Tag Archive for: Hannah Schendel

Mystical Legends

/in ,

March 28, 2025
By Hannah Schendel, WSO Music Director

Please join us for the final performance of this season!

Sunday, April 27, 2025 at 3:00 pm
Eisenhower Community Center
1001 Highway 7
Hopkins, MN 55305

Classical music has the power to transport us to different times, places, and emotions. The three works on this program offer a captivating blend of rich storytelling, vibrant orchestration, and emotional resonance.

Overture to Prince Igor by Alexander Borodin
Borodin’s Overture to Prince Igor is a highly energetic and evocative work. This orchestral introduction to his opera Prince Igor—a piece that was left unfinished at the time of Borodin’s sudden death in 1887—captures the essence of the adventures and military operations found in the medieval Russian epic, The Lay of Igor’s Campaign.

Although Borodin had not completed the full opera, his colleagues and fellow composers Nikolai Rimsky-Korsakov and Alexander Glazunov took it upon themselves to finish the work based on Borodin’s sketches and piano performances.

Flying Dragon Concerto by Gao Hong
We are delighted to perform alongside Gao Hong who is an internationally renowned pipa player. Gao has been featured as a guest artist with the Minnesota Orchestra, teaches at Carleton College, and performs throughout the world.

The Flying Dragon Concerto is a powerful exploration of identity, travel, and inner strength. As a young girl, Gao, was told by a fortuneteller that she was a “flying dragon” due to the time and date of her birth. This prophecy became a metaphor for her nomadic lifestyle—a life of constant motion, where the future is uncertain, and “home” is an ever-changing concept. The Flying Dragon Concerto reflects the emotional journey of her nomadic existence and the continuous struggles and joys that come with living a life full of motion, self-discovery, and creativity.

Scheherazade by Nikolai Rimsky-Korsakov
Rimsky-Korsakov infused many of his compositions with elements of Russian folklore and legends, and Scheherazade is one of his most beloved works, a symphonic suite inspired by the tale One Thousand and One Nights. The story of Scheherazade revolves around the Sultan Schahriar, who, disillusioned by the faithlessness of women, decides to execute each of his wives after their wedding night. However, the clever and resourceful Scheherazade saved her life by telling the Sultan captivating tales and ending with a cliff hanger each night.

Each movement brings to life a new tale from Scheherazade’s legendary worlds. The suite opens with “The Sea and Sindbad’s Ship,” evoking the vast grandeur and mystery of the ocean, followed by “The Story of the Prince Kalandar,” which paints a vivid picture of an adventurous journey. The third movement, “The Young Prince and Princess,” tells a tale of love, while the final movement, “Festival at Baghdad,” concludes with an epic climax, as the sea, a shipwreck, and the image of a bronze horseman combine to create a sense of awe and wonder.

I look forward to seeing you all on April 27 for this final fantastic performance of our 2024-25 season!

 

A German Requiem by Guest Blogger Timothy Sawyer

/in ,

February 17, 2025
By: Guest Blogger Timothy Sawyer
Artistic Director and Conductor
Two Rivers Chorale

A German Requiem by Johannes Brahms holds many fond memories for me. I first encountered it when I sang it as an early “20-something” with the Bethel College Choir under the direction of my college choir mentor, Robert Berglund. That was a transformational and deeply spiritual experience, especially since he had studied and sung it under the great Robert Shaw, this Requiem being one of Shaw’s “signature” pieces. I recently had the privilege of conducting the fourth movement (How Lovely Is Thy Dwelling Place, O Lord of Hosts) at a recent memorial service for that mentor. While I was at Bethel, we were deep into polishing it around the time of the sudden death of my beloved grandmother, Viola. She was my mom Lollie’s mother, and the three of us were very close. In the Requiem, and especially the fifth movement (You Now Have Sorry, But You Will See Me Again), I found a source of tremendous catharsis along with tremendous comfort and hope from that grief. Only six years later, upon the unexpected death of my mother, like Brahms himself, I found that soul solace in Brahms Requiem once again. I still do.

