Follow the Drinking Gourd
traditional

Follow the Drinking Gourd is an American folk song deeply embedded in the history of African-American slavery and the quest for freedom. The song is believed to have been used to guide escaped slaves to freedom via the Underground Railroad, a network of secret routes and safe houses established in the United States during the early to mid-19th century. The song's lyrics are layered with coded messages. For example, the "drinking gourd" itself is a metaphor for the Big Dipper, whose North Star served as a navigational guide. Other lines in the song provide direct instructions and landmarks to follow. 

The melody is purposefully simple and repetitive, allowing it to be easily transmitted and recalled under stressful and dangerous conditions. Listen for the pentatonic scale, common in African American spirituals. Follow the Drinking Gourd stands as a testament to the power of music to carry messages of hope and freedom. Through its performance, audiences are invited to reflect on a crucial chapter in American history and the enduring spirit of those who fought for their freedom against all odds.

Two South American Tangos

Program notes contributed by dancer Kate Bratt.

Tango originated in Argentina after a huge wave of immigration from Europe in the late 1800s brought about a cultural revolution. Music and dance traditions from Europe (Spanish Flamenco, Slavic polkas, and Austrian waltzes) and South America combined for original creations and, voilà—the Tango!

Once it made its way across the ocean, Tango was deemed unacceptable in Victorian-era London, as the close proximity and necessity of stepping between the feet of one’s partner was viewed as “distasteful” and “overly flirty.”

But today, Tango is embraced by communities around the world, sharing the fiery passion and drama that encompasses the music and movement of this dance.

A. G. VILLOLDO (1861–1919)

Villoldo was an Argentinian musician and composer who was a leading figure for tango music. His most popular work was El Choclo, which he stated was simply about corn on the cob. When he wasn’t composing he would often perform in cafes, telling stories through song and playing the guitar and harmonica at the same time. Villoldo wore many hats; when he wasn’t spending time crafting music, he  as a cuarteador (a horseback assistant for streetcars), a typographer, and even a circus clown. 

MATOS RODRíGUEZ (1897–1948)

Rodríguez was a Uruguayan composer who, like Villoldo, was a prolific player in the tango world. At age eighteen, he wrote his most famous piece La Cumparsita—a significant contribution to the tango genre, and one that is still widely performed today. Rodríguez pursued architecture for a short time before leaning into composing and performing as a pianist, and he also worked as a journalist.

Cradle Moon
CARL HOLMQUIST (b. 1983) 

Holmquist is an American composer, conductor, and educator. He is currently the director of bands at the H-B Woodlawn Secondary Program in Arlington, Virginia. 

Holmquist writes about the piece, “Cradle Moon was commissioned by the Folly Quarter Middle School Band (MD), Andrew Spang, conductor. It is a setting of a lullaby that has been passed down through at least five generations in my wife's family. Despite significant research into the text and tune, I have not come up with a source for this melody. The piece opens peacefully with the harmonized melody first presented by the clarinets and alto saxophones. After a transitional phrase in the brass, which brings greater harmonic dissonance, the growing intensity releases into a climactic phrase in which Away in a Manger (Trumpet 1) and an ornamented delivery of Amazing Grace (Euphonium, Tenor Sax, Bassoon) encircle our lullaby melody. The music then calms and settles, as a child drifting off to sleep.”

Radetzky March
JOHANN STRAUSS I (1804–1849) 

Strauss was a distinguished Austrian composer and violinist born in 1804. Active during the early 19th century, he played a pivotal role in popularizing dance music in Vienna. His compositions, often inspired by folk tunes and lively dance rhythms, contributed significantly to the emergence of the Viennese waltz and gained him the nickname “Father of the Waltz”. This set the stage for his son, Johann Strauss II, who would eventually become known as the "Waltz King" and surpass his father’s success. 

Strauss I's career flourished as he established and led his own orchestra, entertaining audiences with his energetic and spirited performances. His role in the evolving tradition of Imperial-era "light music" was marked by compositions such as the Radetzky March, a piece that achieved enduring fame and is often associated with traditional New Year's concerts.

The Radetzky March is a famous military march that is named after Joseph Radetzky von Radetz, an Austrian general who became a national hero for his victories in battles against the Italian Kingdom of Sardinia during the First Italian War of Independence.

Pictures at an Exhibition
MODEST MUSSORGSKY (1839–1881)

Mussorgsky was one of The Mighty Five, a group of Russian composers who sought to create a national Russian sound during the Romantic period. Mussorgsky drew from traditional folk music that had distinct Russian sounds, rhythms, and form. Additionally, he often composed programmatic music about Russian history, folklore, and other national themes with a startling originality that disregarded many established hallmarks of European composition. Mussorgsky’s musical talent was apparent from a young age. He began piano lessons at age six and was composing by the time he was twelve. However, in adulthood he struggled to have a successful career as a composer, and many of his works remained unplayed until after his death. 

