Benedicta Enrile
Jennifer Hambrick
Bronwynn Hopton
Lori Overmyer
Lorraine Robinson
Ellen Stukenberg
Charlie Warner
Staff
Nathan Ogg, Executive Director
Antoine T. Clark, Artistic and Music Director
Anne Zavaglia, Orchestra Manager
Daniel Hange, Production Manager
Tyler Norin, Conducting Apprentice
OUR MISSION
The mission of the Worthington Chamber Orchestra (WCO) is to support local artists while providing diverse and dynamic programming that entertains, inspires, and fosters music education. WCO cultivates relationships between artists and the Worthington community.
IN NATURE’S REALM
The Worthington Chamber Orchestra is thrilled to announce its 2024-2025 season under the leadership of founding artistic and music director, Antoine T. Clark. The 2024-2025 Benedicta Enrile Masterworks theme, In Nature’s Realm, celebrates the natural world in lush musical landscapes and vibrant visual art. The chamber orchestra is teaming up with Worthington Partnership’s “Green Team” to promote sustainability and to help Worthington become a more earth-conscious community. Through the “Let’s Grow Native, Worthington” initiative, WCO and the Green Team encourage native plantings throughout the city to better support our ecosystem. WCO performances throughout the season will feature paintings by members of the Ohio Plein Air Society.
The Benedicta Enrile Masterworks Series will include three concerts that celebrate the natural world:
Vivaldi and The Four Seasons: Experience Vivaldi’s The Four Seasons alongside Michael Abels’ More Seasons and Beethoven’s Symphony No. 6 (“Pastoral”), with violinist Aurelian Oprea and plein air artist Robin Roberts.
Debussy and Sunsets: Enjoy a serene evening featuring Debussy’s Prelude to the Afternoon of a Faun, Rebecca Clarke’s Viola Concerto, Ralph Vaughn Williams’ Serenade in A minor, and the world premiere of Korine Fujiwara’s Sunsets Like Childhood for string orchestra, with plein air artist Angela Gage.
Brahms, the Sea and Mountains: Be transported by the grandeur of nature with Britten’s Four Sea Interludes, Brahms’ Symphony No. 1, and Mountains Upon Mountains, Like Waves Upon Waves, featuring the Tower Duo and plein air artist Christopher Leeper.
The Education and Family Series features:
Peter and the Wolf with Hixon Dance: Witness a magical performance of Prokofiev’s Peter and the Wolf with choreography by Hixon Dance, under the direction of Sarah Hixon.
WorthingTunes: Engage young listeners with Kate and the Beanstalk, narrated by Jodi Langley in an interactive and delightful morning of music at the Old Worthington Library.
The 2024-2025 season, In Nature’s Realm, promises to be an unforgettable journey celebrating the beauty of our natural world. Through its diverse and dynamic programming, WCO continues its mission to entertain, inspire, and foster a deep connection between music, art, and the community. Join us for a season where music and nature unite to create an extraordinary experience.
WCO ARTISTIC / MUSIC DIRECTOR
Compelling interpretations, inventive performances, and an energetic stage presence are the hallmarks of American conductor Antoine T. Clark.
He is the founding Artistic and Music Director of the Worthington Chamber Orchestra in Ohio (formerly McConnell Arts Center Chamber Orchestra, established in 2013) and a passionate advocate for expanding access to classical music and fostering community engagement. Mr. Clark is the recipient of the Columbus Symphony 2024 Music Educator Award and the Greater Columbus Arts Council’s 2024 Arts Elevated Award. In 2022, he served as Cincinnati Symphony’s MAC Music Innovator. The program, which highlights leading African American classical musicians who embody artistry, innovation, and commitment to education and community engagement, saw Clark leading chamber music and orchestral performances in schools and throughout the community during his residency.
In the 2024-2025 season, Mr. Clark embarks on his twelfth season with the Worthington Chamber Orchestra, leading the ensemble in a Masterworks series titled In Nature’s Realm. The season celebrates the natural world through lush musical landscapes and vibrant visual art, featuring collaborations with plein air painters from the Ohio Plein Air Society. The orchestra is also partnering with the Worthington Partnership’s “Green Team” on the “Let’s Grow Native, Worthington” initiative, which promotes sustainability and native plantings throughout the city to support local ecosystems. Additionally, Mr. Clark will conduct Carl Orff’s Carmina Burana in collaboration with the Oyo Dance Company.
“Clark, who led from the podium with balletic poise.”
Mr. Clark is dedicated to building strong community relationships and creating bold programs featuring innovative collaborations with artists across various disciplines. His past projects have included working with sculptors, dancers, poets, and fiber artists. For the 2024-2025 season, he is collaborating with plein air painters from the Ohio Plein Air Society, reflecting his commitment to interdisciplinary creativity and engagement.
