Robert Vodnoy, Conductor

2 0 1 6 - 2 0 1 7 : A S E A S O N O F C E L E B R AT I O N

Fall Concert:

Immortal Love

N o r t h e r n S t a t e U n i v e r s i t y • A b e r d e e n , S o u t h D a k o t a

Nov. 12, 7:30 p.m. Johnson Fine Arts Center Main Stage, Aberdeen, South Dakota

Season Sponsored by the

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Violin I Beth Neitzert# Aberdeen Iiris Säkkinen Riihimäki, Finland Noelle Stubbe Aberdeen Gregg Magera Aberdeen Xin Wang Aberdeen Leandro Fernandez Rosario, Argentina Esther Meador Mitchell Hans Peterson Sioux Falls Elizabeth Gustafson Sioux Falls

Violin II Sara Kjetland# Watertown Timothy Woods Aberdeen Tabitha Reule Mandan Kaitlynn Loos Rapid City Sara Christensen Blair Aberdeen Nancy Ohnstad Aberdeen Pat Pickard Sioux Falls

Viola Leandro Layne# Christ Church, Barbados Josh Opp Aberdeen Liz Soladay Fulton Deryn Lewis Aberdeen Kristin Bushkohl Sioux Falls Christopher Stanichar Sioux Falls

Cello Stuart Davidson# Crocker Taylor Johnson Aberdeen Ricky Faflak Aberdeen Sean Fenenga Watertown Amy Dougherty Aberdeen Christina Hilgemeier Rapid City Joseph Berns Aberdeen

Bass Tanner Chilson# Watertown Ever Jimenez Cochabamba, Bolivia Lucas Fredrick Aberdeen Christian Scarlett Aberdeen

Flute and Piccolo Kylie Rusch# Bismarck, N.D. Catherine Woodmansey Pierre

Oboe Shelby Bauer# Aberdeen Brooke Thielbar Hardwick, Minn.

Clarinet Molly Royals# Rapid City Jacque Bratcher Lead Sarah Suko Aberdeen

Bassoon Alyssa Ullrich# Aberdeen Leah Walker Sioux Falls

Horn Ginny Lewis# Aberdeen Elsa Swanson Chaska, Minn. Rachel Hemke Aberdeen Carleigh Klein Rapid City Gretchen Sharp Bath

Trumpet Nick Ries# Watertown Colton Schaefer Wilmot

Trombone Brady Vandewort# Rapid City Scott Glodt Hoven John Gorr Rapid City

Harp Grace Gering Sioux Falls

Piano Grace Gasperich Aberdeen

Timpani and Percussion Luke Bergjord# Aberdeen John Cassens Sisseton Tanner Schabot-Shultis Aberdeen

#principal player

Graduate Assistant/ Orchestra Librarian Leandro Layne

House Manager Dan Yurgaitis

Box Office Manager Darla Knight

{ABERDEEN UNIVERSITY/CIVIC SYMPHONY PERSONNEL}

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ABERDEEN UNIVERSITY/CIVIC SYMPHONY Robert Vodnoy, conductor

FALL ORCHESTRA CONCERT Lee-Chin Siow, violin

NSU Concert Choir, Timothy Woods, choir director Johnson Fine Arts Center Main Theater

November 12, 2016 at 7:30 p.m.

PROGRAM

IMMORTAL LOVEConsecration of the House Overture, Op. 124 Ludwig van Beethoven

The Butterfly Lovers Concerto Chen Gang/He Zhanhao Lee-Chin Siow, violin

Intermission

Invictus Josh Rist NSU Concert Choir, Timothy Woods, conducting

Schicksalslied, Op. 54 Johannes Brahms NSU Concert Choir

Canzonetta from Violin Concerto in D Major, Op. 35 Pyotr Ilyich Tchaikovsky Lee-Chin Siow, violin

Polonaise Brilliante in D Major, Op. 4, no. 1 Henryk Wieniawski Lee-Chin Siow, violin

SPONSORED BY

Hotel accommodations for Lee-Chin during her stay in Aberdeen provided by

Use of an automobile for Lee-Chin provided by

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TEXTS

I N V I C T U S by William Ernest Henley

Out of the night that covers me, Black as the pit from pole to pole,

I thank whatever gods may be For my unconquerable soul.

