MasteryandMythologyTheUniversityofKansasSymphonyOrchestraCarolynWatson,DirectorofOrchestralActivitiesLeandroCardoso,GraduateTeachingAssistantJosephChan,AssistantConductorLaPériFanfare PaulDukas (1865-1935)Left,Right? EthanMartin (b.1997) Winnerofthe2020LawnerCompositionPrizeBlumine GustavMahler (1860-1911)Entr’acte CarolineShaw (b.1982) IntermissionPianoConcertoNo.3inCMinor LudwigvanBeethoven (1770-1827) TaeriLee,pianosoloist Winner,2019-20SchoolofMusicConcertoCompetitionFriday,February26,20217:30p.m.,StreamingfromtheLiedCenterofKansas

THEUNIVERSITYOFKANSASSYMPHONYORCHESTRA

Violin

Yi-MiaoHuang,ConcertmasterIlvinaGabrielianDiegoZapataAbbyAtwood

TristanMcGeheeDmitriiTulupovXiaohuiYan

DanielHannemanMarianaHeatwoleAnnaMarburger

Viola

RicardoCavalcanteJosephChan

NicolásArguelloCalistaBrunettEmilyLavelyJonathanHessGraceHartAliPittmanNicholasDang

Cello

JamesAlexanderJosiahCordes

ArabellaSchwerinDianaUnruhVincentHsiungAbbeyKing

HunterTurnerReganReedGabrielaRuiz

MatthewWellmanBenFarney

Bass

MinjooHwangboCaitlinCrosby

WilliamKleemannColinOberg

Flute

ChloeDescherBrennaWiinanenMackenzieDugger

Oboe

WesleyBoehmMayaGriswold

Clarinet

KaitlynGerdeKatherineAnderson

Bassoon

MeganGordonWilliamHolke

Horn

SamSpicerCalebKraemerCarterHarrodAubreyFossett

Trumpet

TylerMcTavishOscarHaro

TylerParkridgeRafnielRios

Trombone

SamRosenbaumBradyGell

BassTrombone

DavidPaff

TubaBryanJohnson

Harp

ErinWood

TimpaniEthanMartinNateBachta

Percussion

ThomasParnellTomFabing

NicholasWright

Biographies&ProgramNotes

CarolynWatson,ConductorAustralianconductorCarolynWatsonhasbeenbasedintheUnitedStatessince2013duringwhichtimeshe has led performances with the Austin Symphony, Catskill Symphony, Detroit Symphony CivicOrchestra,LaPorteCountySymphony,KansasCityBallet,KansasCityChamberOrchestraandWorldYouthSymphony Orchestra. Recruited internationally as Music Director of the Interlochen Arts AcademyOrchestra, she won the 2015 American Prize for Orchestral Performance with this ensemble, alsocollaboratingwithsoloistsincludingMarkO’ConnorandAlexandreTharaudduringhertenure.CarolyncontinuestoenjoyanongoingassociationwithInterlochenasconductingfacultyatInterlochenArtsCampandforInterlochenOnline.An experienced conductorof opera, 2021 seesCarolyn leadHansel andGretel forAmarilloOpera andFellow Travelers at Des Moines Metro Opera, along with a production of As One. Most recently sheconducted‘AndStillweDream’fortheLyricOperaofKansasCity,herthirdengagementfortheLyricinasmanyyears.ThisproductionwasfeaturedintheEmmy-AwardwinningPBSdocumentary,HigherOctaves:LeadingWomenintheArts.ShewasengagedtoconducttheworldpremiereofGordonGetty’soperaatFestivalNapaValley,and