Welcome Back!

Sunday, October 10, 3:30
Lincoln High School Performing Arts Center


  • Rosamunde Overture
    Franz Schubert
  • Andante Cantabile
    (from Sting Quartet No. 1 in D Major, opus 11)
    Pyotr Ilyich Tchaikovsky
  • Octet for Winds in E-flat Major, opus 103
    Ludwig van Beethoven
  • Three Pieces from Fünff-stimmigte blasende Music

    • Intrada
    • Sarabande
    • Bal
    Johann Pezel
    (ed. by Robert King)
  • Battle Suite

    • Canzon Bergamasque
    Samuel Scheidt
    (ed. and arr. by Philip Jones)
  • Symphony No.1 in C major, Op 21

      • Adagio molto – Allegro con brio
      • Andante cantabile con moto
      • Menuetto – Allegro molto e vivace
      • Adagio – Allegro molto e vivace
    Ludwig van Beethoven

Covid-19 policies: We respectfully ask that members of the audience ages two and up wear a face
covering and practice physical distancing while in the auditorium and lobby

We are delighted to welcome the children in our concert audience, as the love of music begins at a very
early age.  We ask parents to remain with their children and respect their limits of endurance by removing
them to the lobby when they are no longer enjoying the performance and rejoining us if they are able.
Please be respectful of our musicians who have worked hard to bring you this concert, and of your fellow
audience members who have also come to enjoy the music.  Our ushers may ask you to leave the
auditorium if your children are consistently disturbing the concert.  Thank you for your consideration.



Violin 1
John Guzdek IV
Kimberly Kang
Alyssa McNally
Edwin Olson +

Violin 2
Catharine Calder
Don Evich
Nancy Hamilton
Marlene Hurshman
Maverick Marenger
Cheryl Richison *
Kyndra Wojciechowski

Ellen Caton
Mariana Miller
Dave Misura *
Suky Morita

Antrunika Alonzo
Helen Clark
Erin Himrod *
Quinn Hutchinson
Thomas McCarthy

Richard Boelter
Arthur Mooradian
Sean Van Hentenryck *

Krista Lenart *
Mariah Manolatos

Lexi Bemis
Holly Morse *

Jeffrey Campbell *
Mary Cupery

Shari Anason
Linda Wagner *

Jeff Ash *
Angela Hoops-Cossey
Susan Lewke
Heidi Riggs


Joshua Cohen
Dan Wagner *

Jerry Moyer *
Jack Porath

Bass Trombone
Stephen Randall

Claudia Tull

+ Concertmaster
* Principal

Program Notes

Rosamunde Overture
Franz Schubert (1797-1828)

Rosamunde, Princess of Cypress, premiered in Vienna in 1823 with text by Helmina
von Chézy and incidental music by Franz Schubert. While the original text in full has
been lost, the plot told the tale of a princess in disguise on a quest to recover her
It is interesting that what we refer to today as the “Rosamunde Overture” was never
intended for the Rosamunde performance in the first place. Schubert, having agreed to
compose the incidental music at short notice, did not have time to write an overture for
the premiere performance. Instead, he recycled the overture to one of his earlier, little
performed operas. Despite the success of Schubert’s scoring, critics reacted harshly to
von Chézy’s writing style, and the play was only performed twice. 1 As a result, Schubert
never added an overture to the score.
The piece of music we know today as the Rosamunde overture is actually the overture
to yet a different Schubertian opera- Die Zauberharfe, or The Magic Harp. It was added
to the Rosamunde score posthumously, so it is unknown what Schubert would have
thought of this addition.
The overture begins with a lengthy introduction. Powerful opening chords are followed
by lyrical, soaring melodies first in the winds and then the strings. Following the
dramatic introduction is an allegro vivace in sonata form. The exposition opens with a
fast-paced, yet restrained melody in the first violins. Repeated eighth notes in the
second violin and viola sections keep the music driving forward. Later we hear a
beautiful second theme in the winds. Lyrical melodies peppered with accents keep us
on the edge of our seats until a fast-paced coda in 6/8 time brings the overture to a
breath-taking conclusion.
1 William Driver, program note, Clinton Symphony Orchestra, 27 April 2019.