During the 2023-2024 season, Mr. Clark was appointed Associate Conductor of the Wheeling Symphony Orchestra after serving as Assistant Conductor. Fall 2023 saw guest conducting engagements with the South Carolina Philharmonic, a two-city New York tour with the Gateways Music Festival, performances with the Walla Walla Symphony, and the Lima Symphony’s New Year’s Eve concert. In the summer of 2024, he conducted the Juneteenth Festival Orchestra at UCLA.
Additional recent highlights include performances with the Spartanburg Philharmonic, Symphony Tacoma, Elgin Symphony Orchestra, New Jersey Symphony, and the Cincinnati Symphony Orchestra. His past guest conducting engagements also include the Dayton Philharmonic, Richmond Symphony, and the Gateways Music Festival Orchestra. He has also conducted performances with the Vermont Symphony Orchestra and Opera Columbus.
Clark’s earlier professional posts include Assistant Conductor of the Chicago Sinfonietta, Assistant Conductor of the Gateways Music Festival Orchestra, Music Director of the Ohio Wesleyan University Chamber Orchestra, and Music Director of the Ohio Northern University Symphony. He has also served as a cover conductor for the Lancaster Festival Orchestra.
His work has garnered praise, including the Chicago Tribune’s recognition of his “balletic poise” during the premiere of Joel Thompson’s breathe/burn: an elegy with Chicago Sinfonietta.
- Chicago Tribune
Mr. Clark is deeply committed to enhancing music education and broadening its reach. He serves on the Columbus Symphony Orchestra’s Education Committee and as the Music Director and Conductor of the Northern Ohio Youth Orchestra’s Philharmonia Orchestra, which has been invited to perform at the 2025 Ohio Music Education Association conference. His educational work spans teaching students from young beginners to college music majors and leading initiatives that aim to increase access to music and engage diverse communities.
A frequent speaker on expanding opportunities within the arts, Clark has participated in panels and events with the International Conductors Guild, Chicago Sinfonietta, and the 2021 Youth Orchestras Online DEI panel, a collaboration between Cincinnati Symphony Orchestra, Atlanta Symphony, and the Columbus Symphony Youth Orchestras. He has also contributed to the Washington Musical Pathway’s Workshop: Career in Music Panel and the Columbus Symphony Youth Orchestra’s Workshop Academy, collaborating with organizations to promote inclusive practices and foster a welcoming environment for all.
A strong advocate for new music, Mr. Clark regularly commissions works for the symphonic and chamber music repertoire. In the 2024-2025 season, he will premiere commissioned works by composers Korine Fujiwara and Evan Williams. He has previously worked with composers such as Mark Lomax II, Jacob Reed, Michael Rene Torres, Matthew Saunders, Christopher Weait, Linda Kernohan, Ching-chu Hu, and Vera Stanojević.
He was awarded 3rd Prize in the 2024 Los Angeles Conducting Workshop and Competition and has participated in numerous prestigious festivals, including the Cabrillo Festival of Contemporary Music and the Monteux School and Music Festival. He has also been a Project Inclusion Conducting Freeman Fellow with Chicago Sinfonietta.
ORCHESTRA PERSONNEL
First Violin
Devin Copfer, concertmaster
Benedicta Enrile Chair
Liz Fisher, assistant concertmaster
Lane Champa
Nia Dewberry
Pavana Stetzik
Anne Zavaglia
Second Violin
Ella Pittsford, principal
Nancy Elkington and Ted Dziemianowcz Chair
Nora Dukart
Laura Gauntner Koh
Emily Chen
Viola
Ann Schnapp, principal
Nancy Elkington and Ted Dziemianowcz Chair
Vince Huzicka
Rachel Tweedy
Jaryn Danz
Cello
Amadeus Twu, principal
Lori and Don Overymyer Chair
Fan Zeng
Ellen Stukenberg Chair
Aiden Sullivan
Michelle Geissbuhler Chair
Double Bass
Aidan Terry, principal
Mick and Beth Ann Ball Chair
Jeff Weeks
Flute
Katie Kuvin, principal
Julie Dawson Chair
Amara Guitry
Julie Dawson Chair
Piccolo
Amara Guitry
Alexis Hefley
Oboe
Brad Walsh, principal
Kelli Lawrence
Clarinet
Nancy Gamso, principal
Charlie and Betsy Warner Chair
Evan Lynch
David and Bronwynn Hopton Chair
Bassoon
Scott Hanratty, principal
Frank and Connie Shepherd Chair
Emily Klepinger
Horn
Mitchell McCrady, principal
William Holderby
Dan and Ginny Bryan Chair
Trumpet
Dale Nawrocki, principal
Carolyn Harding Chair
In Honor of Old Growth Oak Groves of Worthington
Luke Bingham
Trombone
Doug Moran, principal
Benjamin Coy
Timpani
Ben Shaheen, principal
Linda Royalty Chair
Piano
Suzanne Newcomb, principal
James C. Bieber Chair
A huge thank you to our Chair Sponsors who have made this season possible. If you are interested in sponsoring a chair, please contact us at worthingtonchamberorchestra@gmail.com.
