Memphis Symphony Orchestra

in partnership with

Opera Memphis

AMADEUS -
THE MUSIC AND THE MYTH

Saturday, October 19, 2024 · 7:30pm
Cannon Center for the Performing Arts

Robert Moody,
conductor
Memphis Symphony Chorus ·
Lawrence Edwards,
conductor
Rebekah Howell, soprano
Marquita Richardson,
soprano
Sarah Neal, mezzo-soprano
Carlos Enrique Santelli,
tenor
Marcus King, baritone
Eric McKeever,
baritone
Matthew Burns,
bass-baritone
Robert Feng,
bass-baritone

WOLFGANG AMADEUS MOZART
(1756 - 1791)
Symphony No. 25 in G minor, K. 183
I. Allegro con brio
——-

"Papageno, Papagena" from The Magic Flute
Sarah Neal, Papagena
Marcus King, Papageno
——-

"Der Hölle Rache" from The Magic Flute
Rebekah Howell, The Queen of the Night
——-

"Placido è il mar" from Idomeneo
Marquita Richardson, Elettra
Memphis Symphony Chorus
——-

“Commendatore” from the Finale to Act II of Don Giovanni
Eric McKeever, Don Giovanni
Robert Feng, II Commendator
Matthew Burns, Leporello
Memphis Symphony Chorus

INTERMISSION

WOLFGANG AMADEUS MOZART
(1756 - 1791)
Requiem K. 626
Requiem aeternam
Kyrie
Dies irae
Tuba mirum
Rex tremendae
Recordare
Confutatis
Lacrimosa
Domine Jesu
Hostias
Sanctus
Benedictus
Agnus Dei
Lux aeterna
Cum sanctis tuis
Amen
Marquita Richardson, soprano
Sarah Neal,
mezzo-soprano
Carlos Enrique Santelli,
tenor
Robert Feng,
bass-baritone
Memphis Symphony Chorus

Program Notes

by Michelle Pellay-Walker

Masterworks Two (October 2024)

Movement 1 (Allegro con brio) from Symphony No. 25 in G Minor, K. 183

Mozart was 17 years of age when he wrote this symphony;  its first performance took place in 1773, presumably in Salzburg.  Sometimes, it is referred to as the “Little” G Minor Symphony, in order to distinguish it from the later Symphony No. 40, whose key it shares.  The scoring is quite interesting:  Double reeds only (2 oboes and 2 bassoons) comprise the woodwind section, with 4 horns making up the brass (no trumpets).  The movement is highly energetic, with the symphony as a whole being considered an excellent example of the Sturm und Drang (storm and stress) style that was such an important part of German artistic development at this period in history.

The Magic Flute, K. 620

The Magic Flute is one of Mozart’s most delightful creations, and represents one of the earliest and best known examples of singspiel (opera that features both singing and spoken dialogue).  The basic storyline follows Tamino (a prince) and his sidekick, Papageno (a bird-catcher), through their adventures and trials undertaken to rescue Pamina, the Queen of the Night’s daughter.

Papageno, Papagena” (Act II, Scene 8)

Papageno, in despair over having lost Papagena, has been reminded by the Three Spirits that he can summon her by ringing his magic bells.  This very cute duet occurs once they have been reunited, as they exchange bird calls, and contemplate their future together—along with the numerous children they will have!!

"Der Hölle Rache kocht in meinem Herzen (Act II, Scene 3)
One of the most dramatic coloratura arias in the repertoire, the Queen of the Night has given Pamina a dagger, and ordered her to kill Sarastro, head of the priests of Isis and Osiris. 

QUEEN OF THE NIGHT

Hell's vengeance boils in my heart,
Death and despair blaze about me!
If Sarastro doesn't feel the pain of death through you,
Then you will not be my daughter anymore:
Disowned be you forever,
Destroyed be forever
All the bonds of nature.
If not through you Sarastro will turn pale!
Hear, gods of revenge, hear the mother's oath!