String Quartet No. 1 in D Major, opus 11
Pyotr Ilyich Tchaikovsky (1840-1893)

Tchaikovsky’s Andante Cantabile was originally published in 1872 as the second
movement of his most famous chamber work- his String Quartet No. 1 in D Major. While
chamber music was neither Tchaikovsky’s forte nor his personal preference, he had
been asked by the Moscow Conservatory to put on a concert featuring his works. As a
poorly paid professor, he could not afford an orchestra and had to write for a small
ensemble instead. 1 Since its debut, the second movement of the quartet has remained
quite popular, and it is often performed as a stand-alone piece by string orchestras.
The melody that we hear at the beginning of the movement comes from an old Russian
folk song that Tchaikovsky had heard sung by a carpenter one summer. The song,

which was well known at the time, begins, "Vanya sat on the divan, pouring out a glass
of rum." 2
The muted tone of the strings gives the work a dreamily beautiful resonance.
Tchaikovsky claims in his diaries that upon hearing the movement for the first time, Leo
Tolstoy (the famous Russian author) was moved to tears. 1
1 Edition Silvertrust, “String Quartet No. 1 in D Major, Op. 11,”
http://www.editionsilvertrust.com/tchaikovsky-qt1.htm, accessed 3 October 2021.
2 Tchaikovsky Research, “String Quartet No. 1” http://en.tchaikovsky-
research.net/pages/String_Quartet_No._1 (2021), accessed 1 October 2021.

Octet for winds in E-flat Major, opus 103
Ludwig van Beethoven (1770-1827)
Beethoven composed his octet for winds during the early years of his musical career,
while employed by the Bonn Electoral Court. Written for two oboes, two clarinets, two
horns, and two bassoons, this lighter style of music, known as Harmoniemusik, was
intended to be background entertainment for events such as banquets and parties. It
would have been performed by the typical Harmonie ensemble employed by nobles of
the time, which generally consisted of between 5-8 wind players. Beethoven later
reworked much of the material from this octet into his fourth string quintet. The octet in
its original form was not published until seven years after the composer’s death.
The first movement of the octet follows traditional sonata-allegro form. The exposition
introduces both main themes of the movement, with the first being stated by the oboe,
and the second by bassoon and clarinet. Throughout the development, Beethoven
varies and expands on the themes introduced in the exposition. Both themes reappear
in the recapitulation to round out the movement.

Three Pieces from Fünff-stimmigte blasende Music
Johann Pezel (1639-1694), edited by Robert King

Pezel was a German violinist and trumpeter, best known for his collections of
instrumental music. First published in Frankfurt in 1685, Fünff-stimmigte blasende Music
was a collection of 76 pieces for “five blowed instruments.” The arrangement of these
three pieces was done in 1960 by Robert King. The first piece is an Intrada, which is a
musical introduction or prelude. The second piece, Sarabande, is a slow, Spanish-style
dance in triple meter. The final piece, Bal, is a type of French dance.

Battle Suite
Samuel Scheidt (1587- 1654), edited and arranged by Philip Jones

Samuel Scheidt was an early Baroque era composer, teacher, and organist. He is most
well-known for his organ works and was the first internationally known German
composer for organ.
“Canzon Bergamasque” is the third movement of Scheidt’s Battle Suite. The term
“Bergamasque” refers to a 16th century courtship dance from the Bergamo region of
Italy. The instruments enter in fugue with a triumphant melody that we hear restated
throughout the movement.