In Nature’s Realm
Vivaldi and The Four Seasons
Sunday, November 10, 2024, 5 pm
Worthington United Methodist Church
Antoine T. Clark, conductor
Aurelian Oprea, violin
Robin Roberts, plein air artist
PROGRAM
The Four Seasons, Op. 8, 1-4 (1717)............................................
1. Concerto No. 1 in E major, Op. 8, RV 269, “Spring”
I. Allegro
II. Largo e pianissimo
III. Allegro
2. Concerto No. 2 in G minor, Op. 8, RV 315, “Summer”
I. Allegro ma non molto
II. Adagio e piano – Presto e forte
III. Presto
3. Concerto No. 3 in F major, Op. 8, RV 293, “Autumn”
I. Allegro
II. Adagio molto
III. Allegro
4. Concerto No. 4 in F minor, Op. 8, RV 297, “Winter”
I. Allegro non molto
II. Largo
III. Allegro
Antonio Vivaldi (1678-1741)
Aurelian Oprea, violin
More Seasons (1999) Michael Abels (b.1962)
INTERMISSION
Symphony No. 6 in F major, Op. 68, “Pastoral” (1808) Ludwig van Beethoven (1770-1827)
I. Awakening of cheerful feelings on arrival in the countryside
II. Scene by the brook
III. Merry gathering of country folk
IV. Thunder, Storm
V. Shepherd’s song. Cheerful and thankful feelings after the storm
PROGRAM NOTES
Antonio Vivaldi
Born March 4, 1678, Venice: Died July 28, 1741, Vienna
The Four Seasons
Around 1717, Vivaldi embarked on a multi-year venture across Italy to oversee productions of his operas. During his travels, he made contact with Count Wenceslas Morzin, a Bohemian diplomat who made frequent visits to Venice as part of his official duties and was also one of Vivaldi’s biggest fans. Morzin had an excellent orchestra at his estate and, in a bid to keep himself supplied with music by one of his favorite composers, appointed Vivaldi as his “Maestro of Music in Italy,” meaning that Vivaldi would receive a salary in return for producing music remotely and sending new pieces to Morzin’s court a few times a year. The Four Seasons was originally composed as part of these special deliveries and, by all accounts, Morzin appears to have been quite pleased with them. The Four Seasons was published in Amsterdam in 1725 as part of a collection of twelve violin concertos titled The Contest of Harmony and Invention, Opus 8, which sought to emphasize Vivaldi’s equal skills in traditional music writing and natural creativity. In the dedication, Vivaldi mentions that the concertos had already been performed in Morzin’s court and goes on to explain: “…I have considered them worthy of publishing because, while they may be the same as what you remember, they are more substantial considering that they are accompanied by their sonnets, which contain a very clear statement of all the things depicted in these works, making them seem new.” Here, Vivaldi refers to the descriptive Italian sonnets – quite possibly written by Vivaldi himself – that establish a detailed program for each concerto. The composer took great pains to make a clear link between music and text in the score, marking the locations of the stanzas and providing captions over individual parts to indicate exactly where the effects mentioned in the poems are taking place.
The gentle Spring concerto is likely the best known of The Four Seasons, particularly the first movement with its imitations of bird calls and the menacing tremolo passages representing thunder. The solo part of the second movement depicts a shepherd napping blissfully in a field as the violas depict his barking dog. The third movement is a pastoral country dance supported by the lower instruments imitating a rustic bagpipe drone.
Summer is harsh with heat and violent storms. The first movement opens with short rising figures representing the oppressive heat endured by a shepherd and his flock. The cuckoo, turtledove, and goldfinch call from the surrounding trees, but are silenced by a strong gust of wind. In the second movement, the exhausted shepherd’s plaintive line in the solo violin is continually disturbed by rumbles of thunder in the low strings and dotted figures signifying buzzing flies. In the third movement, the storm wreaks havoc on the countryside.
Autumn starts with a rollicking peasant dance colored by widely fluctuating tempos and increasingly off-kilter scales in the solo violin as the revelers consume more and more alcohol. The drunken merrymakers eventually drift off to sleep in the second movement, but suddenly a group of huntsmen jolts everyone awake in the third movement with lively horn calls and pizzicato “gunshots” from the nearby forest.
Winter begins with shivering figures in the orchestra and gusts of biting cold wind in the solo violin. The scene shifts indoors for the second movement as the solo violin depicts the comfort of a warm fire and the orchestra mimics raindrops falling outside. In the third movement, people slip and fall on the ice as they battle to make headway against the intense winter winds, fighting for every step.
