Friday, March 8, 20198:00 p.m.

Irvine Barclay TheatreUniversity of California, Irvine

Dr. Stephen Barker, Dean | Claire Trevor School of the Arts

UCI Symphony Orchestra

Dr. Geoffrey Pope, guest conductor

Overture to Egmont, op. 84 Ludwig van Beethoven (1770 – 1827)

Concerto in F for Piano and Orchestra George Gershwin (1898 – 1937)

I. Allegro

II. Adagio – Andante con moto

III. Allegro agitato

Eduard Gavril, pianist

– INTERMISSION –

Symphony No. 8 in G Major, op. 88, B. 163 Antonin Dvořák (1841 – 1904)

I. Allegro con brio

II. Adagio

III. Allegretto grazioso – Molto vivace

IV. Allegro ma non troppo

PROGRAM

Friday, March 8, 2019Dr. Geoffrey Pope, guest conductor

keivet slab

PROGRAM NOTES

Overture to Egmont, op. 84

Beethoven composed incidental music for the 1810 Viennese revival of Goethe’s Egmont, one of two revival productions mounted by the Hoftheater to celebrate Napoleon’s withdrawal from the city. Goethe’s drama concerns the valiant attempts of subjugated Dutch peoples to overthrow Spanish control in the sixteenth century; the parallels between early nineteenth century Vienna and Goethe’s subject could not have been greater, and the themes of the drama resonated with Beethoven’s own philosophical leanings—he had, after all, scratched out Napoleon’s name as dedicatee from the Eroica Symphony some six years earlier. Though most of Beethoven’s music is absolute, rather than programmatic, the play—encapsulated by the overture—describes the martyrdom of a Count Egmont, who led the Dutch against their occupiers, only to be betrayed by his own countrymen, and ultimately executed by the Spanish. The undercurrent of Angst pervading the piece is only dispelled after Egmont’s death, however, when from the orchestra emerges a triumphant Siegessymphonie (“victory symphony”) embodying the ideals of equality and freedom for which Egmont died. The overture has continued to have social and political relevance—as recently as 1956, it became an anthem of the Hungarian Revolution.

Though Beethoven and Goethe respected each other artistically, they found themselves to have some incompatibilities. Among Beethoven’s flaws according to Goethe was his “untamed personality, not being completely wrong in thinking the world detestable, but hardly making it more pleasant for himself or others by his attitude.” Beethoven, on the other hand, felt of Goethe that “the Court suits him too much. It is not becoming of a poet.” Along with the Coriolan Overture, which Beethoven wrote in 1807 for Heinrich Joseph von Collins’ tragedy, the Egmont Overture quickly became a mainstay of orchestral literature.

Concerto in F for Piano and Orchestra

Commissioned in 1924 by Walter Damrosch of the New York Symphony Orchestra the very day after Rhapsody in Blue premiered, George Gershwin’s Concerto in F remains one of the most beloved twentieth century piano concertos—yet it is comparatively underperformed. Whereas Gershwin’s other works featuring piano with orchestra, including the Rhapsody, departed from older concerto forms, the Concerto in F is a deliberately traditional work, both in terms of its premise and its construction. It is also the first such work that Gershwin orchestrated himself; the colorful Rhapsody which predated the Concerto was in fact orchestrated by Ferde Grofé, a composer and pianist who spent much of his career as an arranger and orchestrator for Paul Whiteman’s touring band. Gershwin, for that matter, dealt with the stigma of being seen as a “light” composer—as his Broadway work set him out to be—by pursuing formal composition studies in earnest at several junctures. The rumor spread that Gershwin, upon receiving this commission, immediately bought a textbook on basic musical form, is likely apocryphal, but testament to this

stigma. After orchestrating his two-piano draft of the piece, Gershwin hired a sizeable orchestra with which to concept-test parts of the Concerto before submission to Damrosch.

As is the case with most concertos, two brisk movements surround a slower, lyrical inner movement. The first movement, marked Allegro, is a traditional sonata form: regardless of the eclecticism and complexity of its contents, its themes are stated, meticulously developed, and ultimately returned to. The opening timpani and percussion flourishes give way to Charleston rhythms, which pervade both outer movements, and whose contents are transformed to form the basis of additional themes. The Adagio – Andante con moto uses a blues progression as its basis, and features a distant trumpet solo. More allusions to dancehall music follow, first presented by the pianist, and then adopted by the orchestra, as a sort of musical conversation across the stage. The finale, Allegro agitato, both frenzied and propulsive, conveys an urgency, rhythmic complexity, and pianistic virtuosity not found in the previous movements.