In the ensuing years – now over forty years since, I have had the privilege of singing and studying it multiple times under esteemed German conductor and Bach scholar Helmuth Rilling, whose interpretations were peerless. Bach’s influence on Brahms was indelible, and Rilling shares a part of that legacy. Not surprising, for even Brahms himself said: “Study Bach, there you will find everything.” Brahms’ respect for and deep understanding of theological composition learned from Bach is clearly evident in every measure of his A German Requiem.

As a professor, what a joy it was to teach it to my students and have the privilege of conducting it myself with the combined choirs of Northwestern/Bethel and both orchestras in a partnership with my lifelong friend Dennis Port. Further explorations of this towering work with Two Rivers Chorale on the Iron Range were with the Mesabi Orchestra and also in Brahms’ so-called “London Version” for two pianos (or piano 4-hands). I have a fond memory of preparing it for our 2017 performance with the Wayzata Symphony Orchestra under Marlene Pauley. That project still resonates in my memory, and we are relishing returning to this piece once again with the WSO, and its new conductor Hannah Schendel. Reengaging with the original German language has been a welcome treat as well, with all the layered richness of Martin Luther’s 16th century translation of Scripture.

Joshua Bauder is an ascending young Twin Cities composer on the faculty of University of Northwestern – St. Paul, and he was a natural choice for a commission of a piece to celebrate my 20th anniversary season with TRC, and also my 30th year as artistic director of Christmas at Northwestern, whose theme this year was “Arise, Your Light is Come.” A graduate of St. Thomas University (BA) and the University of Minnesota (MA, PhD), Josh lovingly crafted a beautiful and moving piece, exactly what both occasions called for. I was delighted and honored by his excellent work. It is a privilege to present this piece once again in the context of our collaborative concert with the WSO and the Edina Chorale, and to infuse more light and hope into this deeply moving concert of consolation “for the living.”

Timothy Sawyer, Artistic Director – Two Rivers Chorale
Professor of Music and Director of Choral Activities – University of Northwestern-St. Paul

 

Journey to Italy

/in ,

Hannah Schendel, Music Director
September 15, 2024

If you’ve ever dreamt of taking a trip to Italy, this concert is for you! Experience the rich history of Italian opera through the dramatic overture of Verdi’s Luisa Miller and discover the charming Baroque Oboe Concerto in G Major by Besozzi. Respighi’s evocative Trittico Botticelliano and Fontane di Roma paint vivid musical portraits of art and important landmarks. We will explore three paintings by renowned Italian Renaissance artist, Sandro Botticelli and take a walking tour through Rome to view four famous fountains. Each of these pieces showcases the incredible diversity and breadth of Italian classical music.

Join us on October 6, 2024 at 3:00 pm at Hopkins High School for this free performance with guest artist Cassie Pilgrim, Principal Oboe, Saint Paul Chamber Orchestra. You can find full event details here.

Here’s a bit more about this exciting performance:

Giuseppe Verdi’s Overture to Luisa Miller
An eminent composer in 19th-century opera, Giuseppe Verdi is known for his unique ability to weave rich orchestral textures into expressive vocal lines. His 1849 opera Luisa Miller stands as a testament to his early talent. The overture to Luisa Miller sets a dramatic tone for the opera, which is filled with intrigue and heart-wrench.

The plot is filled with numerous twists and turns, culminating in a tragic scene reminiscent of Shakespeare’s Romeo and Juliet, where the characters Luisa and Rodolfo take poison in the name of their doomed love. Verdi’s overture captures the intensity of the narrative, hinting at the complex emotions and dramatic twists that lie ahead.

Alessandro Besozzi’s Oboe Concerto in G Major
Born in Parma, Italy in 1702, relatively little is known about Alessandro Besozzi’s life, career, and compositional output. Historians confirm that he trained and worked as both an oboist and composer, serving the King of Sardinia for much of his career. Alessandro lived and performed alongside his brother Paolo Girolamo, a bassoonist, sharing both their musical pursuits and sartorial choices throughout their lives. Six oboe concerti are attributed to Besozzi, though their exact dates are not certain.

