Beethoven's Ninth

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FRIDAY, APRIL 22 | 7:30 PM

LINCOLNSYMPHONY.COM | (402) 476-2211


FRIDAY, APRIL 22, 2022, 7:30PM












JAKE RUNESTAD A Silence Haunts Me 10’

(b. 1986)


LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, op. 125 (Choral) 65’

(1770-1827) I. Allegro ma non troppo, un poco maestoso

II. Molto vivace

III. Adagio molto e cantabile

IV. Finale

Artist and orchestra funding supported by the Anabeth Hormel Cox and MarySue Harris

Charitable Lead Trusts. LSO’s move to the Lied Center for Performing Arts made possible in part by

a gift from Rhonda Seacrest. Student tickets made possible by the Lienemann Charitable Foundation

Student Ticket Program. Accommodations provided by The Cornhusker – A Marriott Hotel.

All programs and artists are subject to change.

The Nebraska Arts Council, a state agency, has supported this program through its

matching grants program funded by the Nebraska Legislature, the National Endowment

for the Arts and the Nebraska Cultural Endowment. Visit www.artscouncil.nebraska.

gov for information on how the Nebraska Arts Council can assist your organization, or

how you can support the Nebraska Cultural Endowment.


A Silence Haunts Me

Jake Runestad (b. 1986)

In 2017, Jake Runestad travelled to Leipzig,

Germany to be present at the premiere of Into the

Light, an extended work for chorus and orchestra

commissioned by Valparaiso University to

commemorate the 500th anniversary of Luther nailing

his Ninety-Seven Theses to a door in Wittenberg,

thereby kicking off the Reformation. While traveling

after the concert, Runestad found himself in the Haus

der Musik Museum in Vienna, where he encountered

a facsimile of Ludwig van Beethoven’s “Heiligenstadt


It was the first time he had read the famous text,

which is almost equal parts medical history (including

Beethoven’s first admission to his brothers that he

was going deaf), last will and testament, suicide note,

letter of forgiveness, and prayer of hope. Runestad

was flabbergasted and found himself thinking about

Beethoven, about loss, and about the tragedy of one

of the greatest musicians of all time losing his hearing.

Beethoven put it this way, “Ah, how could I possibly

admit an infirmity in the one sense which ought to be

more perfect in me than others, a sense which I once

possessed in the highest perfection, a perfection such

as few in my profession enjoy or ever have enjoyed.”

When the American Choral Directors Association

offered the Raymond C. Brock Commission to

Runestad for the 2019 National Conference, he took

many months to settle on a topic, finally deciding on

setting Beethoven’s words. While researching

Beethoven’s output around the time of the letter,

Runestad discovered that Beethoven wrote a ballet,

Creatures of Prometheus, just a year before penning

his testament. “Beethoven must have put himself into

Prometheus’ mindset to embody the story,” Runestad

noted. “Just as Prometheus gifted humankind with fire

and was punished for eternity, so did Beethoven gift

the fire of his music while fighting his deafness, an

impending silence. What an absolutely devastating yet

inspiring account of the power of the human spirit. In

the moment of his loss —when he wrote the

“Heiligenstadt Testament” — he had no idea how

profound his legacy would be” (“legacy” being one of

the themes of this ACDA’s anniversary conference).

Because of the length of the letter, a verbatim setting

was impractical; Runestad once again turned to his

friend and frequent collaborator, Todd Boss, to help.

Boss’s poem, entitled A Silence Haunts Me – After

Beethoven’s Heiligenstadt Testament creates a scena

— a monologue in Beethoven’s voice for choir. The

poem is both familiar and intimate; Boss has taken the

fundamentals of Beethoven’s letter and spun it into a

libretto that places the reader/listener into the same

small, rented room as one of the most towering figures

of the Romantic Era.

To those words, Runestad has brought his full array

of dramatic understanding and compositional skill; A

Silence Haunts Me sounds more like a self-contained

monologue from an opera than a traditional choral

piece. Runestad, who has published three operas to

date, shows his flair for melding music with text even

more dramatically than in familiar settings like Let My

Love Be Heard and Please Stay. He sets the poetry

with an intense, emotional directness and uses some

of Beethoven’s own musical ideas to provide context.

