MAY 1, 2015
UNIVERSITY OF HARTFORD’S
THE HARTT SCHOOL
MUSIC • DANCE • THEATRE
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4/29/15 1:45 PM
Symphonies of Wind Instruments
Hartt Wind Ensemble
Edward Cumming, guest conductor
Igor Stravinsky
(1882–1971)
T. Clark Saunders, Acting Dean
Instrumental Studies Division
David Westfall, Director
Symphony #38 in D Major (K.504) “Prague”
I. Adagio-Allegro
II. Andante
III. Finale: Presto
Vocal Studies Division
Doris Lang Kosloff, Director
W. A. Mozart
(1756–91)
Hartt Orchestra
Edward Bolkovac, guest conductor
present
Hartt Orchestra
Intermission
Edward Cumming, Music Director
Hartt Wind Ensemble
James Jackson III,
Acting Music Director
Missa in tempore belli (‘Mass in Time of War’)
Kyrie
The Hartt Camerata and Hartt Choir
Sara O’Bryan, Music Director
Elizabeth Schorr, soprano
Elizebeth Barnes, mezzo soprano
Zachary Gilbert, tenor
Alex Hunt, baritone
Gloria
The Hartt Chorale
Carolina Flores, Music Director
The Hartt Chamber Choir
Edward Bolkovac, Music Director
F. J. Haydn
(1732–1809)
Chase Gutierrez, baritone
Credo
Sanctus
Benedictus
Nadia Aguilar Regalado, soprano
Naomi Guzman-Bensdon
Luis Aguilar Regalado, tenor
Chase Gutierrez, baritone
Agnus Dei
Hartt School Choruses
Hartt Orchestra
Edward Cumming, guest conductor
Friday, May 1, 2015
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7:30 p.m.
Lincoln Theater
4/29/15 1:45 PM
Notes and Translations
Symphonies of Wind Instruments
In 1920, Igor Stravinsky wrote Symphonies of Wind Instruments
in dedication to Claude Debussy. Today the word ‘symphony’ is
understood “as an elaborate musical composition for full orchestra.”
However, the Greek origin, symphōnia, or “sounding together” is
what Stravinsky had in mind when writing Symphonies of Wind
Instruments. (The edition played this evening is from the composer’s
revision in 1947.)
Consisting of three flutes, two oboes, English horn, clarinet, three
bassoons, contrabassoon, three trumpets, three trombones, and
tuba, the piece moves through four sections: in the first section,
short phrases get tossed throughout the ensemble, building on
traditional Russian folk songs. The second section has a more
relaxed pastoral nature, as the instruments combine to create a
more elegant sound. The harsh rhythms return in the third section,
somewhat reminiscent of the jarring sounds in Stravinsky’s ballet,
Rite of Spring. The fourth section is a graceful chorale revolving
around a theme from a piano piece originally written for Debussy.
The final page is a true memorial to Stravinsky’s friend.
You may have noticed that Mozart’s Symphony #38 in D Major
(“Prague”) has only three movements listed. This is not a misprint!
From Mozart’s mature period, the Prague is the only symphony
without a minuet (third) movement. Still, the lack of a minuet has no
ill effect on the grandiosity of this magnificent work. This symphony
represents a bold leap forward in Mozart’s symphonic writing with
a much more prominent use of winds and a sophisticated use of
counterpoint.
The first movement begins with a slow introduction in the tonic
minor with contrasts between forceful dramatic outbursts and
quiet lyrical responses, thereafter launching into the allegro proper
in major with incisive and energetic articulation, engaging use of
harmonic sequences, as well as beautiful melodic writing for woodwinds and strings. The second movement is reminiscent of Mozart’s
elegant chamber music. The strings and winds share a tranquil and
poignant melody. Beethoven may have got the idea for his fifth
symphony from the Finale for it is rife with motifs, consisting of
three short notes, followed by a long note. The Finale is a joyful
romp that contains contrasting material especially highlighting the
woodwinds, as well as strings. The woodwind players at this time
were reputed to be among the best in Europe, and Mozart took full
advantage of this.
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As Kappelmeister for Prince Anton’s court, Franz Joseph Haydn was
asked to write a number of religious works for chorus and orchestra.