in2017Carolynwasoneof sixconductorsselected for theHart Institute forWomenConductors,wheresheledtheDallasOperaOrchestraintwopublicperformances.Acommittedmusiceducator,CarolyncurrentlyservesasDirectorofOrchestralStudiesatTheUniversityofKansaswhilstcontinuingtoenjoyanactivefreelancecareerthroughouttheUS,EuropeandAustralia.She has conducted orchestras internationally including the Brandenburg Symphony, BBC ConcertOrchestra, Budapest Operetta Theatre, Bulgarian State Opera Bourgas North Czech PhilharmonicOrchestra,KodályPhilharmonic,SavariaSymphonyOrchestra,ScottishChamberOrchestra,andinRussia,theSt.PetersburgChamberPhilharmonic.OthernotableEuropeancreditsincludeMusicalAssistantattheStaatsoperBerlinforInfektion!,afestivalofmoderntheatrecelebratingtheworksofJohnCage,residentattheIsraeliNationalOpera,andassistanttoSirCharlesMackerrasonhisfinaltwoproductionsatTheRoyalOpera,CoventGardenandGlyndebourne.ShehasparticipatedinmasterclasseswithMarinAlsop,Peter Eötvös, Yoel Levi, Martyn Brabbins and Alex Polishchuk and conductedmusicians of the BerlinPhilharmonicinInteraktion.Amajorprizewinnerat the2012EmmerichKálmán InternationalOperettaConductingCompetition inBudapest, CarolynWatsonwas a Fellow of the American Academy of Conducting at the AspenMusicFestivalwhereshestudiedwithDavidZinman.CarolynistherecipientofanumberofprestigiousnationalandinternationalawardsforyoungconductorsincludingtheBrianStaceyAwardforemergingAustralianconductors, Sir Charles Mackerras Conducting Prize awarded via the Australian Music Foundation inLondon,OperaFoundationAustralia’sBayreuthOperaAwardandBerlinNewMusicOperaAwardandtheNelly Apt Conducting Scholarship. She is the beneficiary of support from the American AustralianAssociation's Dame Joan Sutherland Fund and a Sheila Pryor Study Grant from the Australian OperaAuditionsCommittee.SheisalsoaChurchillFellow,andwastherecipientofaCreativeFellowshipfromtheStateLibraryofVictoria.CarolynholdsaPhDinPerformance(Conducting)fromtheUniversityofSydneywhereshestudiedunderImrePalló.ThesubjectofherdoctoralthesiswasGestureasCommunication:TheArtofCarlosKleiber.www.carolyn-watson.comLeandroCardosoLeandroCardosoisaBrazilianconductorcurrentlypursuinghismaster'sdegreeinorchestralconductingattheUniversityofKansasunderDr.CarolynWatson'stutelage.HeistheCo-DirectoroftheUniversityOrchestra in Lawrence and serves as the assistant conductor at the University of Kansas Symphony