“Placido è il mar” from Idomeneo, K. 366

Idomeneo, set at the end of the Trojan War, tells the story of the King of Crete (Idomeneo), and his efforts to return home following the war’s conclusion.  This Chorus takes place during Act II:  The people of Crete are celebrating the calmness of the seas as Princess Elettra (daughter of Agamemnon and Clytemnestra) prepares to be escorted back to her home, in Argos.   

CHORUS

The sea is calm;  let us go;  everything is reassuring;

we shall have good fortune;  come, let us leave at once!

ELETTRA

Blow, gentle breezes only;  calm the anger of the icy north wind;

be generous with your pleasing breath which spreads love everywhere.

CHORUS

The sea is calm;  let us go;  everything is reassuring;

we shall have good fortune;  come, let us leave at once!

“Finale to Act II” from Don Giovanni, K. 527
Don Giovanni
, inspired by the Spanish legend of the notoriously licentious Don Juan, is a fantastic mix of drama interspersed with strategic comic moments.  The climax of the Act II Finale is anything but humorous, however:  In the epic ensemble that begins this section, Don Giovanni is confronted by the memorial statue of the Commendatore (sometimes referred to as The Stone Guest), whom he killed in a duel near the beginning of the opera, later inviting said statue to dinner (about midway through Act II).  Don Giovanni is warned to repent of his many misdeeds, refuses to do so, and is dragged down to hell amidst the flames.

Requiem, K. 626                        

A great deal of mystery and controversy surrounds the Requiem.  Mozart was initially commissioned to create a “requiem mass” in early 1791, but did not begin actual work on the piece until a few months preceding his death in December of the same year.  While there are a number of sketches that exist in Mozart’s hand (vocal parts and continuo from the Kyrie and most of the Sequence, along with a few violin parts and orchestral bridges), at least giving us some sense of the direction in which he intended to go, the bulk of the work was completed by Franz Xavar Süssmayr.  The first movement (Requiem aeternam) is the only one that can be completely attributed to Mozart.  Tonight’s featured completion, by Robert D. Levin, pianist and musicologist (he has been a featured soloist with the MSO in the past), was published in 1994.  Levin retains the basic structure of Süssmayr’s contributions while adjusting orchestration, voice leading, and other instrumental passages "...as little as possible, so [as to not] disturb the weight of the centuries”.  Levin completes the “Amen” fugue following the Lacrimosa, based on one of Mozart’s sketches.

1.  Requiem

2.  Dies irae

        Tuba mirum

        Rex tremendae

        Recordare

        Confutatis

        Lacrimosa

        Amen

3.  Domine Jesu

        Hostias

4.  Sanctus

        Benedictus

5.  Agnus Dei

This concert is presented in loving memory of
Jimmy Jones
by friends and loved ones

Robert Moody
Scott and Carolyn Heppel
Fred and Diane Smith

Peter and Jessica Abell | Louise & Will Barden | Kitty Cannon | Juan Fuentes
Jere Gerard | Dr. Suzanne Gronemeyer
Pam & Steve Guinn | Ann and Mason Hawkins Janas L. Jackson | Dr. Carol Johnson-Dean Brandon Knisley | Al & Janet Lyons
Gretchen & Kojo McLennon
The Memphis Symphony League
The Memphis Symphony Chrous
Henry Nicholson | John Palmer
Ashley and John Remmers
Frank & Marian Shaffer | Ron & Linda Sklar
Lindsey Stanfill
David and Mary Anne K. Sullivan
Lura & Steve Turner

On Stage

Memphis Symphony Orchestra

Violin I
Barrie Cooper, Concertmaster
The Joy Brown Wiener Chair
Marisa Polesky, Assistant Concertmaster
Diane Zelickman Cohen, Assistant Principal
Wen-Yih Yu, Assistant Principal
Jessica Munson
Long Long Kang
Janaina Fernandes*
The Rebecca Webb Wilson Fellow

Violin II
Gaylon Patterson, Principal
The Dunbar and Constance Abston Chair
Erin Kaste, Assistant Principal
Lenore McIntyre, Assistant Principal
Yennifer Correia
Daniel Parker*
The Judith and Sheldon Korones Memorial Fellow
Michael Brennan