Spring
Allegro
Springtime is upon us.
The birds celebrate her return with festive song, and murmuring streams are softly caressed by the breezes.
Thunderstorms, those heralds of Spring, roar, casting their dark mantle over heaven, Then they die away to silence, and the birds take up their charming songs once more.
Largo e pianissimo
On the flower-strewn meadow, with leafy branches rustling overhead, the goat-herd sleeps, his faithful dog beside him.
Allegro
Led by the festive sound of rustic bagpipes, nymphs and shepherds lightly dance beneath the brilliant canopy of spring.
Summer
Allegro ma non molto
Beneath the blazing sun’s relentless heat men and flocks are sweltering, pines are scorched.
We hear the cuckoo’s voice; then sweet songs of the turtle dove and finch are heard. Soft breezes stir the air….but threatening north wind sweeps them suddenly aside. The shepherd trembles, fearful of violent storm and what may lie ahead.
Adagio e piano - Presto e forte
His limbs are now awakened from their repose by fear of lightning’s flash and thunder’s roar, as gnats and flies buzz furiously around.
Presto
Alas, his worst fears were justified, as the heavens roar and great hailstones beat down upon the proudly standing corn.
Autumn
Allegro
The peasant celebrates with song and dance the harvest safely gathered in. The cup of Bacchus flows freely, and many find their relief in deep slumber.
Adagio molto
The singing and the dancing die away as cooling breezes fan the pleasant air, inviting all to sleep without a care.
Allegro
The hunters emerge at dawn, ready for the chase, with horns and dogs and cries. Their quarry flees while they give chase. Terrified and wounded, the prey struggles on, but, harried, dies.
Winter
Allegro non molto
Shivering, frozen mid the frosty snow in biting, stinging winds; running to and fro to stamp one’s icy feet, teeth chattering in the bitter chill.
Largo
To rest contentedly beside the hearth, while those outside are drenched by pouring rain.
Allegro
We tread the icy path slowly and cautiously, for fear of tripping and falling. Then turn abruptly, slip, crash on the ground and, rising, hasten on across the ice lest it cracks up.
We feel the chill north winds coarse through the home despite the locked and bolted doors… this is winter, which nonetheless brings its own delights.
Michael Abels
Born October 8, 1962, Phoenix
More Seasons
Abels has spent his career composing film scores and concert works that have been met with great acclaim. He has been nominated for both Emmy and Grammy awards and received a Pulitzer Prize in 2023 for his opera Omar. His concert pieces have been performed by some of America’s leading ensembles, resulting in a number of prominent commissions and professional collaborations. More Seasons was published in 1999 and borrows from Vivaldi’s concertos “Spring” and ‘Summer” from the Four Seasons for its musical content. As Abels has explained in interviews, he sampled motives from Vivaldi’s original and then “do my own thing with it,” resulting in a piece that Abels jokingly calls “Vivaldi in a Mixmaster.” According to the composer, More Seasons highlights the connections between eighteenth-century Baroque music and minimalist compositions from the twentieth century, drawing out their shared musical characteristics. Most notably, the styles share aspects of continual repetition, a focus on rhythm, a preference for stable formal structures, and an exploration of the balance between complexity and simplicity. More Seasons opens quite recognizably with Vivaldi’s music, but quickly begins to move in a different direction as the Baroque master’s ideas are deconstructed and rearranged to take on an entirely new form. “By the time you get to the end,” says Abels, “it’s more like you’re looking at a beautiful Baroque chalk drawing, but somehow it has been out in the rain and all the colors are running…you can see elements of what it was and yet it’s more impressionistic.” More Seasons is a unique work that easily draws in listeners with its engaging new take on an old classic.
Ludwig van Beethoven
Baptized December 17, 1770, Bonn: Died March 26, 1827, Vienna Symphony No. 6 in F major, Op. 68 “Pastoral”
Beethoven completed the idyllic Sixth Symphony in the summer of 1808, just a few months after putting the finishing touches on his brooding, turbulent Fifth Symphony. Both pieces had their premiere on December 22, 1808, in a lengthy all-Beethoven benefit concert at the Theater an der Wien that included the premiere of the Choral Fantasy, the premiere of the Fourth Piano Concerto with Beethoven as the soloist, and various shorter works such as movements from the C Major Mass, the concert aria “Ah! Perfido”, and some piano improvisations played by the composer. The marathon performance lasted over four hours, prompting one audience member to remark that he had “experienced the truth that one can easily have too much of a good thing…”
The Fifth and the Sixth Symphonies both represent bold musical experiments, though in vastly contrasting ways. Compared to the technical and intellectual feats of the Fifth, the Sixth was a departure from convention with its focus on depicting real-world events musically, in this case, the sounds and experiences of nature. Using non-musical ideas as the basis for a piece of music was nothing new, but using them as the foundation for the esteemed genre of the symphony was a somewhat controversial decision. In the program book for the first performance, Beethoven stressed that the Sixth was “more of an expression of feeling than painting,” meaning that experiencing the sensations and emotions invoked by the music was more important than knowing precisely which aspect of nature each musical gesture represented. Beethoven similarly jotted in
the margin of his notebook: “Anyone who has the faintest idea of rural life will have no need of descriptive titles to enable him to imagine for himself what the composer intends. Even without a description one will be able to recognize it all.”