In the fell clutch of circumstance I have not winced nor cried aloud. Under the bludgeoning of chance My head is bloody, but unbowed.

Beyond this place of wrath and tears Looms but the Horror of the shade,

And yet the menace of the years Finds, and shall find me, unafraid.

It matters not how strait the gate, How charged with punishments the scroll,

I am the master of my fate: I am the captain of my soul.

S C H I C K S A L S L I E DBy Friedrich Hölderlin

Ihr wandelt droben im Licht Auf weichem Boden, selige Genien! Glänzende Götterlüfte Rühren euch leicht, Wie die Finger der Künstlerin Heilige Saiten.

Schicksallos, wie der schlafende Säugling, athmen die Himmlischen; Keusch bewahrt In bescheidene Knospe Blühet ewig Ihnen der Geist, Und die seligen Augen Blicken in stiller Ewige Klarheit.

Doch uns ist gegeben Auf keine Stätte zu ruhn, Es schwinden, es fallen Die leidenden Menschen Blindlings von einer Stunde zur andern, Wie Wasser von Klippe Zu Klippe geworfen, Jahrlang ins Ungewisse hinab.

You walk up there in the light on soft ground, blessed spirits! Gleaming, divine breezes touch you lightly, as a female musician’s fingers touch holy strings.

As fateless as a sleeping infant, the Heavenly Ones breathe. Chastely guarded, as in a modest bud, eternally bloom their spirits, and their blessed eyes gaze in calm, eternal clarity.

But it is our fate to have no rest anywhere. Vanishing, falling, suffering human beings go blindly from one hour to the next like water from cliff to cliff, thrown downward for years long into Uncertainty.

Translation by John Glenn Paton©, used with permission Source: LiederNet Archive

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{NSU CONCERT CHOIR AND ABERDEEN COMMUNITY CHORUS ROSTER}

Sopranos Balie Albrecht, Rapid City Hailey Aldentaler, Britton Ashley Aymar, Miller Alexandra Becht, Clear Lake Taylor Bogue, Aberdeen Shelby Braun, Warner Taylor Brekke, Mobridge Allison Bruce, Pierre Cassandra Bruns, Brookings Emily Cruse, Huron Naomi Davis, Watertown Tierra Decker, Huron Leda Dinger, Langford Annabelle Eastman, Aberdeen Shelby Glover, Sioux Falls Kari Hanson, Groton Tristen Henke, Center, N.D. Chrissy Hilgemeier, Rapid City Kaitlynn Loos, Rapid City Jena Lunzman, Hecla Amanda McIlravy, Philip Danica Mickelson, Miller Christine Powers, Hot Springs Brittany Quinn, Timber Lake Bailey Regynski, Pierre Joanna Schleich, Mitchell Katrina Smith, Gettysburg Kayla Sproles, Sioux Falls Elsa Swanson, Chaska, Minn. Brooke Thielbar, Hardwick, Minn. Moriah Turick, Aberdeen Carrie Wegleitner, Lake City Abigail Wienk, Lake Preston Annie Woodmansey, Pierre

Altos Katie Appl, Aberdeen Rachel Baer, Clear Lake Shelby Bauer, Aberdeen Jacque Bratcher, Lead Brenna Chee, Mescalero, N.M. Tayzia Claymore-Knight, Eagle Butte Addyson Diaz, Breckenridge, Minn. Anika Fredrick, Buffalo, Minn. Lindsey Friedrichsen, Huron Grace Gasperich, Aberdeen Chelsie Gehrke, Clark Brianna Geigle, Yankton

Megan Hanson, Pierre Lydia Hulscher, Watertown Kayleigh Kallenberger, Leola Hyeyeong Kim, Seoul, South Korea Sara Kjetland, Watertown Kristina Kuzmina, Chernivtsi, Ukraine Cassandra (Jordan) Lentz, Negaunee, Mich Emily Meidinger, Mt. Vernon Kayla Nuese, Hendricks, Minn. Katie Olson, Aberdeen Hyunji Park, Seoul, South Korea Kylie Rusch, Bismarck, N.D Tabitha Schmidt, Huron Camila Shinoka De Sousa, Utsunomiya, Japan Rachel Smith, Huron Sarka Stehnova,Velke Hamry, Czech Republic Allison Sundquist, Gregory Paige Tooker, Warner Taylor Wall, Breckenridge, Minn. Kelsey Wieser, Plum City, Wis. Brigette Weisenburger, Aberdeen Joni Willoughby, Midland Jennem Woolever, Grand Forks, N.D.