Symphony No. 8 in G Major, op. 88, B. 163

Antonin Dvořák began composing his Symphony No. 8 in the late summer of 1889; within ten weeks had finished the work, which he dedicated to the Prague Academy in gratitude for his professorial appointment. The symphony marks a subtle change in style for Dvořák, and many of its elements reflect growing divisions within the Habsburg Empire between Bohemian (Czech) and German musical and philosophical values. As was—and remains—the case with many European composers, Dvořák kept a summer residence in the countryside, at which he could work uninterrupted. Though pastoral influences were not new to Dvořák, the setting undoubtedly informed his musical language both sonically and structurally.

The first movement, marked Allegro con brio, begins in the minor with a lush vocalise melody played by the celli, horns, and low woodwinds. This is followed by a distant, cheery “birdcall” melody from the solo flute, and a buildup to a full orchestral presentation of this second theme. A series of new materials follows, including a military march, something Gustav Mahler would equate with pastoral settings nearly a decade later in his Third Symphony. Themes from earlier in the movement are presented again—beginning the development—recontextualized with new harmonies and instrumentation. The Allegro finishes with a rousing coda that somehow binds together the structurally-idiosyncratic movement.

While nineteenth century classical Czech music rightfully owes much of its rhythmic vitality to Bohemian and Moravian dance music, subtler uses of musical time—evoking both expansiveness and stasis—are rarely discussed. Whereas the first movement, even at its most meditative points, is blanketed by continuous orchestral material, the Adagio is a sophisticated interweaving of both static and directional music. Here Dvořák suspends time, even providing brief silences. Pastoral elements remain, including allusions to a funeral dirge,

PROGRAM NOTES

and what may be strains of a Jewish nigun played by the clarinets. An orchestral thunderstorm, reminiscent of Beethoven’s Sixth Symphony, ultimately gives way to sunshine—yet despite the movement’s expansiveness and rhapsodic unfolding, it may elicit in the listener a sense of mild disorientation.

The third movement, marked Allegretto grazioso, has a rustic elegance, and resembles less of a mid-century Germanic Scherzo as it does an older Minuet and Trio. The first theme, a minor-key waltz, conveys a sense of cascading forward motion—without the lilts and “noble hiccups” of the Viennese style. The second theme (the “trio”) is of a distinctly different character. Dvořák’s early comic opera, The Stubborn Lovers, provides thematic material for the movement’s brisk coda, itself an outgrowth of the second theme.

The finale, Allegro ma non troppo, opens with a trumpet fanfare, and proceeds as a theme and variations, evoking many of the symphony’s prior colors and moods. Czech conductor Rafael Kubelík purportedly told his orchestras that “in Bohemia the trumpets never call to battle—they always call to the dance!” The “dance” progresses in increments toward a frenzied climax, from which point the theme is recast in the fashion of a wistful nocturne. As was expected by Dvořák’s public, the symphony concludes with a fast-paced coda in the Czech style.

—program notes by Dr. Pope

Geoffrey Pope has been recognized through numerous appointments and commissions as a conductor and composer throughout the United States and Europe.

Dr. Pope’s conducting has been described as “warm and expressive” (Boston Musical Intelligencer), characterized by “energy and flair” (Boston Classical Review). Winner of the prestigious Walter Hagen Conducting Prize at the Eastman School of Music, he is newly the Founder and Music Director of the Émigré Composers Orchestra, a new professional ensemble dedicated to performing works of exiled

composers who fled to Los Angeles in the 1930s and 40s.

An active conductor of contemporary music and opera, Pope has recently led performances of John Adams’ Son of Chamber Symphony for the composer at UCLA’s symposium Inside the (G)Earbox: John Adams @ 70; the first English-language production of Sweeney Todd in Budapest; Opera UCLA’s production of Così fan tutte; the premiere of Jason Barabba’s Lettere da Triggiano oratorio with members of the Los Angeles Master Chorale; and a doctoral lecture-recital featuring his own music and that of Wagner and Bernard Herrmann. Earlier work includes conducting performances of Schoenberg’s Pierrot Lunaire with the Experimental Playground Ensemble throughout the Denver Metropolitan Area, including at the famed jazz club Dazzle, to great acclaim.