In the years between 1796 and 1806, Haydn wrote six masses in
celebration of the prince’s wife, called ‘name days.’ The Missa in
tempore belli (‘Mass in Time of War’), more commonly known as
the Paukenmesse (‘Timpani mass’), is scored for four vocal soloists,
choir, and orchestra.
The Kyrie begins slowly, with an arpeggiated figure that becomes the
basis not just for the theme that follows (Allegro moderato)—sung
first by a solo soprano, then later by the mezzo—but as a central
idea for the entire mass. After an exultant opening to the Gloria, it
soon settles into an adagio for baritone and solo cello, later joined
by the flute. Beginning and ending with fugal episodes for chorus
and orchestra, the middle section of the Credo shows Haydn at his
most imaginative and dramatic in writing for the solo woodwinds.
The Ordinary of the Mass usually is comprised of five sections, but
Haydn divides the Sanctus and Benedictus into separate movements,
the latter featuring a quartet of vocal soloists. Together the orchestra
and choir create a feeling of repose mixed with unease in the Agnus
Dei, in which the timpani, which has to this point been vying for
our attention throughout the mass, makes its most dramatic statement in hushed tones, barely audible. The Haydn biographer, Georg
Griesinger writes, “In the year 1796, [Haydn] composed a mass, at
the time when the French were in Styria, and which he entitlted ‘in
tempore belli’. In this Mass, the words ‘Agnus Dei, qui tollis peccata
mundi’ are played in a curious fashion with the kettle drums, ‘as if
one heard the enemy approaching in the distance’ (Haydn’s words).”
After a sudden outburst from the timpani, the chorus joins in, singing
repeatedly, “Dona nobis pacem” (Grant us peace), bringing the work
to a triumphant close.
—notes by Caty Dalton
Kyrie
Lord have mercy. Christ have Mercy. Lord have mercy.
Gloria
Glory to God in the highest, and on earth peace to people of good
will. We praise you, we bless you, we adore you, we glorify you, we
give you thanks for your great glory, Lord God, heavenly King, O
God, almighty Father. Lord Jesus Christ, Only Begotten Son, Lord
God, Lamb of God, Son of the Father, you take away the sins of
the world, have mercy on us; you take away the sins of the world,
receive our prayer; you are seated at the right hand of the Father,
have mercy on us. For you alone are the Holy One, you alone are the
Lord, you alone are the Most High, Jesus Christ, with the Holy Spirit,
in the glory of God the Father. Amen.
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Credo
I believe in one God, the Father almighty, maker of heaven and
earth, of all things visible and invisible. And in one Lord Jesus Christ,
the Only Begotten Son of God, born of the Father before all ages.
God from God, Light from Light, true God from true God, begotten,
not made, one in substance with the Father; through him all things
were made. For all people and for our salvation he came down from
heaven, and by the Holy Spirit was born of the Virgin Mary, and
became man. For our sake he was crucified under Pontius Pilate,
suffered death, and was buried, and rose again on the third day in
accordance with the Scriptures. He ascended into heaven and is
seated at the right hand of the Father. He will come again in glory to
judge the living and the dead and his kingdom will have no end. And
in the Holy Spirit, the Lord, the giver of life, [who proceeds from the
Father and the Son, who with the Father and the Son is adored and
glorified—this part of the Latin text left out by Haydn], who has
spoken through the prophets. And in one, holy, catholic and apostolic
church. I confess one baptism for the forgiveness of sins and
I await the resurrection of the dead and the life of the world to
come. Amen.
Sanctus
Holy holy, holy Lord God of Host. Heaven and earth are full of your
glory. Hosanna in the highest.
Benedictus
Blessed is he who comes in the name of the Lord.
Hosanna in the highest.
Agnus Dei
Lamb of God who takes away the sins of the world, have mercy on
us. Lamb of God who takes away the sins of the world, have mercy
on us. Lamb of God who takes away the sins of the world, grant us
peace.