Tenors Kevin Boring, Pierre Louis Burley, Pierre Ethan Delvo, Watertown Tanner Fuhrer, Mitchell Adam Henning, Watertown Andrew Holt, Aberdeen Harrison Homelvig, Bowman, N.D. Layne Johnson, Kulm, N.D. Tyler Lanam, Rapid City Cordell Ring, Onida Colton Schaefer, Wilmot Dustin Schmidt, Huron Levi Seefeldt, Clark Tyler Smith, Tea Nathan Wilson, Kimball

Basses Brandon Barrett, Britton Tyler Beck, Leola Dylan Bennett, Pierre

John Cassens, Faulkton Tanner Chilson, Watertown Scott Glodt, Hoven Tyler Harris, Rapid City Michael Lytle, Rapid City Austin Metzen, Wahpeton, N.D. Tyler Newton, Jamestown, N.D. Nick Ries, Goodwin Adam Rye, Sioux Falls Tanner Shabot-Shultis, Aberdeen Salvatore Scavo, Hightstown, N.J. Luke Snoozy, Dell Rapids Andrew Sprang, Sioux Falls Will Tiensvold, Sioux Falls Ben Weber, Rapid City

Community Chorus McKenzie Betting Kaitlyn Buchholz Peri Erdmann Amanda McCullough Kelsey Papke Alicia Peterson Melledy Rostad Joye Ward Brenda Weismer Kristine Wollman Allison Foster Stacey Hepola Haley Hubbard Tari Kilian Lynn Klundt Peggy Lister Carlee Miller Nancy Miller Leah Swanson Rhonda Swanson Mallory Scott VaLynda Weller Bill Freitag Matt Scott Richard Wilson Ken Jones John Naughten Russ Pietz Joseph Peterson Wes Elliott

Accompanist: Kelly McPhail

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PROGRAM NOTESBy students in Dr. Vodnoy’s Music History III class

LUDWIG VAN BEETHOVEN (1770-1827) was considered by musicians and critics alike not only to be humanity’s greatest mind, but also as the most influential composer in the history of Western Classical music. A brilliant composer, he also was believed by his father to be a wunderkind (a child protégé). He traveled from his hometown of Bonn to Vienna to study music. When his mother died, he returned home to care for his brothers Nikolaus and Caspar, but eventually he returned to Vienna. Although he rejected working under regular patronage, he received support from the aristocracy. In 1798 his hearing began to deteriorate, but in 1802, he still decided to dedicate his life to music.

Beethoven was a brilliant pianist, and with that talent he wrote 32 piano sonatas—many at the start of his career in Vienna; he also wrote nine symphonies, one opera, and many chamber pieces. His work is divided into three periods: his Early Vienna Years (1792-1798), when moved to Vienna and studied with composers such as Joseph Haydn and Johann Albrechtsberger. During this time, he wrote twenty of his piano sonatas, including the Moonlight Sonata. His Heroic Period (1803-1818) was inspired by many events and figures, including Napoleon Bonaparte. Musical works from this period include symphonies nos. 2-8, piano concerti nos. 4 and 5, the opera Fidelio, and piano sonatas nos. 21-27. His Late Period (1822-1827), which began fter several years of inactivity, included his last five piano sonatas, his Ninth Symphony, the late string quartets, and Missa Solemnis.

Tyler Beck

Beethoven composed the Consecration of the House Overture in 1822 for the rededication of the Josefstadt Theater in Vienna on October 3rd of the year. The score calls for woodwinds in pairs, four French horns, two trumpets in C, three trombones, Timpani, and Strings. Approximate performance time is 12 minutes.