At Eastman, Dr. Pope prepared ensembles for eminent conductors Brad Lubman, Jeffrey Milarsky, and Alan Pierson, in addition to working with resident composers Oliver Knussen, Steven Stucky, Hilary Tann, and Tristan Murail. His scholarly interests include Viennese music of the early twentieth century, and the role of diegetic music in the evolution of sonic spatialization in concert and film music. His dissertation addresses the evolving role of instrumental music written to be performed onstage in German language opera, and the coordination issues involved in its execution and synchronization with the orchestra pit. Pope’s recordings have been published internationally in Perspectives of New Music, as well as by the Open Space label (USA), and his work has also been featured on radio stations including Classical KUSC, Colorado Public Radio, and Southern California Public Radio. He was a 2013 American Prize awardee for his chamber orchestra work Votive, described by judges as “intimate, contained, ritual music that moves in a very ‘human’ progress.” His current compositional project is an opera, Sarajevo Vespers, set in Bosnia in 1993.

Dr. Pope received his undergraduate degree in composition and theory from the University of Southern California, master’s degrees in conducting and composition from the Eastman School of Music, and his doctorate from the University of California, Los Angeles, where he led ensembles including the UCLA Symphony. His conducting teachers have included Neal Stulberg, Brad Lubman, Neil Varon, and Diane Wittry, among others. Dr. Pope is a former composition student of Donald Crockett, Ricardo Zohn-Muldoon, and the

ARTIST BIOGRAPHIES

late Allan Schindler. He is currently a lecturer at the UC Irvine Claire Trevor School of the Arts, as Interim Conductor of the UCI Symphony Orchestra. His upcoming performances at UCI include the spring opera, Die Fledermaus.

For more information, please visit www.geoffreypopemusic.com.

Winner of the 2019 UCI Concerto Competition

Romanian pianist Eduard Alexandru Gavril began studying piano at the age of five with Professor Kovacs Zsuzsa and later with Professor Carmen Mihaescu at the Vocational Art School in his hometown of Tirgu-Mures in Romania. The son of professional musicians, Eduard made his solo debut at the age of twelve performing Haydn’s Concerto in D Major with the Tirgu-Mures National Orchestra. After graduating valedictorian from his high school in 2011, he continued his studies at the Music Academy “Gheorghe Dima” in Cluj-Napoca where he studied with distinguished teachers Georgeta Anghel and Horea Haplea. Among his achievements

are several first and second prizes at important competitions in his home country. Recruited to Sam Houston State University in Huntsville, Texas by Romanian pianist Ilonka Rus in 2015, Eduard moved to the US to pursue a degree in Collaborative Piano. While at SHSU, Eduard won the school’s concerto competition and performed with the SHSU orchestra. He also won second prize in the school’s art song competition. After graduating, Eduard served as an adjunct faculty member and as a staff accompanist of the same university for one year. He is currently pursuing an MFA in Piano performance at University of California, Irvine, under the guidance of Prof. Nina Scolnik.

Eduard has also distinguished himself as a jazz musician. He made his debut at RestArt jazz festival in Satu Mare, Romania, in 2014. He was also invited to perform at the international film festival TiMAFF, as well as at other jazz events and festivals in Romania.

In 2015, Eduard co-founded ClassMates Piano Duo with his childhood friend and colleague Sorin Frisan. Featuring classical and jazz works, the duo is also known for performing their own compositions, arrangements, and spontaneous improvisations. The duo has performed in the US and in Romania and was awarded first prize at the prestigious International Duo Piano Competition in Colorado Springs, Colorado in 2017.

MUSIC SCHOLARSHIP RECIPIENTS

Violin 1Katie Kim, Cncrtmst.

