The UNCG School of Music has been recognized for years as one of the elite
music institutions in the United States. Fully accredited by the National
Association of Schools of Music since 1938, the School offers the only
comprehensive music program from undergraduate through doctoral study in
both performance and music education in North Carolina. From a total
population of approximately 12,700 university students, the UNCG School of
Music serves over 575 music majors with a full-time faculty and staff of sixty.
As such, the UNCG School of Music ranks among the largest Schools of Music
in the South.
The UNCG School of Music now occupies a new 26 million dollar music
building which is among the finest music facilities in the nation. In fact, the
new music building is the largest academic building on the UNCG Campus. A
large music library with state-of-the-art playback, study and research facilities
houses all music reference materials. Greatly expanded classroom, studio,
practice room, and rehearsal hall spaces are key components of the new
structure. Two new recital halls, a large computer lab, a psycho-acoustics lab,
electronic music labs, and recording studio space are additional features of the
new facility. In addition, an enclosed multi-level parking deck adjoins the new
music building to serve students, faculty and concert patrons.
Living in the artistically thriving Greensboro—Winston-Salem—High
Point “Triad” area, students enjoy regular opportunities to attend and perform in
concerts sponsored by such organizations as the Greensboro Symphony
Orchestra, the Greensboro Opera Company, and the Eastern Music Festival. In
addition, UNCG students interact first-hand with some of the world’s major
artists who frequently schedule informal discussions, open rehearsals, and
master classes at UNCG.
Costs of attending public universities in North Carolina, both for in-state
and out-of-state students, represent a truly exceptional value in higher
education.
For further information regarding music as a major or minor field of study,
please write:
Dr. John J. Deal, Dean
UNCG School of Music
P.O. Box 26167
Greensboro, North Carolina 27402-6167
(336) 334-5789
On the Web: www.uncg.edu/mus/
University Symphony Orchestra
Robert Gutter, conductor
Richard Cook, guest conductor
Christopher Hutton, violoncello
Monday, December 10, 2001
7:30 pm
Aycock Auditorium
Program
Symphony No. 38 in D Major K. 504 W. A. Mozart
Adagio-Allegro (1756-1791)
Andante
Presto
Richard Earl Cook, guest conductor
intermission
Schelomo Ernest Bloch
Hebrew Rhapsody for Cello and Orchestra (1880-1959)
Christopher Hutton, violoncello
Capriccio Espagnol for Orchestra, Op. 34 Nikolai Rimsky-Korsakoff
Alborada (1844-1908)
Variazioni
Alborada
Scena e canto gitano
Fandango
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
Patrons are encouraged to take note of the exits located on all levels of
the auditorium. In an emergency, please use the nearest exit, which may
be behind you or different from the one through which you entered.
Orchestra Personnel
Violin I
Dan Skidmore, concertmaster
Travis Newton,
asst. concertmaster
Shanna Swaringen
Kwanghee Park
Melissa Ellis
Wayne Reich, Jr.
Amy Blackwood
Erin Abernethy
Tim Kim
C. Christopher
Kimberly Farlow
Violin II
Katie Costello, principal
xBrooke Mahanes
Julia Barefoot
Will Freeman
Corrie Haskins
Rachel Holmes
Makeda Saggau-Sackey
Jason Caldwell
Emily Blacklin
Emily Arnold
Becky Averill
James Esterline
Viola
Logan Strawn, principal
xSally Barton
Morgan Smith
Matthew Troy
Patrick Scully
Frances Schaeffer
Jamaal Jones
Morgan Caffey
Katie Hayden
Magdalen Stanley
Katherine Harris
Sarah Mitchell
Violoncello
Jack Turner, principal
xJennifer Self
Erin Klimstra
Megan Miller
Eric Aikins
Sarah Dorsey
Bass
Will Postlethwait, principal
xEmily Manasala
Andy Hawks
Gary Rives
Jonathan Gunter
Flute and Piccolo
Bethany Snyder, principal
Christi Wilson
†Caroline Kernahan
Oboe and English Horn
†Mandy English
†Melanie Hoffner
†Sara Phillips
Amanda Woolman
Clarinet
†Kevin Erixson
†Leslie Miller
Michael Kelly
Bassoon
†Elaine Peterson
†Thomas Dempster
Matt Stein
Horn
†Michael Helman
†Andy Downing
xMichael Hrivnak
Kelly Higgs
Mary Pritchett
Tara Cates
Trumpet
Mike Hengst, principal
†Justin Stamps
Ben Twyeffort
Trombone
Darin Achilles, principal
Sean Devlin
Phil Shands
Simon Evans
Tuba
Sean Myers
Timpani
A. J. Chenail, principal
Percussion
†Eric Corwin
Michael Wood
Emily Harrison
Piano/Celesta
Wilkes Bass
Harp
Bonnie Bach
†co-principal xassistant principal
conducting pedagogue, Franco Ferrara. Maestro Gutter has lectured and
instructed at many of America’s most prestigious universities.