Anton Schindler, whose famous biography of Beethoven is notoriously inaccurate, claimed that Beethoven had a “long cherished idea of writing specifically in the style of Handel.” When he was asked to write something for the newly refurbished Josefstadt Theater in Vienna, Beethoven got his chance. The Consecration of the House Overture is Beethoven’s most Handelian work. It begins slowly with a French-style overture, common in Handel’s time. It then moves into a double fugue—a kind of neo-baroque homage, much like the fugue in his Ninth Symphony. Although this overture was shaped in the style of Handel, it is purely Beethoven.

Starting in 1788 the Josephstadt Theater was used for the best artistic forces known. Soon it was too small for the audiences it was attracting and needed renovations to the concert space. Renovations on the Johnson Fine Arts Center began in 2015. Some of the renovations include new practice rooms by Wenger Corporation, new studio-offices, and the renovations to the great Main Theater. The new Johnson Fine Arts Center was finished in the summer of 2016. Much like the Josefstadt Theater and the people of Vienna, we call upon Beethoven to “consecrate” the newly renovated Johnson Fine Arts Center.

Scott Glodt

CHEN GANG was born in Shanghai, China on March 10, 1935. He studied composition first with his father, Chen Ge Xin, then at the Shanghai Conservatory of Music. He entered the Conservatory in 1955 and in his final year there, he composed The Butterfly Lovers Concerto with He Zhanhao. The inspiration to compose this piece came from a Chinese story about Liang Shanbo and Zhu Yinghai. The Butterfly Lovers caused problems with a Chinese leader Mao Zedong. Mao wanted a piece that would “change the face of China and catch up with Britain and America.” The concerto was at odds with the prevailing political climate for years. Later, after the piece came back into favor, it won a Platinum Record prize and five Golden Globe prizes. After he graduated from the Conservatory, Chen Gang went on to become a teacher there.

HE ZHANHAO was born in Zhuji, Zhejiang on August 29, 1933. He was a part of the Zhejiang Yueju Opera Troupe, where he participated in the orchestra. Later, he entered the Shanghai Conservatory of Music where he studied violin. While he was there, he formed an experimental violin group. The Butterfly Lovers was one of the groups’ experiments. After

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he graduated, he went on to study composition under Ding Shan De at the Composition Department. He has also gone on to teach at the Shanghai Conservatory of Music. A couple of his other great works are Martyr’s Diary, a string quartet piece, and Longhua Pagoda, a symphonic poem.

Katrina Smith

The Butterfly Lover’s Concerto, composed in 1959, is known as one of the most beautiful pieces of Chinese literature. It illustrates the story of the Butterfly Lovers, which many argue parallels Shakespeare’s Romeo and Juliet.

The story of the Butterfly Lovers focuses on Zhu Yingtai. Zhu Yingtai wanted to study at a university, so she disguised herself as a boy in order to be accepted. She met Liang Shanbo at her university. Zhu and Liang became almost inseparable and eventually fell in love once Zhu revealed her true identity. Liang immediately went to ask for her hand in marriage, but was too late. Zhu, by the orders of her parents, had been betrothed to another man. Soon after, Liang died of a broken heart. Zhu requested that her wedding procession walk past the cemetery where Liang was being buried. When she reached his grave, she threw herself into it. Others ran to the grave, but it was empty except for two butterflies that flew out of the grave together.

In The Butterfly Lover’s Concerto, the introduction opens with a flute cadenza that represents a butterfly. The solo violin enters soon after and plays the Love Theme. After the violin cadenza, the style changes to a whimsical section which signifies Zhu and Liang becoming friends. When the trombones enter, the mood suddenly changes as Zhu’s father rejects Liang’s proposal and the lovers realize they cannot be together. At this point in the piece, the solo cello and solo violin have a conversation. A tense section full of tremolo and gong strikes follows. The solo violin has a cadenza followed by a gong strike. At this point, the music illustrates Zhu throwing herself in Liang’s grave. This section is in a major key because the lovers are together again. The flute butterfly theme from the introduction returns as the two butterflies fly off together. The piece finishes with a return to the Love Theme.