Beethoven famously loved nature and his daily walks on the outskirts of Vienna were an important source of respite and solitude for the troubled composer. His deafness made human interaction difficult, but he could renew his spirit as he ambled through the woods and fields, jotting down musical ideas on a scrap of paper tucked into his jacket pocket. The opening measures of the first movement, “Awakening of Happy Feelings Upon Arriving in the Country,” feel like the dawning of a new world, a feeling the composer must have had many times as he ventured into the countryside. The violins spin out a leisurely tune from which various melodic and rhythmic motives will be extracted and developed by the orchestra. The delicately scored second movement, “Scene by the Brook,” is built on gentle triplets reminiscent of trickling water. High notes and trills suggest bird calls, which Beethoven confirms in the coda by noting the type of bird in the score next to each passage. The flute’s trilling song of the nightingale, the oboe’s peeping quail, and distinctive cuckoo of the double clarinets make for a peaceful close. The calm is broken by a rousing peasant dance in “Merry Gathering of Country Folk” in which joyful revelers stomp and cavort to the strains of a village band that often feels slightly out of sorts. The festivities are halted by the arrival of the turbulent fourth movement, “Thunderstorm.” A gentle patter of raindrops in the strings quickly explodes into a climax of thunder, lightning, wind, and heavy rain. As the storm passes, the hymn-like tune of “Shepherd’s Song – Happy and Thankful Feelings after the Storm” restores the comforting peace of the first movement.
- Program notes by Heike Hoffer
HEIKE HOFFER | PROGRAM NOTES AUTHOR
Heike Hoffer completed a Master’s degree in Oboe Performance at the University of Minnesota in 2002 and then accepted a full-time position in the Music Department at the University of Texas Rio Grande Valley, where she taught music history and oboe for five years. She resumed her graduate studies in 2009, receiving a Master’s degree in Musicology from the University of Arizona and then entered The Ohio State University to pursue a Ph.D. in Musicology. After moving to Japan in 2015 to conduct dissertation research, she completed her Ph.D. at OSU in 2022 with a thesis on the use of Beethoven’s “Ode to Joy” melody as part of anime’s musical score and possible interpretations of this music by Japanese viewers. Her research interests focus primarily on the relationship between Western classical music and anime in terms of the cultural landscape of modern Japan, and she has published articles on the subject in both major international presses and prominent academic journals. Today, Heike lives in Tokyo with her husband, where they watch all of the latest anime and work together on various academic projects.
AURELIAN OPREA | VIOLIN
Born in Cluj-Napoca, Romania, Aurelian Oprea grew up in a musical family and is a fourth-generation professional violinist. He is trilingual and fluent in Romanian, Hungarian, and English. Mr. Oprea studied with Stefan Ruha in Romania and with Vasile Beluska at Bowling Green State University. He won his first professional audition at the age of 20, becoming the youngest member of the Detroit Opera Orchestra.
Mr. Oprea has been featured as a soloist on concertos by Bach, Vivaldi, Haydn, Mozart, Kabalevsky, Khachaturian, and his transcription for electric violin of Friedrich Gulda’s Concerto for Cello and Wind Ensemble. He is the associate concertmaster of the Dayton Philharmonic Orchestra, concertmaster of the Bach Society of Dayton, and an associate musician with the Columbus Symphony Orchestra.
ROBIN ROBERTS | PLEIN AIR ARTIST
Painting is Robin’s way to be with God and His creation. He wants to soak it in, understand it as well as he can, and then capture the special beauty of life as light and shadow fill the scene. Robin prefers to paint outdoors directly on site. He feels it is the best way to capture the immediacy of the moment. It allows him to immerse himself in the subject. Nature never fails to reward and challenge him as an artist with its constantly changing colors, light, and atmosphere.
While he enjoys painting in several mediums, his focus right now is watercolor painting and the energy and emotion that it presents. Robin sees every painting as a journey of new opportunity and growth.