Hartt Orchestra
Edward Cumming, Music Director
Kalena Bovell, Assistant Conductor
Flute
Shannon Vandzura, M*
Alex Burke, M, H
Chase McClung, S
Sierra Schmeltzer, S
Kate Davison, S
Trombone
Brian Johnston, S*
Michael Papa, S
Oboe
Amy Mitchum, H*S*
Meg Markwith, M, H, S
Ling Chun Yeh, M*
Tuba
Kevin LaRose, S
English Horn
Ling Chun Yeh, S
Clarinet
Kristen Lauria, H*, S*
Noel Liakos, H
Caitlin Yovino, S
Bassoon
Kristen Powell, M*
Mason Adams, M, H, S*
Kayleigh Bagley, S
Contrabassoon
Philip McNaughton, S
Horn
Cathryn Cummings, M, S
Laura Weiss, H, S*
Emily Crompton, M*, S
Marina Krol, H*, S
Trumpet
Seth Bailey, M, H*
Peter Del Monaco, M*, H
Emily Tourgeman, S*
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Bass Trombone
Carter Jackson, S
Timpani
Daryl Belcher, M, H
Violin I
Min Jung Noh,
concertmaster
Cody Bigenho
Anthony Galea, M
Kathryn Pappalardo, M
Kevin Seto
Seina Shirakura
Jessie Snoke
Yanisa Srirojanun, M
Phoebe Suzuki
Gayl Teo
Fernanado Vizcayno
Nathaniel Williams
Jacob Wood
Violin II
Luciana Arraes, principal
Sarah Bowen
Sunnaj Britt
Daniel Fecteau
Rebecca Fix
Naoki Katakura
Edan Sabah
Yae Eun Shin
Chaeyoung Son
Salena Walker
Viola
Bonnie Heung, principal
Nicholas Baere
Caty Dalton
Jacob Dziubek
Hector Elias
Eugenio Figueroa
Matthew Norman
Lauren Perala
Catherine Schifferli
Kaitlin Springer
Violoncello
Ignacy Grzelazka, principal
Sarah Barrett
Xi Chen
Kayla Herrmann
Yoo Min Lee
Noah Marconi
Mathew Nichols
Jinyoung Son
Ariel Su
Contrabass
Kevin Huhn, principal
Thomas Gleason
Krista Kopper
Avery Robinson
Lindsay Rosenberg
M = Mozart
H = Haydn
S = Stravinsky
* = principal
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Soprano
Karina Atristain
Jacqueline Bouffard
Olivia Buonsante
Jessica Cerasoli
Judy Chirino
Emily DiMuro
Samantha D’Orazi
Jamie Ellison
Gabrielle Gutierrez
Madeline Martinez
Rachel Menhart
Jessica Mullin
Alison Nowak
Julia Orosz
Leah Schweighofer
Jessica Wilcox
Gabrielle Zeiler
Hartt Camerata
Hartt Choir
Sara O’Bryan, Director
Sara O’Bryan, Director
Soprano
Anisa Abella
Rachel Hanchuruck
Moriah Johnson
Rachel Lloyd-Taylor
Hannah Shanefield
Alyson Sheehan
Riley Walker
Christina Whalen
Alto
Lufei Bai
Allegra Chin
Roberta Giel
Francesca Gray
Chunxue He
Rebecca Pacuk
She’ifa Punla-Green
Katharine Scabia
Sirakanjana Seradi
Victoria Smith
Rebecca Walter
Brianna Wilson
Bass
Daniel Gandek
Thomas Laskowski
Denis Li
Andrew Merck
James Pecsok
Steven Perrone
Michael Raposo
Daniel Robinson
Kenneth Schleicher
Jake Schpero
Carolina Flores, Director
Edward Bolkovac, Director
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Tenor
Cory Bigenho
Jeffrey Cregeur
Peter DelMonaco
Cameron Forman
Omar Mulero
Robert Paprocki
Benjamin Steers
Hartt Chorale
Hartt Chamber Choir
Soprano
Nadia Aguilar
Regalado
Nadia Briones
Annelise Ellars
Sydney Lazar
Ruby Nightingale
Elizabeth Oman
Molly Rabuffo
Alto
Riley Blaakman
Genevieve Clements
Cienne Maloney
Emily Marquart
Kayla Martell
Erin Moebus
Jennifer Nulsen
She’ifa Punla-Green
Rachel Watson
Alto
Becky Babatunde
Elizebeth Barnes
Lindsay Cabaniss
Naomi GuzmanBensdon
Anna Koogler
Rachel Kwan
Samantha Migneault
Kaarin Phelps
Tenor
Luis Aguilar Regalado
Zachary Gilbert
Andres Moreno
Garcia
Sean Rahusen
Aaron Young
Bass
Matt Cramer
Zachary Gutierrez
Chase Gutierrez
Alexander Hunt
Sterling Liska
Scott McKown
Andrey Stoljarov
Soprano
Malorie Casimir
Katrina Fisher
Caitlin Flemming
Meg Fournier
Jen Gadaree
Allyson Lynch
Elizabeth Proteau
Elizabeth Schorr
Alto
Elizabeth Caltagirone
Meredith Ernstberger Taylor Link
Beth Mirahver
Johanna Owens Taylor Perry
Molly Smallcomb
Emily Uz
Tenor
Grant Hodgkins
Shadrick Lester
Philippe L’Esperance Scott Ogilvy
Aaron Young
Bass
Kevin Alvord Andrew Boisvert