Kelly TsaiEric Chen, Asst.

concertmaster Miles VinsonSam LeFevre

Grace LindsayJessi PhamEtsuo Ejiri

Violin 2Tiffany Chang,

PrincipalMoses Carter

Samuel BondocShinho ParkAlex Salazar

Mona GhodsiYao Pei

Sam Yoon

ViolaKody Dunford,

PrincipalGary ChananJerry Chang

Kimberly ChinAdam Sloma

Tyler RichardsonLily Wu

Trevor Tuck

CelloJonathan Lee, Principal

Leo KitanoPeter Krapp

Karen LinkletterEsther Chu

Soojung Park

BassDiana MezaMatt Hare

Nathan Atwater

FluteEmily Tsai, Principal

Susan TurnerElva Tang

OboeYali Chen, Principal

Laura Stone

English HornScott Reese

ClarinetJulie Vreman, Principal

Michael Hyunh

Bass ClarinetMaggie Worsley

BassoonMichael CorterAlexander Chay

HornJasmine Koo, Principal

Aidan BrychHailey Maxwell

Anna Pierson

TrumpetJohn Aranda

Melanie HoffmannColin Hacker

TromboneJoshua FriasLailie Kahsai

Long Vay

TubaTom Torvicia

PercussionJared Davenport,

PrincipalBlaine Sayre

Robert Stauffer

Conductor’s AssistantYali Chen

Teaching AssistantAdib Ghorbani

Asst. Prod. Manager

Shih-Wei Carrasco-Wu

UCI SYMPHONY ORCHESTRADr. Geoffrey Pope, guest conductor

MUSIC SCHOLARSHIP RECIPIENTS

Robert & Marjorie Rawlins Scholarship

Tiffany ChangKimberly Chin

Eunbin “Katie” Kim Jonathan Lee

Kelly TsaiMiles Vinson

Winifred W. Smith Music Scholarship

Ashley ChenSydney Streightiff

Harry & Marjorie Ann Slim Memorial

Andre Abad Skyler Bartless

Alice Lowell Memorial Scholarship

Aidan BrychCaleb Salguero

Margie McDade Memorial Scholarship

Caleb Salguero

Phyllis Kovach VaccaScholarshipChaelim LimJerry Chang

Norma Barnard MacLeod

ScholarshipHannah Prendergast

Bette and Steven Warner

ScholarshipNena Aldaz

Sunwoo ChoiBrittany DickMacy House

Richard LindseyMiranda Paulos

Chance RoblesKevin Wu

William C. HolmesFellowship

Sarah Lindmark

Cloud Hsueh Scholarship

Kimberly Chin

Dean’s ScholarshipNaim DehghanyHannah KouryJonathan Lee

Medici CircleAlex LoughBorey ShinShauna Toh

UCI SYMPHONY ORCHESTRADr. Geoffrey Pope, guest conductor

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MARCH Mar. 1* Del Sol Quartet

Mar. 4* UCI Wind Ensemble

Mar. 6* Noon Showcase

Mar. 8 UCI Symphony Orchestra

Mar. 9 – 17 UCI Drama: Parliament SquareMar. 9* PSICA Intercollegiate

Choral Festival

Mar. 13* Guitar Ensemble

Mar. 15* Sonority | UCI Chamber Singers

Mar. 18* Chamber Music Concert

APRILApr. 4 – 20* 15th Annual Guest Juried Under-

graduate Exhibition

Apr. 4 – 20* Open Call - Solo Exhibition

Apr. 6 FAS: Lorna Griffitt and

Haroutune Bedelian

Apr. 11* UC Irvine and Santa Ana High

School Symphony Orchestras

Combined Concert at SAHS

Apr. 18 – 20 UCI Dance: Dance Escape

Apr. 19 – 20 FAS: Hossein Omoumi

and Friends

Apr. 24* UCI Giving Day

Apr. 26* Listening to the Concerts of

Remembrance of Things Past:

A Proustian Extravaganza II

Apr. 27 – May 5 UCI Drama: The Refugee HotelApr. 27 – May 11* MFA Thesis Exhibitions,

Part I

MAYMay. 2 – 4 UCI Dance: Physical Graffiti

May. 3 Celebrate Music at UCI

May. 4 AcaLove: Southern California’s

A Cappella Festival

May. 8 – 11* The Coup de Comedy

Festival 2019

May. 11 –12 Opera UCI: Die Fledermaus

May. 15* UCI Jazz Small Groups

May. 18 – Jun. 1* MFA Thesis Exhibitions,

Part II

May. 20* UCI Wind Ensemble

May. 22* UCI Jazz Orchestra

May. 24* Gassmann: ICIT Student Concert

May. 25 Mari Akagi: An Evening of

Modern Piano

May. 29* Noon Showcase

May. 31 FAS: Lukas Ligeti: Chaos,

Order, Melody

*indicates free event

UPCOMING EVENTS