Stitched into the work are hints at familiar themes from

the Moonlight Sonata, the 3rd, 6th, and 9th

Symphonies, and Creatures of Prometheus, but they


are, in Runestad’s words, “filtered through a hazy,

frustrated, and defeated state of being.”

In wrestling with Beethoven, with legacy, and with

loss, Runestad has done what he does best—written

a score where the poetry creates the form, where the

text drives the rhythm, where the melody supports

the emotional content, and where the natural sounding

vocal lines, arresting harmony, and idiomatic

accompaniment — in this case, piano in honor of

Beethoven — come together to offer the audience an

original, engaging, thoughtful, and passionate work

of choral art.

Program note by Dr. Jonathan Talberg

About the Text

This loose adaptation of Ludwig van Beethoven’s

famous “Heiligenstadt Testament” was unusually

difficult to write. Jake suggested the subject matter

in a phone call while I was traveling Europe, and it

literally haunted me for days afterward, waking me

in the middle of the night. I wrote the words “Hear

me” and “A silence comes for me” in London between

the hours of 2am and 4am. A few days later, I spent

the entire 7-hour span of a transatlantic flight writing

and rewriting, developing the poem’s unusual shape

and format. I finished it several weeks later while in

Vienna, and a visit to Heiligenstadt became part of

my journey with the piece. I was often in tears during

the process. I myself was traveling alone, and so the

process was uniquely intense. I was six years into the

loss of everything I held most dear, and so I swear I

inhabited Beethoven’s state of mind bodily, muscles

quaking, unsettled for hours after each of the poem’s

twelve major revisions.

I invented many things that don’t appear in

Beethoven’s letter. The plea “Take my feeling, take

my sight, etc.,” occurred to me as a way of declaiming

the terrible irony of Beethoven’s loss, a momentary

bargaining as happens as a stage of grief.

Comparisons of his plight to that of the accursed

Prometheus, Jake’s idea, are in reference to The

Creatures of Prometheus, the ballet Beethoven

finished a year prior to his sojourn at Heiligenstadt. “A

bell” tolls at the end of the letter, and it might be he

suddenly hears one, it might be his tinnitus, or it might

be a figurative acknowledgement of a newfound


The poem is set in italics to mimic handwriting and

arranged against ragged margins to look like a letter.

I’ve isolated the letter i wherever it appears, and

further isolated nouns that refer to people (I, You,

me, brothers, etc.) with nine spaces on either side to

isolate them, in recognition of Beethoven’s isolation

from himself and others, and in honor of his nine

completed symphonies. No punctuation is utilized.

All these odd typographical choices force the reader

to read the poem with a halting brokenness, just as

one might read very old handwriting, but they also

attempt to relay the halting and broken frame of mind

Beethoven must have been in when he wrote his very

sad letter to his brothers.

Note on the text by poet Todd Boss.

Symphony No. 9 in D minor, Op. 25 “Choral”

Ludwig van Beethoven (1770-1827)

Ludwig van Beethoven’s final symphony needs little

introduction. As one of classical music’s most iconic

pieces, it has escaped the bounds of the concert hall

and permeates popular culture at large. Beethoven’s

Ninth is among the most frequently performed

symphonies worldwide and the melody set to

Friedrich Schiller’s poem Ode an die Freude (“Ode

to Joy”) in the final movement has all but embedded

itself within our collective human consciousness.

Moreover, the work holds a hallowed place in

symphonic history with its addition of vocal soloists

and a chorus, the first time a major composer not only

included human voices in a symphony but assigned

them the same importance as the instruments. Each

performance of this masterwork is a monumental

collaboration that speaks to the themes of ceaseless

striving and universal kinship its music seeks to relate.