Viola
Jennifer Puckett, Principal
The Corinne Falls Murrah Chair
Michelle Pellay-Walker, Assistant Principal
Aaron Tubergen, Assistant Principal
Beth Luscombe
Matthew Finley*
The Joyce McAnulty Blackmon Memorial Fellowship

Cello
Ruth Valente Burgess, Principal
The Vincent de Frank Chair
Iren Zombor, Assistant Principal
Jonathan Kirkscey, Assistant Principal
Jeffrey Jurciukonis, Assistant Principal
Hannah Schmidt

Bass
Scott Best, Principal
Chris Butler, Assistant Principal

Flute
Shantanique Moore, Principal
The Marion Dugdale McClure Chair
Delara Hashemi

Oboe
Saundra D’Amato, Principal
The Paul and Linnea Bert Chair
Shelly Sublett, Assistant Principal

Clarinet
Andre Dyachenko, Principal
The Gayle S. Rose Chair

Rena Feller

Bassoon
Susanna Whitney, Principal
The Carolyn Horrell Heppel Chair

Christopher Piecuch

Horn
Caroline Kinsey, Principal
The Morrie A. Moss Chair

Robert Patterson
Jeremiah Frederick
James Currence

Trumpet
Scott Moore, Principal
The Smith & Nephew Chair

Elizabeth Carter

Trombone
Greg Luscombe, Principal
Micah Everett
Mark Vail

Timpani
Ed Murray, Principal

Organ
Kristin Lensch

*Circle of Friends Fellow

Memphis Symphony Chorus

SOPRANO
Olivia Ball
Alicia Butler
Janice T. Cate
Edith Christmas
Juyoun Chung
Tamara Clark
Vonda Collins
Melanie Davis
Simone Myara-Dorrough
Katrice D.P. Feild
Mary Gaudet
Roberta J. Hoppe
Mary Claire Jackson
Jane Ludlow
Tara Nabors
Danette Moody Patterson
Reagan Ramsey
Aimee Randolph
Aurora Russell
Pamela Schnell
Ia Traci White
Cathy Wilhelm
Georgia Winkler
Rosemary Winters
Emily Wyonzek
Karen Zeferino

ALTO
Lily S. Axelrod
Valeria Voigt Balman
Cindy Burnette
Gretchen Deupree
Anne Dixon
Caroline Glusenkamp
Pamela Gold
Andrea Goughnour
Teresa Griffith
Gerre Harrell
Midge Holley
Christine Hughes
M. Ann Indingaro
Jayla Isom
Cora R. Jones
Suzanne Lease
Jill Jemison Margolin
Lisa Lucks Mendel
Kelley Muller-Smith
Jean O’Donnell
Sila Ozkara
Isabella Palmer
Ellen Patera
Terron K. Perk
Emily Rooker
Fedoria Rugless
Mary Seratt
Anna Shelton-Brownell
Cynthia Wade
Rita West
Alison Wetherald
Cindy White

TENOR
Nylan Barr
Julius Dabbs
Clint M. Early, Jr.
Craig Gough
Thedrick Griffin
Antonio Hinton
Dylan Hooper
Samuel Johnson
George Martin
Dr. David McNair
John Sanborn
David H. Schnell
Erich Schultz

BASS
Matthew Babb
Leo A. Connolly
Charles Dove II
Calvin Ellis
Bill Gaudet
Scott Hall
Edward M. Holt, Jr.
Samuel Hughes
Dayrin Jones
Marcus King
James McClanahan
David Patterson
Quinton Rayford
Barry White
Alvin Whitney
Lewis R. Wright
Joey Zazzara

ACCOMPANIST
Liz Parsons

ARTISTIC DIRECTOR
Dr. Lawrence Edwards

DONORS

THANK YOU! Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission, and others make annual contributions to support the Memphis Symphony Orchestra. The following community members have expressed their support for the Memphis Symphony for the 2023 - 2024 Season.

This list recognizes philanthropic contributors to the MSO made between July 1, 2023 - August 28, 2024 . While compiling this list every effort has been made to reflect the accuracy of our donors. If your name has been misspelled, omitted, or misrepresented please contact us at 901-537-2500 and will correct our records. We appreciate your generosity and understanding.