This concerto, consisting of three movements, showcases the oboe’s expressive range and technical capabilities. Besozzi’s music is both lyrical and intricate, and is an elegant interplay of melody and ornamentation, reflecting the playful yet ornate nature of the Baroque period.

Thank you to Midwest Musical Imports for sponsoring Cassie Pilgrim’s performance!

Ottorino Respighi’s Trittico Botticelliano (Three Botticelli Pictures)
Next, we encounter Ottorino Respighi’s Trittico Botticelliano, a suite of early 20th century orchestral works inspired by paintings of Sandro Botticelli which are currently housed in the Uffizi Gallery in Florence.

La Primavera (The Allegory of Spring)

From left to right: Mercury, the three Graces, Venus, Flora(s), Zephyr. The music vividly portrays the joyful, floral, and sometimes breezy essence of springtime.

L’adorazione dei Magi (The Adoration of the Magi)

At the center of the painting is the nativity scene set amidst Roman ruins. The Three Magi and notable figures from Florence observe the scene. This is musically represented through the medieval hymn “Veni, veni, Emmanuel” (Oh Come, Oh Come, Emmanuel) and through the sparkling colors that evoke the magi.

La nascita di Venere (The Birth of Venus)

From left to right: Zephyr, Aura, Venus, Hour of Spring. The strings mimic the ocean waves and the scalloping of the seashell that carries Venus to the coast of Cyprus. The music captures the grandeur of the moment and the expansive landscape.

Ottorino Respighi’s Fontane di Roma (Fountains of Rome)
Respighi’s Fontane di Roma continues our exploration of his evocative musical imagery. Each movement of Fontane is an artistic impression of four fountains located throughout Rome.

La fontana di Valle Giulia all’alba (The Fountain of Valle Giulia at Dawn)

The music evokes a pastoral scene where cattle and sheep quietly pass by the fountain during the humid hours of Roman dawn.

La fontana del Tritone al mattino (The Triton Fountain in the Morning)

Heroic horn calls (conch shells) and shimmering cymbal sprays capture the joyous and wild celebration of tritons and naiads depicted in this famous Bernini masterwork.

La fontana di Trevi al meriggio (The Trevi Fountain at Midday)

One of Rome’s most iconic landmarks, the Trevi Fountain is represented by a

solemn procession of tritons and naiads, accompanied by a trumpet herald announcing Neptune’s majestic chariot drawn by sea horses.

La fontana di Villa Medici al tramonto (The Villa Medici Fountain at Sunset)

This final movement portrays the fountain bathed in the nostalgic, fading light of dusk. A mournful melody intertwines with distant church bells and softly chirping birds until everything fades into nightfall.

From Verdi’s emotionally charged overture, Besozzi’s Baroque charm, and to Respighi’s evocative musical depictions, these works offer a rich overview of Italian classical music that spans centuries and styles. Each piece not only reflects the unique voice of its composer but also immerses us in a world of artistic expression and historical context. Whether you’re a seasoned music lover or new to classical music, these masterpieces are sure to leave a lasting impression!

2023-2024 Season

/in ,

Music Director, Hannah Schendel
August 30, 2023

I am so excited and honored to be named the new Music Director of the Wayzata Symphony. Through weathering the pandemic and embarking on a yearlong search for its next conductor, the members of the WSO have blown me away with their dedication both to the organization and to creating music at a high level. Highlights this season include three symphonies, pieces by female composers on every concert, a variety of pieces composed by diverse living composers, and the much-anticipated return of Anthony Ross (Principal Cello – Minnesota Orchestra). There will be something for everyone to enjoy!