After completing his Eighth Symphony in the summer

of 1812, Beethoven entered a prolonged period of

relatively stagnant output compared with the fevered

productivity of his earlier career. These years were

ones of continuous personal crises for the

composer, including a disappointed love affair,

various protracted illnesses, the death of his brother

Kaspar and a subsequent custody battle over

Kaspar’s young son, and, of course, the ever-present

specter of his worsening hearing loss and its

accompanying isolation. It wasn’t until 1820 that the

composer truly returned to cementing his musical

legacy, intent on completing the work he affirmed

was his destiny in the “Heiligenstadt Testament”

some eighteen years earlier. By 1822, though now

completely deaf and often in emotional upheaval,

Beethoven was once again writing at a frenzied pace

and developing what would ultimately become the

Ninth Symphony. He worked steadily through the

following year, setting his final marks upon the score

in February 1824.

The Ninth’s premiere performance was given in

Vienna on May 7, 1824 by the largest orchestra

Beethoven had yet assembled. The deaf composer

could not conduct but stood upon the stage flipping

through his score and beating time (the performers

having been instructed beforehand to disregard his

gesticulations and follow the official conductor). Upon

the work’s conclusion, Beethoven remained staring

down at his score with his back to the audience until

the mezzo-soprano soloist gently turned him around

to be met with the sight of the uproariously cheering

crowd he could no longer hear.

The Ninth Symphony’s basic arc is that of darkness

to light, chaos to clarity, conflict to joy. The first

movement begins in a state of quiet anticipation, the

strings playing a sequence of open fifths that gradual

builds in intensity before erupting into a potently

dynamic theme.


The movement is brimming with harmonic tension

and rhythmic energy that foreshadows the force of

the coming finale. Beethoven then subverts common

symphonic practice by placing his scherzo in the

second movement slot rather than the traditional

third. The continuous development of this movement’s

driving main theme is undeniably Beethovenian, its

concentrated agitation only heightened by the

contrast of the coyly flowing secondary subject. A

respite to the forceful intensity of the two opening

movements arrives in the form of a slow Adagio. Its

two themes, both simple yet rich, weave gracefully

together through increasingly decorative variations

toward a serene conclusion.

Chaos reigns once more as the finale begins, the

preceding movement’s peace shattered by a

harrowing opening fanfare. Cellos and basses sing

out in bold instrumental recitative, alternating with

– and rejecting – passages in which the orchestra

recalls the main themes of the symphony’s first three

movements. The stirring “Joy” melody soon emerges

to quietly assert itself in the low strings before

gloriously expanding into a sweeping orchestral

dance. The dramatic opening fanfare sounds once

more and then, at long last, the most striking

innovation of all: a single human voice cuts through

the instrumental maelstrom, pure and profound in its

expressive call for new and joyful tones. What follows

is thrilling at every turn, from the monumental choral

statements of the “Joy” theme to the famed Turkish

March interlude to the immense yet nimble double

fugue. All are inventively joined, developed, and

varied before culminating in a wildly exultant coda,

a fittingly grand conclusion to one of the highest

expressions of musical triumph and transcendence

ever crafted.

Program note by Laney Boyd

O Freunde, nicht diese Töne!

Sondern laßt uns angenehmere

anstimmen und freudenvollere.

Freude, schöner Götterfunken,

Tochter aus Elysium,

Wir betreten feuertrunken,

Himmlische, dein Heiligtum!

Deine Zauber binden wieder,

Was die Mode streng geteilt;

Alle Menschen werden Brüder,

Wo dein sanfter Flügel weilt.

Wem der große Wurf gelungen,

Eines Freundes Freund zu sein;

Wer ein holdes Weib errungen,

Mische seinen Jubel ein!

Ja, wer auch nur eine Seele

Sein nennt auf dem Erdenrund!

Und wer's nie gekonnt, der stehle

Weinend sich aus diesem Bund.

Freude trinken alle Wesen

An den Brüsten der Natur;

Alle Guten, alle Bösen

Folgen ihrer Rosenspur.

Küsse gab sie uns und Reben,

Einen Freund, geprüft im Tod;

Wollust ward dem Wurm gegeben,

Und der Cherub steht vor Gott!