Symphony No. 1 in C major, Op. 21
Ludwig van Beethoven (1770-1827)

While this may have been Beethoven’s first symphony, it was certainly not one of his
first musical endeavors. At age 29, Beethoven’s career was already in full swing, and
his mature writing style is evident throughout the composition. Upon the piece’s
premiere in 1800, critics praised it as a masterpiece and elevated it to the status of that
of Haydn and Mozart. While the symphony followed the standard form and conventions
of his predecessors, Beethoven did incorporate several elements that pushed the
envelope of the times.
One such element occurs at the very beginning of the first movement, in Beethoven’s
choice of tonality. Today our ears might not regard this opening as novel, but at the
time, a piece in C Major resolving so boldly to F Major on its second chord struck many
critics as a jarring and unusual choice. Said one critic, "No one will censure an
ingenious artist like Beethoven for such liberties and peculiarities, but such a beginning
is not suitable for the opening of a grand concert in a spacious opera house." 1
In the second movement, we hear a stately melody first introduced by the second
violins, with the rest of the instrument groups joining in a fugue. The refined melody of
the opening alternates with a more playful melody throughout the movement. While the
second movement, like the first, follows typical sonata form, we hear another unusual
element in Beethoven’s treatment of the timpani. 2 Typically only used at cadence points,
the timpani here is used throughout the third theme of the movement, picking up the
driving dotted rhythm that we hear originally stated by the strings. Winds are also used
more liberally throughout the movement as well, with only the second flute tacet.
Presented as the traditional minuet and trio, Beethoven continues to test symphonic
limits in the third movement by setting a tempo more indicative of the scherzos that he
would later be known for. We also hear a tonal shift very early in the movement, very
unusual for the third movement of a symphony at the time. 2

The fourth movement opens with an Adagio, similarly to the first movement. Here, we
hear fragments of a scale presented by the first violin section. The fragments gradually
increase in length, building energy and anticipation until they finally take off into the
Allegro molto e vivace. Near the end of the movement, we hear the scale motif restated,
bringing us into a dramatic final cadence that concludes Beethoven’s first venture into
the world of symphonic music for which he would later become so famous.
1 Christopher Gibbs, “Notes on Beethoven’s First Symphony”
(2006), accessed 1 October 2021.
2 Eastman School of Music, “Symphony No. 1 in C, Op. 21 (1800)”
https://www.esm.rochester.edu/beethoven/symphony-no-1/, accessed 1 October 2021.

Edwin Olson, Concertmaster

Edwin Olson joined the Ypsilanti Symphony Orchestra in 2011 and has served as
concertmaster since 2013. He previously served as concertmaster of the Cambridge
Symphony Orchestra in Massachusetts and played with the MIT Symphony Orchestra.
Mr. Olson started violin as a five-year old, playing continuously through school and
touring with the Greater Twin Cities Youth Symphony. He plays a violin by Ann Arbor
maker Joseph Curtin.

Mr. Olson earned a PhD in computer science from MIT in 2008 for his work on robotic
mapping. He joined the computer science department at the University of Michigan in
Ann Arbor in 2008 and was promoted to full Professor in 2020. His professional
interests include self-driving cars, and he has contributed to autonomous vehicles at
MIT, U-M, Ford, and Toyota Research Institute. In 2017, he founded May Mobility, an
Ann Arbor-based startup creating self-driving shuttles with the vision of transforming
cities by making transportation more equitable, accessible, and sustainable.

Mr. Olson lives in Ann Arbor with his wife and two children.


Adam C. Riccinto, Founder and Music Director

Adam C. Riccinto is the founding music director of the Ypsilanti Symphony Orchestra
and is an active conductor, performer, and clinician throughout southeastern
Michigan.  As an arts coach, Mr. Riccinto works with musicians and performers of all
ages and disciplines to help them to advance their craft.

Alongside the YSO, Mr. Riccinto also serves as the Director of Worship Arts at St.
Michael Lutheran Church of Canton, MI where among other duties he conducts the
Adult Choir, Bell Choir, and leads the contemporary worship band.  He also served as
Director of Choral Activities and Arts Advisor at Ypsilanti Community Schools from 2014
– 2016.  Other teaching credits include strings and general music at Fortis Academy in
Ypsilanti, Michigan from 2004 – 2008 and Elementary vocal music for the Taylor School
District.   He is also a frequent guest clinician with regional High School and Middle
School choirs and orchestras.