Robert Gutter served as Principal Trombone of the Washington National
Symphony from 1960-65.
Christopher Hutton studied at Boston University with Leslie Parnas
and earned the M.M. and D.M.A. with Paul Katz and Steven Doane at
the Eastman School of Music. While at Eastman, he was teaching
assistant to Steven Doane and taught cello for the University of
Rochester and the Eastman School's Community Education Division. He
also has had a broad range of experiences as a performer, including duo
recital tours in his home country of New Zealand and chamber
performances at the Schlossfestspiele in Heidelberg, Germany. He has
played in the New Zealand Symphony Orchestra and was rotating
principal cellist in the New World Symphony Orchestra under music
director Michael Tilson Thomas. He has recorded for New Zealand's
Concert FM, Germany's SWF Radio and for a disc of contemporary
music on Albany Classics and served on the faculty of the Eastern Music
Festival in 2001.
Richard Earl Cook is among the most active conductors in the area. He
has been the assistant conductor for both Piedmont Opera Theater in
Winston-Salem, and the Greensboro Opera Company. He has conducted
the Saint Louis Symphony Chorus, the Winston-Salem/Piedmont Triad
Symphony, the Winston-Salem Youth Symphony, the Greensboro Youth
Symphony, and the Charlotte Youth Symphony. Mr. Cook has been on
the faculty of Elon College and the North Carolina School of the Arts,
where he conducted the NCSA Cantata Singers and worked with the
Summer Session. In addition to directing the North State Chorale, he is
Director of Choral Activities at High Point University, and Director of
Church Music at Macedonia Lutheran Church in Burlington.
Wolfgang Amadeus Mozart
Symphony No. 38 in D Major, K. 504, Prague
As Vienna began to lose interest in Mozart in the middle 1780s, the city
of Prague adopted him. After his triumph there with Le Nozze di Figaro
in 1786, Mozart was invited to Prague to conduct some of the
performances of the opera as well as to give some concerts of his other
works. His music was so beloved and understood by the people there
that it seemed to them that he composed especially for Bohemia. The
feeling was mutual: Mozart wrote that he felt his orchestra was in
Prague, and that the people there best understood him. Mozart wrote the
entry for this symphony into his catalogue on December 6th, 1786, and
first conducted it in Prague on January 19th, 1787.
The Prague symphony is one of only three symphonies by Mozart to
begin with a slow introduction. The Allegro which follows begins
quietly, harmonically and rhythmically displaced, giving a feeling of
urgent, forward motion. The development section of this first movement
is one of the few for which Mozart left extensive sketches.
The Andante might seem at first to be simply another example of
exquisite Mozartean grace; however, the beginning of the movement,
with its unyielding bass and shadowy chromaticism, provides a greater
depth of expression than one would expect. There are unusual harmonic
colorations and a quiet force behind the contrapuntal imitations which
are particularly interesting. The movement closes with a sighing melody
which gives a momentary feeling of repose.
The symphony has no minuet; rather Mozart plunges straight ahead into
one of his most energetic finales. The last movement is propelled by a
force of strength without heaviness and, as always, grace. The forward
motion is unrelenting, and presents a virtuosic challenge to the orchestra.
Mozart closes the symphony with a flare and abandon which makes this
one of his most original works.
-- Richard E Cook
Ernest Bloch
Schelomo – Hebrew Rhapsody for Cello and Orchestra
Ernest Bloch was born in Geneva in 1880 and died in Portland, Oregon
in 1959. This plain statement of fact -- a beginning and an ending in time
and place -- intimates the far reaching wanderings of the composer and
the diverse background for his rich musical creation which grew out of
the late romantic period and developed into an individual style very
much of the twentieth century.
Schelomo was written in Geneva, Switzerland in 1915-16. Here is the
story of the creation of Schelomo as told by the composer:
"Toward the end of 1915 I was living in Geneva. For years I had had a
number of sketches for the book of Ecclesiates which I wanted to set to
music, but the French language was not adaptable to my rhythmic
patterns. Nor was German or English, and I hadn't a good command of
Hebrew. Thus the sketches accumulated and lay dormant. One day I met
the cellist Alexander Barjansky and his wife. I heard Baransky play and
we became friends at once. I played my manuscript scores for them,
"Hebrew Poems", "Israel" and "Psalms" all of them unpublished and
about which nobody cared. The Brajanskys were profoundly moved.