Kylie Rusch

JOHANNES BRAHMS was born on May 17, 1833, in Hamburg, Germany and is considered one of the greatest composers of the 19th century and Romantic period. His father, Johann Jakob Brahms, was one of the primary influences on his early music career. Johann was a double bassist in military bands and tavern orchestras, culminating with his joining the Hamburg Philharmonic. When Brahms was a teenager, he earned money by playing at inns and brothels to support his family. The experience scarred him. In 1853, Brahms met German composer Robert Schumann and his wife, pianist Clara Wieck Schumann. Schumann gave him high praise for this “new talent” as he called Brahms. The Schumanns and Brahms became very good friends until Robert’s death in 1856. Clara remained his life-long friend.

Brahms traveled to Vienna in the early 1860s and achieved initial success by becoming the director of a choral group called Singakademie in 1863. In 1868, Brahms finished his German Requiem, which is based on texts selected by him from the Lutheran Bible. It has been said that he composed this piece for his mother, who passed away in the same year. He spent the rest of his life in Vienna and doing concert tours; the material that he performed was his own music. His pieces included four symphonies, choral works, two piano concertos, a violin concerto, a double concerto for violin and cello, string quartets and quintets, and chamber music. In 1896, Brahms’ health started to decline. He attended a performance of his music in March of 1897 in Vienna, and one month later, after attending Clara’s funeral, he died of cancer.

Tyler Smith

FRIEDERICH HÖLDERLIN (1770-1843) was a German lyric poet during the Romanticism movement. His mother raised him and his two siblings in Nurtingen. As a child, he attended a monastery school and then continued to study theology at a seminary. Hölderlin had a fascination with Greek mythology and was torn between Christianity and Greek mythology for most of his life. Because of this tension, he never became a minister. Instead, he served as a tutor for many households. Due to many conflicts, Hölderlin was considered mentally unstable by his close friends and family. He mainly suffered from anxiety, high emotions, and nervousness. Although a part of his mind was deteriorating, the creativity in his writing and ideas continually improved. After a mental collapse and a period in an asylum, he was released and spent

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the last 36 years of his life living alone in a room in a house on the Neckar River in Tübingen where he continued to write.

Hölderlin was little known during his lifetime, but was rediscovered in the early 20th century. He is well known for his unique expressive style and voice. Another accomplishment of Hölderlin was naturalizing classical Greek verse into the German language. Many of Hölderlin’s poems were set to vocal music by a variety of composers, and instrumental composers used the ideas from his poems and other writings as inspiration for their pieces. The most famous setting of his poetry for choir and orchestra is Brahms’ Schicksalslied.

Katie Appl

Brahms finished the Schicksalslied (“Song of Fate”) in 1871. He had discovered a book with Hölderlin’s poems in it and was immediately intrigued by Hyperion’s Song of Destiny which is the poem that inspired Brahms to write Song of Destiny. In 1868, shortly after Brahms discovered the poem, he and several of his friends were visiting Wilhelmshaven by the Sea Naval base. While there Brahms began his work drafting the start of Schicksalslied.

The opening of Schicksalslied—a beautiful melody, given to muted violins, unfolds over dark chords and the quiet pounding of the timpani. A four-part chorus enters with a glorious chord progression and rich suspensions; as the piece moves from E-flat major to C minor it transitions into a fast tempo, and the music plunges into the “vague abyss”.

At first, Brahms did not know how Schicksalslied should end. The poem on which Brahms based the music ends at the “abyss” and doesn’t return. Brahms did not want to end this way, it took until 1871 for him to find an ending that would please him. A suggestion that Brahms received from Hermann Levi, who would later conduct the premier of Schicksalslied, was to finish with the beginning. Brahms liked this idea and would incorporate the beginning orchestral prelude. However this time he would change the orchestration, having the flute carry the melody and transposing into C major. This would show the desire of the composer to relive the gloom of the concluding idea of the text and shed a ray of light over the entirety of the piece, leaving a much more hopeful impression.