Pictures At An Exhibition is a suite written for piano that eventually underwent several orchestrations, most notably one by Maurice Ravel. The suite is a musical depiction of an exhibition of artworks by Victor Hartmann, a friend of Mussorgsky’s. The suite opens with Promenade, whose theme acts as a musical representation of the composer walking through an exhibition. The suite’s finale The Great Gate of Kiev illustrates Hartmann's design for a monumental gate in Kiev which was never built. This movement captures the grandeur and splendor of this imaginary architectural masterpiece.

Jubilee
RON NELSON (1929–2023)

Dr. Nelson was an American composer known for his significant contributions to contemporary classical music, particularly in the realm of wind band composition. He received bachelor’s, master’s, and doctoral degrees in musical arts from the Eastman School of Music at the University of Rochester. He furthered his studies in France at the École Normale de Musique and at the Paris Conservatory. Nelson joined the Brown University faculty in 1956 and taught there until his retirement in 1993.

With a career spanning over several decades, Nelson emerged as an important figure in American music, with frequent guest conducting appearances at prestigious universities and conservatories. He also composed commissioned works for several prominent programs and festivals.

Overture to Candide
LEONARD BERNSTEIN (1918–1990)

Bernstein was an American composer, conductor, pianist, and educator whose influence extended across multiple facets of the musical world. Educated at Harvard and the Curtis Institute of Music, Bernstein was invited by the conductor Dimitri Mitropoulos to take a position with the Minnesota Orchestra upon his graduation. However, a union rule required the position to be filled by a native of Minnesota. Instead, Bernstein's career took off after a last-minute debut with the New York Philharmonic in 1943. This impromptu performance propelled him to international acclaim and established his reputation as a dynamic and charismatic conductor.

Beyond composition and conducting, Bernstein was a fervent advocate for music education. His televised "Young People's Concerts" with the New York Philharmonic brought classical music into countless homes and classrooms, making him a beloved and influential music educator.

As a composer, Bernstein's output is diverse, ranging from symphonies and ballets to musicals and operas. One of his most iconic works is the operetta Candide, which tells the story of Candide, a young man who is educated in the philosophy of optimism by his tutor Pangloss. The narrative is a satirical skewering of the Enlightenment philosophy of optimism, as well as a critique of societal norms and human folly. Bernstein's score is flamboyantly colorful, filled with rhythmic vitality and the orchestra delivers as much humor as the libretto, if not more.

Variations on an Original Theme (“Enigma”)
SIR EDWARD ELGAR (1857–1934)

Elgar was an English composer who was largely self-taught. He had a difficult early career, and struggled getting his music popularized until his forties, when he composed and published Enigma Variations. The piece became famous immediately throughout Britain and overseas, and Elgar himself became a symbol of British culture and refinement.

Enigma Variations was conceived on the night of October 21, 1898. Elgar had finished a long day of teaching and sat down at the piano for some fun. He played a line that caught the attention of his wife and then created variations on that theme, each emulating a friend of theirs. He subsequently orchestrated these improvisations, and just four short months later Enigma Variations was published in full.

Nimrod was a variation written about Augustus J. Jaeger, a music editor and dear friend of Elgar’s. This variation is meant to capture a story. At a time when Elgar was incredibly depressed and contemplated giving up composing, Jaeger encouraged him to continue creating. During this conversation they reflected on Beethoven, a very influential figure for both Jaeger and Elgar. Jaeger commented on how troubled Beethoven was, but through all his obstacles he continued to create beautiful prayers of thanksgiving. Elgar agreed, feeling deeply moved by that truth. Jaeger encouraged Elgar to follow Beethoven along this path.. The music of this variation has become justly famous, as the immense gratitude felt by Elgar for the value of this dear friend never fails to move musicians and audiences alike. 

Symphony No. 5 (“Reformation”)
FELIX MENDELSSOHN (1809–1847)

Mendelssohn was a German composer, pianist, conductor, and one of the leading figures of the Romantic era. From childhood on, he was close with his sister Fanny Mendelssohn who was also a remarkable musician and composer. Together they shared compositional ideas and Felix supported Fanny’s works as much as he could, given the limited professional opportunities for women during the time period. 

Felix Mendelssohn's legacy extends beyond his compositions; he played a pivotal role in reviving interest in the music of Johann Sebastian Bach. His efforts to reintroduce Bach's St. Matthew Passion to the public in a historic performance in 1829 contributed significantly to the Bach revival during the 19th century.