Orchestra. In the United States, he has also served as a cover conductor at Greater Kansas City'sPhilharmonia.HeistheAthosChamberOrchestra'sfounderandprincipalconductor,agroupdedicatedtopremieringcontemporaryworksbyBraziliancomposers.ThegrouphelditsfirstconcertinApril2018-Containers:MultidimensionalPaths,withanacclaimedreceptionatthePalaceofArtsinBeloHorizonte.Leandroalsodevelops a solid work as an arranger, writing for everything from chamber groups to the symphonyorchestra.Leandro previously studied with renowned Brazilian conductor Marcos Arakaki and with professorsLincolnAndrade,ArnonOliveira,andIaraFrickeMatteintheOrchestralConductingCourseattheFederalUniversityofMinasGerais(UFMG).Healwayssoughttoimprove.Hetookcoursesandmasterclassesinorchestraldirectionwithinternationallyacclaimedconductors,suchasCristianMăcelaru,MiguelHarth-Bedoya,SarahIoannides,andKenethKiesler.He began his musical life at the age of 10, with Maestro Edgard Andrade, at Colégio Militar de BeloHorizonte,wherehe laterbecametheMusicBand'sassistantconductor.Attheageof14,he joinedtheMusicEducationcourseattheStateUniversityofMinasGerais.Attheageof17,hestartedabachelor'sdegreeintrumpetatUFMG.HegraduatedandactedastheUFMGsymphonyorchestra'sprincipaltrumpetfortwoyears,playingunderrenownedconductors,suchasSilvioViegas,DwightSatterwhite,andDarioSotelo. In 2008, he joined the Symphonic Orchestra of theMilitary Police ofMinas Gerais, acting as atrumpeterandassistantconductor.HealsoperformedasaguesttrumpeterintheMinasGeraisSymphonicOrchestrasandtheOuroPretoOrchestra.JosephChanJosephShingHimChanisanemergingAustralianconductorcurrentlybasedinLawrence,Kansas,whereheiscompletingaMasterofMusic(MMus)underthetutelageofDrCarolynWatson.Balancinghisstronginstinctformusicalinterpretationwithaco-operativeapproach,Josephisequallycomfortableengagingbothprofessionalanddevelopingensembles.DuringhisundergraduatestudiesinAustralia,JosephwasoneofonlyelevenyoungconductorsselectedtoparticipateintheprestigiousAustralianConductingAcademySummerSchoolheldinTasmania.There,heworkedwiththeprincipalguestconductorofTheTasmanianSymphonyOrchestra,JohannesFritzsch,andconducted theTasmanianSymphonyOrchestra ina showcase concert,performingMozart’s Symphonyno.39. Additionally, Joseph has also worked with the Xi’an Symphony Orchestra, participated in theQueensland Conservatorium Griffith University Orchestral Conducting School, the Symphony ServicesInternationalScholarConductorCourse,workingwithlocalandinternationalconductorsDaneLam,LarryRachleff,andChristopherSeaman,respectively.NowbeginninghiscareerintheUnitedStates,JosephhasbeenactivelyinvolvedintheorchestralprogramsofTheUniversityofKansas,regularlydirectingtheKansasUniversitySymphonyOrchestraaswellasco-foundinganewensemble,theKansasUniversityOrchestra.Inadditiontohisconductingschedule,Josephisalsoaproficientviolist,withmentorsincludingProfessorPatriciaPollettandBorisVayner.Asaviolist,hehasperformedsymphonicandoperaticworksunderthebatonsofAlondradelaParra,MatthewCoorey,Daniel Carter and Guy Noble, and has performed in a solomasterclass with violist Antoine Tamestit.Throughhisworkasaconductor,Josephstrivestobringbothinnovationandvisiontoadiverserangeofensembles.TaeriLee,pianosoloistPianistTaeriLeeiscurrentlypursuingadoctoratedegreeinpianoperformanceattheUniversityofKansaswherehestudieswithDr.EricZuber.HereceivedaMastersattheUniversityofKansas,aBachelor’sat