Colton Schaefer

PYOTR ILYICH TCHAIKOVSKY (1850-1893) was the leading Russian composer of the nineteenth century. The general public knew him for his ballets: Swan Lake (1876), The Sleeping Beauty (1889), and arguably the most well-known, The Nutcracker (1892). He is also well-known for his six symphonies. Tchaikovsky wrote eight completed operas, but they are not as famous as his symphonies and ballets in the United States. Other works include three piano concertos, a violin concerto, symphonic poems and overtures, and chamber music. According to the Concise History of Western Music, he was influenced by Italian opera, French ballet, and German symphony and song. Tchaikovsky was born in Votkinsk, Russia but soon after moved to Saint Petersburg. He then graduated from law school at age nineteen and began a career in government. After being a civil servant, a job he did not like, he went back to school at the Saint Petersburg Conservatory. There he studied with Anton Rubinstein, a composer, pianist, and conductor. After being one of the first to graduate from the conservatory, he found a teaching position at the Moscow Conservatory and remained there for twelve years.

Tchaikovsky’s professional career was quite successful as a composer overall, but his personal life was almost in shambles. He suffered depression and attempted suicide more than once. Many biographers agree that Tchaikovsky was homosexual, and this was not accepted whatsoever in that time period. In 1877, Tchaikovsky married a former student, Antonina Miliukova, but it was a near disaster. They were not a match sexually and their personalities clashed. They only lived together for two and a half months before he went back to Saint Petersburg in a rush. Tchaikovsky took back his teaching position in 1878 devoting himself solely to composition. One of the pieces he composed in this year is his only violin concerto, which is being performed tonight.

Balie Albrecht

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Tchaikovsky’s Violin Concerto in D Major is widely known and feared for its virtuosic demands and emotional impact. Pyotr Ilich Tchaikovsky composed this piece in March of 1878, less than a year after his divorce from Antonina Milyukova. During the three months of their marriage Tchaikovsky attempted suicide twice, then decided to escape from his tragic union.

After several months, Tchaikovsky found himself in Switzerland where he was visited by a friend, violinist, and possible lover, Yosif Kotek. Kotek inspired Tchaikovsky to compose a grand concerto for violin, and within a month the piece was complete. Tchaikovsky decided to devote his new work to world-renowned violinist Leopold Auer who was also to premiere the piece. Auer, however, retorted to Tchaikovsky that the concerto was unplayable, and it left him crushed. Even more crushing was the reception to the concerto’s premiere by a less skilled musician in an unprepared concert two years later. Critic Eduard Hanslick described the piece by saying that he had now heard music “whose stink one can hear.” Tchaikovsky abandoned the work due to its brutal reviews, but Auer later admitted that the work could be performed well, it was only so difficult. He later went on to teach the piece to his students Jascha Heifetz and Mischa Elman, who made the piece famous.

The second movement, being performed tonight, was not the original movement of the concerto. While composing it and hearing Yosif Kotek perform the composition, Tchaikovsky realized that the second movement didn’t fit with the rest of the piece so he wrote a new one. The discarded movement was eventually formed into its own work and given its own title: Meditation in D Minor.

Tanner Chilson

HENRYK WIENIAWSKI (1835-1880) was a child prodigy who grew up to be a teacher, conductor, professor, and composer. He was born in Lubin, Poland to Tobiasz Pietruszka and Regina Wolff. Tobiasz Pietruszka took on the name Tadeusz Wieniawski to better blend in with his Polish environment. He converted from Judaism to Catholicism, obtained his medical degree, and married Regina Wolff, the daughter of a well-known Jewish physician.

Henryk’s ability to play the violin was noticed very early in his life. When he was just nine years of age (1843), he was accepted into the Paris Conservatoire. They made very special exceptions for him because he was so young and not French. Four short years later, he published his first opus, a Grand Caprice Fantastique. In 1849, Wieniawski created the first draft of the Polonaise, for violin and piano. He then graduated from his class at the Paris Conservatoire, alongside his brother Józef (pianist), with the highest of praise and success, after only one year of studies. After touring with his brother, he went back to Paris to study composition under Professor Hipolit Collet and it is said that this is where the Polonaise in D major (as we know it today) took on its true form. After his death, Henryk was remembered with many honors. His portrait was put on a postage stamp of Poland two different years and a coin was issued in 1979 with his face on it. Another legacy was the “Russian bow grip” or the “Wieniawski bow grip,” which is how he taught his students to play what he called the “devil’s staccato” with ease.