Robin graduated from Ashland (College) University in 1982 with a Bachelor of Science in Visual Communication after spending one year of intensive study at the Art Institute of Pittsburgh. After years of work at agencies and as the Creative Director at Rubbermaid in Wooster, Ohio, Robin opened Red Red Design, a graphic design studio in Ashland, Ohio, in 2001.
oil and watercolor painting by Robin Roberts
Fall Buck Taking Refuge
Athens Ohio Redbud Tree
After the Rain
EDUCATION AND FAMILY SERIES
Peter and the Wolf with Hixon Dance
Saturday, October 12, 2024, 11:00 am & 3:00 pm
Sunday, October 13, 2024, 3:00 pm
McConnell Arts Center
Antoine T. Clark, conductor
Sarah Hixon, choreographer and stage direction
Jeff Horst, narrator
PROGRAM
Peter and the Wolf, Op. 67 (1936)......................................................Sergei Prokofiev (1891-1953) arr. by David Matthews
I. Introduction
II. The Story Begins
III. The Bird
IV. The Duck, Dialogue With the Bird, Attack of the Cat
V. Grandfather
VI. The Wolf
VII. The Duck is Caught
VIII. The Wolf Stalks the Bird & the Cat
IX. Peter Prepares to Catch the Wolf
X. The Bird Diverts the Wolf
XI. Peter Catches the Wolf
XII. The Hunters Arrive
XIII. The Procession to the Zoo
Peter and the Wolf, Op. 67 (for narrator and orchestra) Composed by Sergei Prokofiev Presented under license by G. Schirmer, Inc., copyright owners
ORCHESTRA PERSONNEL
Violin I
Devin Copfer, concertmaster
Violin II
Ella Pittsford
Viola
Deborah Barrett Price
Cello
Jane Van Voorhis
Bass
Aidan Terry
Narrator/Grandfather
Jeff Horst
Peter
Alex Graban (Sat.)
Sarah Vah (Sun.)
Set Design
Chris Leyva
Set Painting
Johanna Breiding
Flute
Erin Helgeson Torres
Oboe
Melanie Garcia
Clarinet
Nancy Gamso
Bassoon
Scott Hanratty
Horn
Andrew Waite
CAST OF CHARACTERS
(in order of appearance)
The Bird
Alicia Hann
The Duck
Ellie Bearss
The Cat
Samantha Conte (Sat.)
Lisa Horton (Sun.)
PRODUCTION STAFF
Costumes
Val Frizell and Jasime
Shafley
Set Construction
David Jon Krohn
Percussion
Ben Shaheen
Piano
Suzanne Newcomb
The Wolf
Anne Raspe
Hunter 1
Sarah Price
Hunter 2
Sarah Vah (Sat.)
Ellie Bearss (Sun.)
Prop Assistance
Collin Phillips
PROGRAM NOTES
Sergei Prokofiev
Born April 23, 1891, Sontsovka: Died March 5, 1953, Moscow
“Peter and the Wolf” Symphonic Tale for Children, Op. 67
Prokofiev has long been viewed as a “bad boy” of twentieth-century music who pushed the limits with his highly original compositions and commanding performance style. His prowess as a piano soloist astonished crowds and professionals alike as he whipped off the most challenging concertos with ease, never breaking a sweat even in the most technically demanding passages. As a composer, his scores were steeped in the lush sounds of Romanticism but also displayed a strong personal style built on shocking dissonances, angularity, and an attraction to satire. Producing music that was seemingly designed to provoke the audience rather than delight them quickly earned Prokofiev a reputation as a daring, but difficult to understand, genius.
Unlike most Russian composers, Prokofiev spent much of his career in America and Europe, gaining a perspective on life and artistic freedom that was very different from his contemporaries living in restrictive Soviet Russia. From around 1920, he worked primarily out of Paris but still returned to Russia regularly to perform, never relinquishing his Soviet passport. In 1936, Prokofiev made the surprising decision to return to Russia voluntarily. It seems impossible that he was not aware of the oppressive atmosphere endured by artists under Stalin’s regime, so one can only assume that Prokofiev had full knowledge of the hardships that awaited him.
Much of the information about the genesis of Peter and the Wolf comes from the autobiography of Natalia Sats from 1979, in which she describes in detail how the piece came to be and her role in its creation. Sats was the director of the Central Children’s Theater in Moscow, an organization that produced a bespoke repertoire of plays and operas for children. Prokofiev frequented the theater with his wife and two young sons, and Sats offers an amusing description of their first visit: “In June 1935, a great event occurred at a performance of Polovinkin’s opera The Tale of the Fisherman and the Goldfish. The performance had already begun when our business manager came into my office and said, in breathless excitement: ‘Sergei Prokofiev is in the audience, I’ve just taken him to the manager’s box. He’s here with his wife and sons.’ No wonder he was excited. I went to a box opposite the manager’s and could just make out Prokofiev in the semi-darkness (before that, I had only seen photos of him). The performance went very badly and when afterwards I was introduced to him I felt so awful I couldn’t even smile properly. In his ginger-colored foreign suit he seemed stiff and haughty. He answered my questions reluctantly and monosyllabically. His wife and children, on the contrary, were pleased and friendly, and I thought I might hope to see the family again.”