Jacob Greenberg
Evan Gutierrez
Miroku Shimada
Jermaine Woodard
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Edward Cumming is director of orchestral activities and associate
professor of music at the University of Hartford’s Hartt School. For
nine years, he was music director of the Hartford Symphony
Orchestra, hailed for its remarkable artistic growth during his tenure.
Before coming to Hartford, Cumming was resident conductor of the
Pittsburgh Symphony, where he stepped in on short notice to
conduct a program of which the Pittsburgh Post-Gazette wrote,
“some conductors could not do as well even with months to prepare.”
As resident conductor of the Florida Orchestra, Cumming conducted
a recording of the “Star Spangled Banner” with Whitney Houston
and the Florida Orchestra for Super Bowl XXV.
Cumming has taught at colleges all over the country, including
Pacific University, California State University (Fullerton), University
of South Florida, The Hartt School, and Yale University. During his
time in Pittsburgh, he was music director of the nationally acclaimed
Pittsburgh Youth Symphony Orchestra, one of only five orchestras
invited to the biennial National Youth Orchestra Festival. He was the
founding music director of the Pacific Symphony Institute, and has
also taught at the Orange County High School for the Arts.
In Europe, Cumming has led orchestras in Spain, the Czech Republic,
Northern Ireland, Serbia, and Italy. He has conducted ensembles
throughout the United States, in Asia, and in Israel. More recently,
he made his South American debut with the Filarmónica de Bogotá.
Cumming studied at Yale University, where he received a Doctorate
in Music. As an undergraduate at the University of California at
Berkeley, he was awarded the prestigious Eisner Prize for Creative
Achievement in the Arts. In May 2010, he received an Honorary
Doctorate from Trinity College.
Edward Bolkovac is the professor of music and director of choral
activities at The Hartt School of the University of Hartford. Prior
appointments include senior lecturer in music at the University of
Queensland in Brisbane, Australia; artistic director of the Brisbane
Early Music Festival; artistic director of the California Bach Society,
one of the San Francisco area’s premiere baroque performance
organizations; and director of the Kodály Music Education Program
at Holy Names College in Oakland, Calif. Aside from his work at The
Hartt School, Ed is also the artistic director of the New Haven
Chorale, as well as the director of the Schola Cantorum at the
Cathedral of Saint Joseph—a 22-member professional chorus. He
studied conducting in Hungary and completed his doctorate at
Stanford University.
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Carolina Flores is an artist teacher at the University of Hartford’s
Hartt School, where she directs the Hartt Chorale. In addition, she
is associate professor of music at Manchester Community College
(MCC), Conn., where she teaches conducting, piano, music eartraining, music theory, music history and appreciation, and directs
the MCC Chorale and the Madrigal Singers. Flores is also the director
of music and choirmaster at St. Theresa R.C. Church in Trumbull,
Conn., and the president for the Connecticut chapter of the American
Choral Directors Association (CT-ACDA).
Flores obtained degrees in music education and piano pedagogy
at the Superior Conservatory of Music in Zaragoza, Spain, and the
Royal Superior Conservatory of Music in Madrid, Spain,respectively.
In addition, she earned BM and MM degrees in piano performance
at the Manhattan School of Music in New York, and a DMA in choral
conducting at The Hartt School.