Alexandra Becht

Wieniawski finished composing the Polonaise in D Major Op. 4 in 1852. This piece is also known as Polonaise Brilliante. It was published in Germany in 1853, and later in Paris of 1858. After Wieniawski’s death, many more editions were published throughout Europe. Wieniawski was inspired by Karol Lipinski, and so he dedicated this piece to him. It is the first of the two polonaise he composed, this one being in D major and the second being the Polonaise in A Major Op. 21. There are two versions of the Polonaise in D Major. One is for violin with piano accompaniment, and the other is violin and orchestra. The only hand-written score that has survived out of these two versions is the Polonaise version for violin and orchestra. Wieniawski also composed Adagio élégiaque Op. 5, which he recommended performing before the Polonaise. The Polonaise and Adagio 1856 manuscript is dedicated to King William III of the Netherlands. Wieniawski was decorated with the Knight’s Cross of the Order of the Oak Crown and the Officer’s Cross of the Order of the Oak Crown by King William III. Wieniawski himself was the soloist for the premiere of both compositions. The overall form of the piece indicates a rondo form (ABACA), meaning that a theme (A) is repeated throughout a piece.

Noelle Stubbe

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ARTIST BIOGRAPHYBefore Singapore had a conservatory of music, Singaporean violinist Lee-Chin Siow blazed a trail for this “little red dot on the classical music map” when she won the Gold Medal of the 1994 Henryk Szeryng International Violin Competition. Her victory launched her career as one of Singapore’s first homegrown soloists on the international classical stage. Her performances have been viewed by millions on China Central TV, America’s CBS, and National Public Radio.

Lee-Chin touches audiences with her charismatic stage presence in intimate recitals as well as the grandest of stages. As a soloist, she has collaborated with renowned orchestras such as the Royal Philharmonic Orchestra, Houston Symphony, and

Dallas Symphony; in major concert halls such as the Royal Albert Hall, Osaka Symphony Hall; and at such international festivals as the Aspen Music Festival, Banff Music Festival, Cervantino Music Festival, Music Fest Perugia, and Singapore Arts Festival. She took center-stage for her biggest audience at the 2015 South East Asian Games Opening Ceremony performing to more than 50,000 and reaching millions through web broadcasts around the world.

At 15, Lee-Chin became the first Singaporean musician to be talent-spotted and offered a place at one of the most selective music schools in the US – the Curtis Institute of Music. Her debut album Songs My Father Taught Me became a HMV classical bestseller and won her praise in the American Record Guide as “a distinguished cultural asset of international stature.”

Lee-Chin began her violin studies with her late father Siow Hee Shun. Her teachers at Curtis, Oberlin and Mannes include legendary violinist/pedagogues Aaron Rosand, Jascha Brodsky, Felix Galimir, and Almita and Roland Vamos. Today, she continues their pedagogical tradition in her work with young people all over the world from China’s Beijing Central Conservatory of Music, Soochow University School of Music, to the Singapore National Youth Orchestra, and as violin professor at the College of Charleston.

Proud of her Asian origins, Lee-Chin bridges East and West, introducing the music of Asian composers to the West. At the 2015 City of London Festival, she performed the world premiere of Air, a piece written for her by acclaimed composer Yao Chen. Lee-Chin is honored to share her inspirational journey in her memoir From Clementi to Carnegie and to be a featured writer in the 2015 Singapore Writers Festival.