With each of his subsequent visits to the theater, Sats and Prokofiev got to know each other better until finally Sats worked up the courage to ask the composer to contribute a work to their repertoire. Prokofiev had already produced a few short pieces for children, but Sats wanted something suitable for the stage with a theatrical flair. “What I had in mind,” she wrote, “was a fairy tale for symphony orchestra in which music and speech would be combined. I had never heard of such a work before, but it seemed a not impossible idea: trying to connect speech and music in some entertaining way, to hold our children-audience’s attention? The type of ‘symphonic fairy tale’ I had in mind
might help us to introduce the children to the musical instruments and their specific sounds.” Luckily, Prokofiev was receptive to the idea and agreed to the commission.
The first version of the libretto by children’s author Nina Sakonskaya did not please Prokofiev at all, and he complained that her singsongy, rhymed text would be a distraction from the musical content. In addition, he hated the story, which parroted a typical plot from Soviet children’s propaganda. Instead, Prokofiev wrote the narration himself, paying close attention to how the words would interact with the music while making sure that the story remained in line with Soviet values. Having just returned from the “corrupt” and “decadent” West, Prokofiev needed to show his adherence to the political climate and his willingness to create works required by socialist realism. Prokofiev’s story centers on the actions of Peter, who is a member of the Young Pioneers youth organization, a government-backed propaganda agency that was similar to the Boy Scouts, but not optional. Peter exemplifies the virtues expected of good Soviet children in his bravery, cleverness, willingness to help, and sense of justice, to name only a few of his many desirable qualities. His grandfather, a representative of the frustratingly stubborn older generation, is initially against Peter’s actions, but is ultimately proud of his resourceful grandson’s youthful initiative. More broadly, the image of man conquering nature is an additional theme in the story that was an important part of Soviet virtues.
As for music, the instruments of the orchestra illustrate the characters and narrative events by expanding on the narrator’s verbal prompts. Prokofiev was especially interested in the idea of contrasts, saying: “…we should begin with specific and striking contrasts: the wolf and the bird, the evil and the good, the big and the small. The characters’ individuality will be expressed in the timbres of different instruments, and each of them will have a leitmotiv.” By assigning one instrument to each character, children can recognize each of the major instrumental groups: wholesome Peter is represented by the strings, the excitable bird by the flute, the amusing duck by the oboe, the sneaky cat by the clarinet, the grumpy grandfather by the bassoon, the fearsome wolf by three French horns, and finally the gunshots of the hunters by the kettle drums and bass drum.
Work on Peter and the Wolf progressed quickly with the piano draft completed on April 15, 1936, and the full orchestration finished by April 24. Sats held an informal run-through in her office with about a dozen children in attendance and described her delight with the result: “The children liked the piece, I could tell that at once by the way they listened. Children sometimes praise a work enthusiastically when it is over, but they fidget and chat during the performance. And here the little imps were sitting as quiet as mice, though the symphony lasted twenty-four minutes without a break. ‘Is that the end?’ asked a disappointed voice, and several others clamored for more. Prokofiev had to play the final march three times over. You can imagine my joy to be at the birth of a musical masterpiece, one that would help millions of children to understand music and come to love it.” The formal premiere of Peter and the Wolf went mostly unnoticed, but a performance on May 5 for a festival of Soviet art sealed its fame. Journalists from Europe and America, who were already familiar with Prokofiev’s bad-boy image, attended the event in Moscow unsure of what to expect from a composer who had so recently returned to the Soviet fold. But their fears were unfounded and the charming Peter and the Wolf was an instant hit. Now, ninety years later, Peter and the Wolf remains an important component of children’s musical education worldwide.
SYNOPSIS: Peter lives with his grandfather in a forest clearing. One day, Peter ignores his grandfather’s warnings and goes out to play in the meadow, leaving the gate open behind him. His inattentiveness allows a duck to escape from the garden. A bird joins the group and Peter warns the animals that a local cat is hunting them. Seeking safety, the bird flies up a tree and the duck swims to the middle of the pond.
Peter’s grandfather catches him in the meadow and scolds him, saying that he could be attacked by a wolf. Peter scoffs at the suggestion, but the grandfather drags Peter back to the house and locks the gate firmly behind them. Moments later, a large gray wolf slinks out of the forest. The cat and bird escape into the tree, but the duck is too slow and is swallowed by the wolf.