The first concert is centered around the theme of celebration; celebrating both a new chapter in the WSO legacy and the joy that we all feel in coming together to make something beautiful. The second concert is comprised entirely of 19th century French music which features Edouard Lalo’s emotional Cello Concerto in D Minor, bookended by two ballet suites. Our third concert is thought provoking, and will challenge us to consider the sometimes subtle nuances between fate and destiny. Just as painters carefully choose their color palette, so too will we explore dark and light shades of sound in our fourth and final concert of the season.

Each and every one of these concerts has something unique to offer. The WSO is a hidden gem, presenting exceptionally high-quality and meaningful performances. Please help us to expand the impact we seek to make both musically and in our community by supporting us financially with your tax-deductible donation.

I can’t wait to see you at our concerts this season!

Sincerely,

 

 

 

Impressions of America

/in , ,

Guest Conductor Notes
Hannah Schendel
April 22, 2023

I’m looking forward to conducting the Wayzata Symphony Orchestra on May 7 as we celebrate and explore the vibrant cultures, people and natural beauty of America.

The program opens with Starburst, a vivid and energetic piece composed by Jessie Montgomery. Montgomery’s individual compositional style reflects her upbringing in Manhattan’s Lower East Side, an area which is infamous for its multiculturalism within New York City. Montgomery describes Starburst as “a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape. A common definition of a starburst: “the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly” lends itself almost literally to the nature of the performing ensemble who premiered the work, The Sphinx Virtuosi, and I wrote the piece with their dynamic in mind.”

This is followed by The Overture to the Song of Hiawatha, by British composer and conductor, Samuel Coleridge-Taylor. The Overture introduces a trilogy of cantatas based on Henry Wadsworth Longfellow’s 1855 epic poem, The Song of Hiawatha. The poem, which was inspired by Longfellow’s close friendship with an Ojibwe Chief, narrates the fictional tragic love story of Hiawatha, an Ojibwe man, and Minnehaha, a Dakota woman. Many names and locations mentioned within the poem are familiar to Minnesota audiences. Coleridge-Taylor’s three cantatas were an immediate success with British audiences and were performed annually at the Royal Albert Hall for many years. The pieces were such a success that Coleridge-Taylor named his son, Hiawatha.

Finally, we hear Symphony No. 9 in E Minor, “From the New World” by Czech composer Antonín Dvořák. Dvořák briefly lived in the United States where he resided in New York City and Spillville, Iowa. During these years he was inspired by African American spirituals, jazz, Native American culture, Longfellow’s Song of Hiawatha, and the beauty of the expansive plains of central America. In this symphony, Dvorak sought to pave a way forward for the future of American symphonic music by synthesizing these American influences with his own Bohemian rhythms and harmonic language.

2022-23 Season is Almost Here!

/in

WSO News
August 4, 2022

It’s hard to believe it’s already August, and WSO rehearsal start in September! It’s been a busy summer for us as we line up our four guest conductors, and begin promoting our upcoming season.

We are honored to have Keehun Nam, Dennis Friesen-Carper, Richard Haglund and Hannah Schendel leading our concerts from the podium this season. Each of them brings a unique and diverse approach to musical direction. You can check out their bios at this link. At the end of our season, the WSO Membership will vote in a new permanent music director. We hope you plan to attend every concert, and welcome you to be a part of this experience alongside us.

The process of searching for a new, permanent music director has been both challenging and invigorating for the organization. It’s given us the opportunity to look at who we are, and why we choose to serve the greater Twin Cities community. If you are reading this, you are already a part of our community. We never discount the importance and the value of having musicians coming together to perform free concerts that bring a little extra joy to someone’s life. In a hectic, complicated world, sometimes it’s the simple things that matter the most.

Please mark your calendars:

October 9, 2022 (Keehun Nam)
November 20, 2022 (Dennis Friesen-Carper) (also featuring WSO Concerto Winner Ava Lambert, Cello)
March 5, 2023 (Richard Haglund)
May 7, 2023 (Hannah Schendel)

Click on the links above for full concert details.

Enjoy the rest of your summer, and we look forward to seeing you this fall!