Lee-Chin has received glowing reviews for her playing. The American Record Guide said: “The sound she draws from that Guadagnini is huge, sumptuous and rich in every register, reminiscent of David Oistrakh at his peak, with the color of deep amber.”1

1Biography from LeeChin.com

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Dr. Kenneth Boulton, Dean

Laura Haar, Senior Secretary

Tracy Jurgens, Academic Advisor

DEPARTMENT OF ART AND THEATER

Peter Kilian, Professor of Art, Art Department Chair

Darla Knight, Secretary

Dr. Greg Blair, Associate Professor of Art, Northern Galleries Director

Gratia Brown, Artist in Residence

Sara Christensen Blair, Associate Professor of Art

Keum-Taek Jung, Associate Professor of Art

Nadya Preszler, Instructor of Art Education

Daniel Yurgaitis, Professor of Theater, Theater Director

Joshua John Frachiseur, Assistant Professor of Theater

Tina Hanagan, Technical Director, Johnson Fine Arts Center

DEPARTMENT OF MUSIC

Dr. Terry Beckler, Associate Professor of Music, Music Department Chair/Percussion and Bands

Dr. Darci Bultema, Associate Professor of Music, Voice/Opera

Dr. Marcela Faflak, Professor of Music, Piano/Keyboard Literature

Dr. Marla Fogderud, Lecturer in Music, Voice/Opera

Mr. Fred Hemke, Assistant Professor of Music, Woodwinds/Jazz

Dr. Grant Manhart, Professor of Music, Trumpet/Jazz

Dr. Audrey Miller, Assistant Professor, Clarinet/Music Theory, Concert Band

Dr. Rolf Olson, Director of Bands

Mr. Michael Skyles, Instructor of Music, Voice/Musical Theater

Dr. Wendy van Gent, Assistant Professor of Music, Music Education/Vocal Jazz

Dr. Robert Vodnoy, Professor of Music, Orchestra Director/Strings

Dr. William Wieland, Professor of Piano and Music Theory

Dr. Timothy Woods, Associate Professor of Music, Director of Choral Activities/Music History

NORTHERN STATE UNIVERSITY SCHOOL OF FINE ARTS FACULTY AND STAFF

U P C O M I N G E V E N T S IN NORTHERN STATE UNIVERSITY’S SCHOOL OF FINE ARTS

All events are free and open to the public except as noted. For information on ticketed events in Northern State’s School of Fine Arts, please call 605-626-2900 or 605-626-2497. Johnson Fine Arts Center box office hours are Monday,

Wednesday, and Thursday, noon - 4 p.m. Also, visit our website at www.northern.edu/artsnsu.

NSU SENIOR RECITAL: JONATHAN GORR, TUBA AND TAYLOR JOHNSON, SAXOPHONE Sunday, Nov. 13, 3 p.m.

Krikac Administration Building Main Auditorium.

NSU SYMPHONIC BAND/NSU CONCERT BAND PRESENT: “A CONCERT OF FIRSTS,” Monday, Nov. 14, 7:30 p.m.

Johnson Fine Arts Center Main Theater. Ticket required.

NORTHERN STATE UNIVERSITY ART FACULTY EXHIBITION (closing reception - Tuesday, Dec. 6 at 6:30 p.m.)

Nov. 14 through Jan. 20 Johnson Fine Arts Center Art Gallery regular gallery hours are Monday through Friday, 9 a.m. - 5 p.m.

NSU SENIOR RECITAL: EVER JIMENEZ, DOUBLE BASS AND SARKA STEHNOVA, PIANO

Thursday, Nov. 17 at 7:30 p.m. Krikac Administration Building Main Auditorium.

NSU OPERA PRESENTS: PUCCINI’S GIANNI SCHICCHI Friday, Nov. 18 at 3 p.m.; Sunday, Nov. 20 at 3 p.m. Johnson Fine Arts Center Black Box Theater. Ticket required.

NSU CHOIRS PRESENT: “A HOLIDAY CELEBRATION” Thursday, Dec. 1 at 7:30 p.m.

Johnson Fine Arts Center Main Theater.  Ticket required.

NSU DEPARTMENT OF MUSIC PRESENTS: “I’VE HEARD THAT SONG BEFORE, FROM HOLLYWOOD TO BROADWAY WITH JULE STYNE”

Friday and Saturday, Dec. 2 and 3 at 5:30 and 7:30 p.m. The Brass Kettle

NSU DEPARTMENT OF MUSIC PRESENTS: “ANNUAL HOLIDAY EXTRAVAGANZA”

Tuesday, Dec. 6, 7:30 p.m. Johnson Fine Arts Center Main Theater.  Ticket required.