Streaming live at https://youtu.be/af6hjmW1cQw
UW-Madison Symphony Orchestra
Hamel Music Center I Mead Witter Foundation Concert Hall
No in-person attendance
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Program
Fuga con Pajarillo Aldemaro Romero (1928-2007)
II. Allegretto from Symphony No. 7 Ludwig van Beethoven (1770-1827)
Ancient Airs and Dances, Suite III Ottorino Respighi (1879-1936)
I. Anon.: Italiana
II. Jean-Baptiste Besard: Arie di corte
III. Anon.: Siciliana
IV. Lodovico Roncalli: Passacaglia
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Two contrasting works for string orchestra will surround the second movement of Beethoven’s Symphony No. 7: Fuga con Pajarillo by Venezuelan composer Aldemaro Romero and the Suite III from Ancient Airs and Dances by Italian composer Ottorino Respighi.
Presenting the full symphonic experience of Beethoven will be accomplished by a combination of pre-recorded and live music all performed by UW-Madison Symphony Orchestra musicians. With this heartfelt movement we wish to express our deepest gratitude to all within our community who have been and continue to take care of us all.
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Flute
Jenny Heck
Heidi Keener
Oboe
Simrin Sandhu
Maddie Urlaub
Clarinet
Matthew Rodriguez
Amanda Stezenski
Bassoon
Tiffany Coolidge
Stephanie Hyde
Horn
Jenna Mcquade
Declan Mulkerin
Trumpet
Matthew Keller
Herbert Payung
Timpani
Madelyn Kudronowicz
Violin
Maynie Bradley ++
Sophia Carlson
Rachel Fu
Jack Gronseth
Jane Krasovich
Glen Kuenzi
Benjamin Lenzmeier
Anna Luebke +
Marcus Medema
Abby Moore
Erik Nuenninghoff
Alejandro Onate
Tabito Suzuki
Grace Woo
Viola
Esther Delamater
Jessica Grady
Allyson Grossbach
Brett Petrykowski
Isabella Prater
Michael Reeser
Rachel Riese +
Tyler Stepp
Roshini Traynor
Cello
Ellen Cooke
Grace Kim +
Ian Koh
Samuel Orlan
Zachary Tanz
Double Bass
Soren Davick
Andrew Madonna
Max Schoolderman
Zach Smith +
+ Principal
++ Concertmaster
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Special attention was directed to follow the COVID-19 regulations set forth by the University and the Mead Witter School of Music to keep students and employees safe. The school’s team designed a plan that included mandatory masks, socially distanced spaces on stage, short rehearsal blocks with breaks, and even a reformulation of the Hamel Music Center’s use.