Chung-AngUniversity,andgraduatedfromKay-WonArtHighSchoolinSouthKorea.HehaswontopprizesatmanymajorpianocompetitionsinSouthKorea.Healsorankedasecondprizeatthe2021Charlestonclassical internationalmusiccompetition,a finalistatValsesiaMusicaandPietroArgento internationalpiano competitions in Italy, andYoungpiano star international piano competition inGermany.Hehasperformedinmasterclassesforprominentprofessors includingAlexanderKorsantia,RobertMcDonald,AlexanderBraginsky,andBorisBerman.Dukas-FanfaretoLaPériInPersianmythology,aperiisamagicalcreaturelikeafairy,whoservestheGodofLight.PaulDukas,thecomposerofTheSorceror'sApprentice,chosethetopicforhislastmajorwork,aballetcalledLapérithathesubtitledpoèmedansé,or"dancedpoem."ThescenariotellsofanorientalprinceinsearchoftheFlowerofImmortality,whichisguardedbytheperi.Whenhefindsher,hebecomesobsessedbydesireforheraswellasfortheflower,andthusisfatedtoperish.Sadly,LapériwasthelastworkDukaspublished,althoughhe lived formorethan20yearsbeyond itspremiere.Theballethasbeenrevivedoccasionally,buthasneverbecomearepertorystaple.Thebrilliantbrassfanfarethatprecedesit,however,hasbecomealmostasfamiliarasCopland'sFanfarefortheCommonMan.Ironically,Dukasaddeditasanafterthought.Helaterstatedthathesoughttobringtheexoticismofthetaletolifethroughanorchestrahecalled"akindoftranslucent,dazzlingenamel."Boththeglitteringtrumpetandhorncallsandtherichharmoniesofthefanfare'smiddlesectionamplyfulfillhisgoal.Evenseparatedfromtheballetscore,thefanfarelavishlydeliversthepromiseofallgoodfairytales:"onceuponatime,inalandfaraway..."DukasscoredtheFanfareforfourhorns,threetrumpets,threetrombones,andtuba.©LaurieShulman,2019EthanMartin–Left,Right?EthanMartinisanAmericanpercussionistandcomposerbornin1997inKansasCity.Hebeganmusicattheageof fourwithpiano lessonsandbeganpercussion ingradeschool.Asapercussionist,Ethanhasearned many awards such as first prize in the Kansas Day of Percussion Marimba and Snare DrumCompetition,firstprizeintheMid-MissouriPercussionArtsTrophyMarimbaandSnareDrumCompetitionandwasafinalistfortheMalletLabInternationalMalletCompetition.Ethanprimarilycomposesforpianoandpercussionwitha“romantic-atonal”feel.Hiscompositionshavebeenheavilyinspiredbythemusicthathehasheardinvideogamesandinfilm.EthaniscurrentlystudyingattheUniversityofKansastoreceiveaBachelorofMusicinPercussionPerformanceandaBachelorofMusicinMusicComposition.“Left,Right?”wasoriginallycomposedforsolopianoinaseriesofpiecesforsolopianocalled“Portraits.”Thesepiecesareeachinspiredbyvariouspeopleorfictionalcharactersthathavehadanimpactonmylife.“Left,Right?”isthesecondpieceinthisseriesof“Portraits,”andwasinspiredbythepresidentialcampaignofAndrewYang.“Left,Right?”isanatonalmarchbuiltbyvariouscombinationsofpentatonicscales.Mahler–BlumineRevisionisanoperativewordforvirtuallyeverycomposerwhoproducesascoreofalmostanylengthorimportance.Forexample,therevisionsofthesymphoniesofBruckner(oftenbyothersandapprovedbythecomposer)arelegend.That’sanextremeexample.InthecaseofMahlerandhisfirstsymphonytherevisionshadtodomainlywithorchestrationandthesewerealldonebyMahlerhimself.ButthemostseriousoftheSymphony’schangeshadtodowiththesecondmovementthathetitledBlumine,andherehe performedmajor surgery, specifically amputation -- he didn’t just change someof its elements butratherheexcisedthemovemententirely.ItwasstillapartoftheSymphonyintheperformancesof1889,1893,and1894,butafterbeingcastoutitsimplydisappeared,onlytobediscoveredin1959whenaMrs.