While I played, Mrs. Barajansky sketched a small statue. "Gratefulness in
Sculpture" she called it. Finally, in my terrible loneliness, I had found
true and warm friends. My hopes were reborn, and also the desire to
write a work for this marvelous cellist. Why shouldn't I use for my
Ecclesiates -- instead of a singer limited in range, a voice vaster and
deeper than any spoken language -- his cello? Thus I took my sketched
and, without a plan, without a program, almost without knowing where I
was headed, worked day after day on my Rhapsody. As I composed, I
copied the cello part which Barajansky studied. At the same time Mrs.
Barajansky worked at the statue intended for me. At first she had the idea
for a Christ, but later decided on a King Solomon. We finished our works
at about the same time. The Ecclesiates was completed in a few weeks,
and since legend attributes this book to King Solomon, I named it
Schelomo".
Robert Gutter is currently Director of Orchestral Activities at the
University of North Carolina at Greensboro and also serves as Music
Director of the Philharmonia of Greensboro and the Fayetteville
Symphony. In 1996 he received an appointment as Principal Guest
Conductor of the National Symphony Orchestra of the Ukraine in Kiev.
He is founder and artistic director for the International Institute for
Conductors in Kiev. In his 30 years as a professional conductor, he has
devoted himself to both professional and non-professional orchestras in
over twenty countries. Prior to accepting his orchestral posts in North
Carolina in 1988, he served as Music Director and Conductor of the
Springfield, Massachusetts Symphony. In 1986 he was named
"Conductor Emeritus" of that orchestra.
During his extensive professional conducting career, Maestro Gutter has
appeared in over twenty countries with orchestras that include: National
Symphony Orchestra of the Ukraine, Kiev, Ermitage Orchestra of St.
Petersburg, Lithuanian Chamber Orchestra, Orquesta Sinfonica de
Concepcion, Stuttgart Philharmonic, Irish Radio Symphony, Toronto
Radio Orchestra, Varna State Philharmonic, Victoria Symphony,
Llubjiana Radio-TV Symphony, Georges Enesco Symphony, Bucharest,
Orquesta Sinfonica de Mexico, Cairo Philharmonic, Turkish State
Orchestra, Hartford Symphony, Boulder Philharmonic, Colorado Springs
Symphony, and the Albuquerque Symphony. Maestro Gutter’s opera
credits include guest engagements with the Vienna Volksoper, Linz
Stadtheater, Rousse State Opera, New Orleans Opera, and the
Connecticut Grand Opera.
Maestro Gutter makes his Paris debut this January with the Beethoven
9th Symphony at the Church of the Madeleine. Since coming to North
Carolina Maestro Gutter has expanded his international Guest
Conducting appearances with invitations to conduct in Beijing and
Tianjin China, the Maggio Fiorentino in Florence, Italy, the Moravian
Philharmonic in Vienna, Austria, National Chamber Orchestra of
Moldovia and the New Chamber Orchestra of Catania and the Chamber
Orchestra of Tenerife. In 1993 Maestro Gutter was selected as the only
judge from the United States to serve on an international jury for the
Silvestri International Instrumental Competition in Romania. In January
of 1994, Maestro Gutter conducted seven concerts in Spain and Germany
with the Georges Enesco Philhamonic of Bucharest. He conducted La
Traviata in Rousse, Bulgaria in 1996 and has conducted opera
productions in Italy with the Teatro Lirico d’Europa. He has appeared
frequently with the Teatro Massimo Bellini in Catania, Italy. He made
his London debut on Schubert’s birthday, January 31, 1997 with the
London-Schubert Players.
Maestro Gutter was born in New York City, New York in 1938 and is a
graduate of New York’s renowned High School of Music and Art and the
Yale University School of Music. He has received a diploma from the
Chigiana Academy of Siena, Italy where he studied with the late
University Symphony Orchestra
Robert Gutter, conductor
Richard Cook, guest conductor
Christopher Hutton, violoncello
Monday, December 10, 2001
7:30 pm
Aycock Auditorium
Program
Symphony No. 38 in D Major K. 504 W. A. Mozart
Adagio-Allegro (1756-1791)
Andante
Presto
Richard Earl Cook, guest conductor
intermission
Schelomo Ernest Bloch
Hebrew Rhapsody for Cello and Orchestra (1880-1959)
Christopher Hutton, violoncello
Capriccio Espagnol for Orchestra, Op. 34 Nikolai Rimsky-Korsakoff
Alborada (1844-1908)
Variazioni
Alborada
Scena e canto gitano
Fandango
* * * * * * * * * *
The hall is equipped with a listening assistance system.
Patrons needing such assistance should please see one of the ushers in the lobby.
Patrons are encouraged to take note of the exits located on all levels of
the auditorium. In an emergency, please use the nearest exit, which may
be behind you or different from the one through which you entered.