Froh, wie seine Sonnen fliegen

Durch des Himmels prächt'gen Plan,

Laufet, Brüder, eure Bahn,

Freudig, wie ein Held zum Siegen.

Seid umschlungen, Millionen.

Diesen Kuß der ganzen Welt!

Brüder, über'm Sternenzelt

Muß ein lieber Vater wohnen.

Ihr stürzt nieder, Millionen?

Ahnest du den Schöpfer, Welt?

Such' ihn über'm Sternenzelt!

Über Sternen muß er wohnen.

Oh friends, no more of these sounds!

Let us sing more cheerful songs,

More full of joy!

Joy, bright spark of divinity,

Daughter of Elysium,

Fire-inspired we tread

Thy sanctuary!

Thy magic power reunites

All that custom has divided;

All men become brothers

Under the sway of thy gentle wings.

Whoever has created

An abiding friendship,

Or has won

A true and loving wife,

All who can call at least one soul theirs,

Join in our song of praise!

But any who cannot must creep tearfully

Away from our circle.

All creatures drink of joy

At nature’s breast.

Just and unjust

Alike taste of her gift;

She gave us kisses and the fruit of the vine,

A tried friend to the end.

Even the worm can feel contentment,

And the cherub stands before God!

Gladly, like the heavenly bodies

Which He set on their courses through the

splendor of the firmament;

Thus, brothers, you should run your race,

As a hero going to conquest.

You millions, I embrace you.

This kiss is for all the world!

Brothers, above the starry canopy

There must dwell a loving Father.

Do you fall in worship, you millions?

World, do you know your Creator?

Seek Him in the heavens!

Above the stars must he dwell.


Icy Simpson-Monroe, Soprano

Icy Simpson-Monroe is a passionate singer who has appeared as

Gretel (Hansel and Gretel), Despina (Così fan Tutte), and Catherine (A

View from the Bridge). She made her professional solo debut with the

Marshall Symphony Orchestra in 2011, and has sung with the South

Arkansas Symphony Orchestra, the Shreveport Summer Music

Festival, the Colour of Music Festival in South Carolina, and the

Alleluia Conference at Baylor University.

Icy has won multiple awards, including the State and Regional

National Association of Teachers of Singing Competitions (NATs),

District Metropolitan Opera Auditions, and the People’s Choice Award

in the Dallas Opera Guild Competition. Icy is featured on the Naxos

label with her CD, I,too, and in the award winning documentary When I Rise, the story of Barbara

Smith Conrad.

Icy holds a Bachelors in Vocal Performance, a Masters in Opera, and an Artist Diploma from the

University of Texas-Austin. She continues to perform extensively, and has expanded her work to

include her business, The Voice Clinic, specializing in voice rehabilitation/preventative technique.

Her website is www.thevoiceclinicaustin.com.

Rebecca Shane, Alto

Rebecca Shane is an active mezzo-soprano soloist locally and

regionally. She is a graduate of the University of Nebraska-Lincoln,

where she studied with Donna Harler-Smith and performed the roles

of La Principessa (Suor Angelica), Zita (Gianni Schicchi), Florence Pike

(Albert Herring), Charlotte Bartlett (A Room With A View), Madam

Flora (The Medium), Ma Moss (The Tender Land), and the Mother in

the Sacred Arts Council’s production of Amahl and the Night Visitors.

She has performed with the Omaha, Lincoln, and Sioux City

Symphony Orchestras, and on the Abendmusik concert series.

Rebecca is a member of First-Plymouth Church’s many choirs, the

Abendmusik Chorus, and Tom Trenney’s professional choir, Sounding

Light, an ensemble based in both the Detroit area and in Lincoln, which assembles singers from

across the nation for choral projects and recordings. She has a passion for teaching young voices

and, for the past 25 years, has dedicated much of her time to teaching voice performance and

encouraging artistic confidence and healthy expression to hundreds of students.