JamesM.OsbornpurchasedtheoriginalscoreatanauctioninLondon.Inspiteoftheexplanationgivenbythepreviousownerofthemanuscript,Blumine’struehistoryremainsclouded.InhismassivefirstvolumeonthelifeandworksofMahler,Henry-LouisdelaGrangequotesthecomposerascallingthemovementhishero’s"blunderofyouth,"andatanothertimeexplainingthat"itwasmainlybecause of an excessive similarity in key [surprisingly, pure C major] that I eliminated the ‘Blumine’Andante frommyFirstSymphony."De laGrangecastsdoubtontheverityof the laststatement,whichleavesuswithlittlemoretodothanshrug,listentothemusicandacceptitasanindependentpiece,anorphan,ifyouwill,ordecidethatitshouldbereinstatedintotheSymphony.ThemusicofBluminecamefromaseriesoftableauxvivantsthatMahlerwroteasayouthtoillustrateapopular German poem, Der Trompeter von Säckingen. The piece is all shimmery poetic restraint, itsmoonlitmoodevokedbythesimple,yearninglysentimentalmaintheme,given,afterfourgentleorchestralmeasures,byatrumpetsummoningitsmostlyricalvoice.Thetransparentscoringofasmallorchestralbody,coupledwiththecharminglynaïvematerialsresultsinaMahlerianmomentsingularlyfreeofthecomposer’scharacteristictensionandstress.@OrrinHowardBeethoven–PianoConcertoNo.3inCminor,Op.37ThecomposerintroducedhisConcertoinCminoratoneofthosemassiveall-Beethovenbenefits–withBeethovenasbeneficiary–whichcontinuestobogglethemindmorethantwocenturiesafterthefact.ThedatewasApril5,1803,intheTheateranderWien,theprogramofferingthreepremieres:thepresentwork,theSecondSymphony,andtheoratorioChristusamÖlberge(ChristontheMountofOlives),aswellasarepriseoftheFirstSymphony,firstheardayearearlier.AccordingtoBeethoven’spupilFerdinandRies, therehearsal, theonlyrehearsal fortheentireconcert,beganat8amandwasashambles.TheorchestrawastheViennesesecond-string,thecity’sbestplayershavingbeenhiredbyacompetingpresenterforaperformanceofHaydn’sTheCreationthatsameevening.“[It]wasfrightful,”Riesrecalled.“Athalfpasttwoeveryonewasexhaustedanddissatisfied.PrinceKarlLichnowsky[oneofBeethoven’spatrons],whowasattherehearsalfromitsbeginning,sentoutforlargebasketsofbutteredbread,coldmeats,andwine.Heinvitedall themusicianstohelpthemselves,andacollegialatmospherewasrestored.”ThescoreoftheConcertowasnotfinishedbythetimeoftherehearsalandindeeditremainedaworkinprogress during the performance, aswas noted by another Beethoven pupil, Ignaz von Seyfried, whoconsideredhimselffortunatetohavebeenchosenbyBeethovenashispage-turner.“IsawemptypageswithhereandtherewhatlookedlikeEgyptianhieroglyphs,unintelligibletome,scribbledtoserveascluesfor him. He playedmost of his part frommemory, since, obviously, he had put so little on paper. So,wheneverhereachedtheendofsomeinvisiblepassage,hegavemeasurreptitiousnodandIturnedthepage.Myanxietynottomisssuchanodamusedhimgreatlyandtherecollectionofitatourconvivialdinneraftertheconcertsenthimintogalesoflaughter.”TheC-minorConcertohada second “premiere” inViennaa year later, from the finishedmanuscript –presumablywithouthieroglyphs–whenthesoloistwasFerdinandRies.TheConcertobridgesthedividebetweenBeethoven’stwoearlier,moreclearlyMozart-derivedconcertosandamorepersonalstyle,whilesimultaneouslyshowingakeenawarenessofMozart'smostBeethoven-likeconcerto,K.491,inthesamekeyofCminor.Bothopenwiththestringssoftlyplayinganascendingfigure,thewindsjoininginforthefirstclimax.Athematicfragment–C–E-flat–A-flat–ofthethemeoftheMozartK.491firstmovementisstatedbythelowstringsintheninthmeasureoftheBeethoven.Moststrikingly, as the late Charles Rosen noted, Beethoven’s solo arpeggios in the coda recall portions ofMozart’sinhiswork.Buthere,theferociousC-minorrunswithwhichthepianosubsequentlyentersarepurest,mostBeethoveniandrama.

Theslowmovementisanoasisofcalmamidtheagitatedoutermovements,withthesongfulexpanseofpianomelodyaccompaniedbymutedstrings,afterwhichthepianoarpeggioscurlaroundthetheme,nowstatedbystringsandwoodwinds.Therefollowsamagicalpassagewherepianoarpeggiosaccompanyaduetforbassoonandflute.Therondo finale,Cminoragain,hasplentyofspiritbutalsoagooddealof tensionand the fullbagofBeethoven tricks: a second theme, announced by the clarinet, whereupon the principal theme istransformedintoafuguewhoseconclusionwouldseemtosignalthereturnofCminor.Butno,itascendsasemitonetoA-flat(anoldHaydntrick),andthenthepianowanderstoEmajor,whichmaybefarfromA-flatbutnotfromtheslowmovementofthisveryConcerto.@HerbertGlass