Prior to founding the YSO, Mr. Riccinto served as music director of the Tecumseh Pops
Orchestra from 1996-1999. He has also held posts as Director of Music at Orchard
United Methodist Church in Farmington Hills, MI, Interim Worship Pastor at First Baptist
Church in Ypsilanti, Director of Music at Rosedale Gardens Presbyterian Church in
Livonia, Michigan from 2000-2001 and the First United Methodist Church in Howell,
Michigan from 1998-2000. Musical theater credits include vocal direction for the Ann
Arbor Civic Theater, and musical direction for the Chelsea Area Players.

As a guest conductor, Mr. Riccinto has appeared with Spectrum Orchestra, the Royal
Oak Symphony Orchestra, Chelsea Symphony of Manhattan, the Adrian Symphony
Orchestra, the Warren Symphony Orchestra, Measure for Measure: A Men’s Choral
Society, and Eastern Michigan University’s Collegium Musicum and Chamber Choir and
other regional and school ensembles.

As a performer, Mr. Riccinto appears professionally throughout Metro Detroit as a
pianist, vocalist, cellist, and guest conductor.   Outside of music, Adam is an
entrepreneur and sales/organizational development coach.   He resides in Ypsilanti with
his wife of twenty-three years, two sons, and labrador retriever, “Maestro.”

Dear Friends,

We’re BACK!  After months with our doors closed we’re so excited to perform for you today. Welcome back to the
Ypsilanti Symphony Orchestra!  Over the past two decades, we've grown closer as artists and as a community of
musicians and listeners.   This year, as we celebrate being back together after a season and a half away, we’re
counting our blessings, grateful for health, and more energetic than ever to fulfill our mission of bringing great
music to our audience and community.

Over the years we’ve had the joy of performing with countless incredible soloists and guest ensembles.  We’ve
worked with incredible partners like Lincoln Consolidated Schools, Washtenaw Community College, Eastern
Michigan University, the Washtenaw County Parks and Recreation Commission, The Sphinx Organization, The
Henry Ford, Measure for Measure, the Boychoir of Ann Arbor, the Detroit Handbell Ensemble, Fortis Academy, the
Ypsilanti District Library, the Ann Arbor Summer Festival, Opera on Tap, the Ypsi Community Choir, and
countless others.  We’re incredibly grateful.
In December, February, and April, we’ll be right here at the Lincoln Performing Arts Center with special guests and
a variety of programming from traditional music to holiday pops, to music from your favorite films and more. In
May, we’ll return to Riverside Park for our annual Pops in the Park, a Memorial Day weekend tradition for over a
decade!  Please join us online at www.ypsilantisymphony.org and follow us on Facebook to stay connected, get
news, and learn about our musicians or inquire about playing in the orchestra.

It takes a village to keep the arts alive and flourishing.  We could never do it alone.  We need every one of our
artistic collaborators, donors, advertisers, volunteers, musicians and of course YOU, our loyal audience members to
continue making music.  I urge and ask you to consider a tax-deductible financial gift to the YSO so we can
continue to bring you great programming.   If you can squeeze out a few hours a month, we are in constant need of
volunteers.  But mostly, I thank you for being with us today to hear us play.   Without you, our joy of playing
orchestral music would go unshared.   Thank you for coming. Thank you for your patience.  Thank you for
supporting the arts. Welcome back, and welcome home.

Adam C. Riccinto, Founder and Music Director


Have a repertoire/programming suggestion?  Send it to [email protected]  Please
include the following information:
 Your Name
 Repertoire Suggestion (Composer/Arr., Title)
 I’d like the YSO to play this piece because …
 If the price of the music purchase/rental is an issue, or a soloist is required, I'd be willing to
donate to defray the cost. Options: Yes, I’ll donate full sponsorship, Yes, I'll donate partial
sponsorship, or No