The finale of Mendelssohn’s Symphony No. 5 (“Reformation”) is particularly notable for its use of Martin Luther's hymn "Ein feste Burg ist unser Gott," a powerful statement of faith and a symbol of the Protestant Reformation. Mendelssohn ingeniously weaves the hymn into the fabric of the symphony, creating a triumphant and celebratory conclusion.

Overture to The Wreckers
DAME ETHEL SMYTH (1858–1944)

Smyth was an English composer and suffragist. Born into a wealthy and progressive family, Smyth defied societal expectations for women of her time, pursuing a career in composition against the prevailing gender norms. Smyth studied at the Leipzig Conservatory, becoming one of the first female students to attend. 

One of her most notable works is her opera The Wreckers, which reflects her interest in themes of social justice and individual freedom. The opera, set on the coast of Cornwall, depicts a community engaged in shipwrecking for profit, explores the moral and ethical dilemmas faced by its characters. The Overture is a potpourri, meaning that it presents a digest of many of the vivid operatic themes to come. Succeeding one another are vigorous sailor's songs, the violence of crashing surf, and a great hymn of triumph.

As a pioneer for women in classical music and a fervent advocate for social change, Smyth's legacy extends beyond her compositions. Her life and work inspire a reflection on the intersection of music, activism, and the persistent quest for equality. She actively campaigned for women's right to vote and even spent time in prison for her involvement in the cause. Her anthem "The March of the Women" became an anthem for the suffragette movement.

Today, Smyth is celebrated for breaking barriers in both music and society, leaving an indelible mark on the history of classical music and the fight for women's rights.

Hungarian Rhapsody, op. 68
DAVID POPPER (1843–1913)

Program notes contributed by soloist Noah Scharback.

David Popper may not be as well known as composers like Liszt or Brahms, but if you are a cellist or cello enthusiast, you will definitely know this icon. Most serious cello students have wrestled with Popper’s advanced etudes, played from the 40 Studies: High School of Cello Playing, Op. 73, and been challenged by his Gavotte during their Suzuki studies, or, later, the sparkly, spiccato-packed Elfentanz (Dance of the Elves).

Popper was born in the Jewish ghetto of Prague, Czechoslovakia, in 1843. His family was able to move when he was eight years old, after the Jews were granted civil equality. His father was a Cantor who sang prayers in the Synagogue. Popper was amazing at imitating his father’s singing from a very young age; his musical talent apparent, his family sent him to study cello with Julius Goltermann.

Throughout his life, Popper was a celebrated cellist who collaborated with many musical greats of his time. He composed over 60 works for the cello, one of which is the beloved Hungarian Rhapsody, op. 68 (Ungarische Rhapsodie). According to writer Michael-Thomas Foumai, Hungarian Rhapsody is “a dazzling showpiece, offering a perspective of skillful idiomatic virtuosity through a Jewish lens of Hungarian folk music. The rhapsodic work channels the Czárdás, a traditional Hungarian dance characterized by fluctuating slow and fast tempi in 2/4 or 4/4.”

Composed in 1893 for piano and cello (and orchestrated four years later by Max Schlegel), Hungarian Rhapsody has six contrasting sections (Andante maestoso, Andante, Allegretto, Presto, Adagio, Allegro vivace). After the orchestral introduction, the piece begins with a cello cadenza, which is an uncommon form. Listen for the contrast between the slow, beautiful sections versus the fiery, showy Presto sections. The Hungarian Rhapsody is an absolute blast to play because of the fast-changing characters, various challenging techniques, and the sheer brilliance of David Popper that shines through. I hope you enjoy hearing it as much as I enjoy playing it!

Hungarian Rhapsody No. 2
FRANZ LISZT (1811–1886) 

Liszt was a Hungarian composer, virtuoso pianist, conductor, and one of the most influential figures of the Romantic era. Liszt's impact on the musical landscape was profound, not only for his innovative compositions but also for his revolutionary approach to performance, which redefined the role of the solo artist. 

Liszt's compositions for the piano are voluminous, to say the least, each one showcasing his miraculous technical inventions in the pursuit of greater passion and expressivity. He was also unafraid to display his exotic Eastern European background, as in his Hungarian Rhapsodies, of which he wrote nineteen. Among them, the most well-known is No. 2, (originally in C-sharp minor and transposed for the orchestra). The dark and imposing opening melody gives way to a frolicking, raucous, nearly chaotic sequence of dances, taking the extravagant implications of "rhapsody" quite literally.

His performance style also changed the future of solo performing, especially for pianists. “Lisztomania” was a cultural phenomenon characterized by fans' passionate and sometimes exaggerated reactions to Liszt's performances. Lisztomania manifested in various ways, including enthusiastic applause, screams, and even fainting among audience members during Liszt's concerts. Before Liszt, audiences quite simply had not experienced a single performer who so stirred the passions of his audience through the magnetic, quasi-superhuman fusion of appearance, virtuosity and charisma.