Peter sees these events from inside the house and climbs over the garden wall, joining the cat and bird in the tree. The bird flies around the wolf’s head as a distraction as Peter makes a noose in a rope and manages to snag the wolf by the tail, capturing it. Suddenly, some hunters appear and Peter convinces them to deliver the wolf to the zoo instead of killing it. They gather into a makeshift victory parade with the triumphant Peter leading the way. Finally, the narrator reveals the fate of the duck. Having been swallowed whole, the duck is alive in the wolf’s belly, quacking away.
- Program notes by Heike Hoffer
SARAH HIXON | ARTISTIC DIRECTOR
Sarah Hixon is a choreographer, dance educator, and the artistic director of Hixon Dance. Ms. Hixon studied choreography with Doug Varone, Bebe Miller, David Parsons, Susan Rethorst, Vera Blaine, Susan Shields, and others.
She trained at The Washington Ballet, American Repertory Theatre, and The Milwaukee Ballet, among others. She holds a BFA in Dance from George Mason University and an MFA in Choreography from The Ohio State University.
Hixon’s award-winning choreography has been presented at The Wexner Center for the Arts, The National Academy of Sciences in Washington, D.C., Joy of Motion, The Short North Stage, The Lincoln Theatre, The Fairfax Center for the Arts, The Pivot Center, and others. She has worked with Opera Project Columbus, the Worthington Chamber Orchestra, CATCO is Kids, Vox Novus, COSI, and many collaborators throughout the region. Recent collaborative partners include The Columbus Symphony, The Movement Project, poet Maggie Smith, and composer Michael Rene Torres. She has received special commendations from Congresswoman Joyce Beatty and Ohio House Representative Beth Liston for her work.
She has taught at several universities and pre-professional schools throughout Washington, D.C., and central Ohio, including The OSU Department of Dance, BalletMet Columbus, New Albany Ballet Company, Wittenberg University, George Mason University, and The Peabody Institute, among others. To learn more, please visit hixondance.com.
HIXON DANCE
Hixon Dance is a modern dance performing ensemble founded in 2007 by Sarah Hixon that is active in the performing arts throughout central Ohio and beyond. The company regularly collaborates with other artists—especially musicians—and experts in other fields to inspire, create, and produce new work. The company is committed to a multidisciplinary creative process and is known for presenting impactful works accessible to audiences, specializing in creating work to music of the 20th and 21st centuries. Past collaborators include The Columbus Symphony Orchestra, The Columbus Ohio Discovery Ensemble, Opera Project Columbus, The Worthington Chamber Orchestra, and others. The company has recently worked with composers Jacob Reed, Lauren Spavelko, Michael Rene Torres, and award-winning poet Maggie Smith.
Hixon Dance has been a mainstay of the Columbus dance community, participating in a wide array of community-centered performances, including the Columbus Dances series, GCAC’s New Choreography Project, Columbus Summer Dance Festival hosted by The Ohio State University, Vox Novus, Global Water Dances, OhioDance Festival, Ten Tiny Dances, Cleveland Dance Festival, and others. The company hosts City Dance Showcase, an annual presentation of local independent dance makers.
Education and outreach are a central component of the company’s mission, and the company strongly believes that performing arts enrich our community. They offer non-competitive and inclusive classes for ages 2 through adult at their studio in Clintonville, OH.
to attract butterflies + beneficial insects to reduce maintenance ∙ for water conservation to aid in carbon sequestration
The Worthington Partnership Green Team is very pleased to partner with the Worthington Chamber Orchestra for the upcoming season focused on nature.
The Green Team’s focus is on ways to support the natural world that is so critical to our planet with actions such as managing our waste and supporting life native to our ecosystem.
As you can see from this heading, one of our current initiatives is to expand the footprint of native plants being grown in Worthington.
The Why? on our heading describes some of the many services provided by native plants that help with problems in our ecosystem today.
We hope to engage as many Worthington residents as possible by sharing information about the importance of native plants and how to get started in your own yard.
We are currently developing a baseline of the land in Worthington that has already incorporated native plants in the landscape.
Are you familiar with the value native plants bring to our ecosystem? Do you live in Worthington? Do you have some native plants or trees on your property?
Would you like help knowing if you do? Would you like to learn how to get started?
Please contact us if you would like to learn about the Worthington Pollinator Pathway and help us connect properties that support pollinators.
Purchase
Seasonal Concerto, 14”x18” varnished watercolor by
Robin Roberts
Robin Roberts marries his love of watercolor painting with the grandeur of classical music in A Seasonal Concerto. The fluid adaptability and rich intensity of watercolors are perfect for expressing the nuances of seasonal change. The process itself was a unique and meditative journey through time, soundlessly transitioning from the gentle brushes of spring to the serene silence of winter. Viewers are invited into this symphonic dance of nature and music, to experience the seasons not just as a passage of time but as an ever-evolving performance. May it remind you of the intricate and beautiful connection between art, music and the world around us—much as Vivaldi’s masterpiece, The Four Seasons, has done for centuries.
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