Sara O’Bryan currently serves on the choral faculty of The Hartt
School, where she conducts the Hartt Camerata and Hartt Choir. In
addition to her academic appointments, Sara also serves as interim
music director for Marquand Chapel at the Yale Divinity School. She
sings in the professional octet of the Basilica of St. John the
Evangelist in Stamford, Conn., and with Voce Concitato, an earlymusic vocal ensemble in Hartford, Conn., and maintains a private
voice and piano studio.
O’Bryan earned a Bachelor of Music in choral conducting (summa
cum laude) from The Hartt School in 2010. She earned a Master of
Music in choral conducting from the Yale School of Music in 2012,
receiving a certificate from the Yale Institute of Sacred Music and
earning the Richard Paul Delong Prize for “best exemplifying the
dedication and the use of those special gifts required of practicing
church musicians.” As a teacher, O’Bryan is an active clinician for
middle and high school choral and instrumental ensembles
throughout the state of Connecticut. As a composer, she writes
many hymns and liturgical musical settings, most recently setting
hymns written by Thomas H. Troeger of Yale Divinity School. As a
singer she has worked as a soprano/soloist with a variety of choral
organizations, such as the Yale Choral Artists, and is highly sought
after as a paid chorister.
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Graduating Hartt Orchestra Students
Luciana Arraes, violin; DMA, violin performance. Luciana will be working on her
dissertation and will graduate in December 2015.
Clair Babecki, viola; BM, music education. Clair will be starting a full-time position as a
string teacher.
Daryl Belcher, percussion; MM, percussion performance. Daryl will move back home to
Las Vegas, where he will become a rock star playing as much steel pan as desired.
Sarah Bowen, violin; BM, music education. Sarah hopes to be teaching middle school
strings.
Tyler Cottrell, cello; BSE, acoustical engineering and music. Tyler will continue to
make great impacts in the acoustical engineering field in 2015 and will rejoin the Hartt
Orchestra for the 2016 season.
Emily Crompton, horn; BM, horn performance. Emily will be getting married this
summer and will be attending the Boston Conservatory to begin a Masters of Music in
contemporary performance.
Rebecca Fix, violin; BM, music education. Rebecca will be student teaching in the fall
and graduating in December 2015.
Matthew Gabriel, cello; GPD. Matthew will be attending the Peabody Institute to begin
a Masters of Music in cello performance.
Thomas Gleason, double bass; BSE, acoustical engineering and music. Thomas will
continue to make great impacts in the acoustical engineering field in 2015 and will rejoin
the Hartt Orchestra for the 2016 season.
Ignacy Grzelazka, cello; DMA. Ignacy will be a cello professor at the Texas Christian
University in Fort Worth, Tex., for the fall semester.
Bonnie Heung, viola; GPA, viola performance. Bonnie will attend Music Mountain in the
summer to work with Kim Kashkashian and will then travel to Greece and Germany to
work with Rita Porfiris and Anton Miller.
Carter Jackson, trombone; BM, bass trombone performance. Carter will attend the
University of New Mexico, where he will pursue a master’s degree in bass trombone
performance.
Mary McSweeney, viola; BM, viola performance and music education. Mary will be
freelancing as a musician while also looking for teaching positions.
Yaeeun Shin, violin; BM, violin performance. Yaeeun will be attending Mannes College at
the New School of Music to begin a master’s degree in violin.
Ronit Silberstein, flute; BM, flute performance. Ronit will be freelancing as a musician
and teaching privately.
Jessie Snoke, violin; MM, violin performance and Suzuki pedagogy. Jessie hopes to
teach violin in addition to freelancing as a musician.
Yanisa Nam Srirojanun, violin; MM, violin performance. Nam will return to Thailand,
where she will teach and perform with various orchestras.
Chaeyoung Son, violin; GPD, violin performance. Chaeyoung will be freelancing as a
musician while also looking for jobs.
Jinyoung Son, cello; GPD, cello performance. Jinyoung will be freelancing as a musician
while also looking for jobs.
Salena Walker, violin; BM, music education and violin performance. Salena will be
student teaching in fulfillment of her education degree.
Laura Hope Weiss, horn; MM, music performance. Laura will be attending the Aspen
Music Festival this summer.
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