Tuxedo Rental Provided By:

Ariel Merivil, Tenor


Ariel Merivil has sung as a soloist and choral singer in many settings and

ensembles, including Exigence, Sounding Light, Cantorei at

First-Plymouth Church, Plymouth Choir, Atlanta Symphony

Orchestra Chorus, Atlanta’s Chorale—New Creation, and others. He

is also a collaborative keyboardist and has worked with the Nebraska

Wesleyan University Choirs, University of Nebraska Choirs, Wartburg

College, and many other ensembles and vocal and instrumental soloists.

Ariel serves as the Associate Minister of Music to First-Plymouth Church

in Lincoln, where he leads in worship as a conductor, organist, pianist,

and vocalist. He currently leads the Te Deum, Youth Singers, and

Plymouth Ringers choirs in addition to the Youth Orchestra. At

First-Plymouth, Ariel has helped to lead and foster diverse styles of music in worship, including the

Negro-spiritual, gospel, global, and other contemporary music.

A graduate of the Georgia State University School of Music, Ariel earned a dual-concentration

Master of Music degree in choral conducting and organ performance and received the Bachelor of

Architecture degree from Southern Polytechnic State University (now Kennesaw State University).

Jeff Keele, Bass

Bass-baritone Jeff Keele has most recently performed as Betto (Gianni

Schicchi) with Opera Southwest, where he has also performed

Dr. Grenvil (La Traviata), the Sacristan (Tosca), and Dr. Bartolo (Le Nozze

Di Figaro). He made his professional opera debut with Opera Omaha,

singing the role of the Jailor in Tosca, and has sung with the Southern

Illinois and Pine Mountain Music Festivals and the Fargo-Moorhead


Jeff has performed as soloist with the Lincoln Lutheran Choir,

Abendmusik, Sioux City Orchestra, Doane College, Arts for the Soul,

Bethany College, Opera Omaha, the National Liszt Society, York College,

and Lincoln’s Symphony Orchestra.A native of Lincoln, he earned his

Bachelors and Masters degrees from the University of Nebraska-Lincoln, where he studied with

Donna Harler-Smith and performed in numerous productions with the UNL Opera. He sang leading

roles in two world premiere operas: the Bass in Randall Snyder’s The Divine Madness and Frank in

Tyler White’s O Pioneers! He placed second in the Metropolitan Opera’s Upper Midwest regional

auditions and was the Nebraska District Metropolitan Auditions winner from 2005-2007.

Choral Warm-Up Space Provided By:



Anton Miller, Concertmaster

Emanuel Wishnow Chair

Kim Osborne Salistean

Assistant Concertmaster

Donna Carnes

Principal Second

Erin Birkestrand Aguirre

Assistant Principal Second

Kristie Pfabe

Summer Brackhan

David Neely

Nadia Maudhoo

Anne Sorensen-Wang

Adrienne Stratton

Jenna Ferdon

Kara Baxter

Rose Hunter

Lucy Duke

Linda Calvert

Lisa Myers

Grace Lamb

Leslie Harrison-Roland

Nissa Evenson

Patti Clifton

Jordan Ellis

Lucy Collins


Clark Potter, Principal

Marjorie Mengshol Chair

Christine Widman,

Assistant Principal

Michael R. Frey

Sarah Curley

Patricia Morrow

Fei Chen

Rebecca Vieker

Cindy RIcker


Karen Becker, Principal

Margaret Griesen Chair

Tracy Hanson Sands

Assistant Principal

Elizabeth Grunin

Leslie Williams Tien

Trevor Petersen

Jessica Dussault

Addie Hotchkiss

Riley Beranek


Michael Swartz, Principal

Barbara & Howard Dinsdale Chair

Robert Scharmann,

Assistant Principal

Mark F. Haar

Stephen Cantarero

Ian Wright

Hans Sturm


John Bailey, Principal

Louis H. Babst Chair

Amy Morris

Rebecca Van de Bogart


William McMullen, Principal

William & Mary Nye Chair

Lindsay Wiley


Diane Cawein Barger, Principal

Wesley J. &

Joan M. Reist Chair

M. Eugene Williams


Jeffrey McCray, Principal

Karen Sandene

Joyce Besch


Gregory Helseth, Principal

Ric Ricker

W. Harold Oliver

Graham House


Thomas Kelly, Principal

Ruth Marie Amen Chair

Deborah T. Bouffard


Scott Anderson, Principal

Vernon A. Forbes Chair

Terry R. Rush


Liam Hughes


Bob Snider, Principal

Symphony Guild

Anniversary Chair


Jeffrey Nelson, Principal

Kelli Nelson

Richard K. Jones


Tom Trenney


Artist Accomodations

Provided By:

Abendmusik Chorus

Tom Trenney, director


Deanne Hyde Boilesen

Lisa Caha

Kristin Clark

Diane Dinnel

Susan Dinsdale

Anne Elizabeth Gray

Paula Kaslon

Andrea Krill

Michelle A. Lisec-Talarico

Ina Sivits Luhring

Molly Mellinger

Regina Meyer

Cynthia Stadler Mohr

Julie Nordlee

Jessica Rajewich

Tami Wilson


Hannah Bell

Kathryn Boilesen

Christina Emra Buchholz

Rebecca Burson

Dori Bush

Ayndrea Bonnett Cannon

Catherine Corbet

Julia Doerr

Jessica Brauer Echtenkamp

Vickie Ehly

Ann Finkner

Mary Fischer

Lydia Fry

Susan Goodrich

Loretta Hellmuth

Patty Herrman

Megan Holley

Shannon Huertas

Alison F. Knudsen

Carolyn Brown Kramer

Patricia Miller

Maureen Ose

Phyllis Owen

Megan Rothenberger

Pamela Starr

Alethea Stovall

Amy Wright


Christopher Boilesen

Matthew Clegg

Brock Denton

Ed Holbrook

Michael Jensen

Timothy Johnson

Andy Miller

John W. Reinert

Purno Sangma

David Shipley

Sebastian Sorensen

Stephen V. Talarico

Rich York


Foster Collins, Jr.

David Crews

Chase Crispin

Randy Dinsdale

Marques L.A. Garrett

Jason J. Hellmuth

Dave Henske

Charlie Horner

James Kula

Paul Madvig

Jacob Mason

Rob McMaster

Trey Meyer

Louis Reith

Kyle Sandall

Jason J. Seger

Alex Wachman

Ken Winston


The Doane University Choirs

Dr. Kurt Runestad and Jason Horner, conductors


Kiersten Anderson

Sophia Coniglio

Percy Earle

Anna Harveson

Ally Ibsen

Tessa Jackson

Rowan Jolkowski

Elly Kennec

Kinsey Knorr

Olivia Kreikemeier

MaKenna Lindgren

Lauren Matthies

Jess Pelchat

Lizzy Sand

Hailey Trahern

Torie Tucker

Elly Weimer

Emma Woods

Stephanie Wright


Lillian Carver

Mara Coates

Sarah Daly

Kaydi Daudt

Corina Grimaldo

Maddy Hickok

Jessica Jensen

Victoria Mannel

Olivia McBeth

Maya Mohr

Alexa Munsinger

Raven Ovens

Paige Pulte

Julia Ramirez

PJ Ramsey

McKenna Revis

Jessica Sand

Alexa Thompson

Alyssa Tonniges

Sydney Tramp

Lauren Walther

Mya Williams


Alex Brandenburg

Logan Capek

Marc Hoyer

Sean Hummel

Zekiel Krejci-Hyde

Cooper McClure

Jason McIntosh

Mitchell Norris

Drew Pennington

Noah Reestman

Sam Reicher

Austin Sinn

Alexander Wagner


Anthony Bonacci

Isaac Ebke

Ryan Hellmuth

Aaron Miller

Riley Mitchell

Samuel Province

Boston Reid

Erik Rodriguez

Elijah Smith



Lesmy Aguilar

Holly Bingham

Emma Cassiday

Alyssa Chapman

Sophia Chavanu

Shannon Engel

Karissa Gleeson

Sophia Irvine

Quinn Knispel

Maura Loberg

Merrill Mitchell

Graycee Oeltjen

Quinn Schieffer

Carlye Stoppkotte

Nebraska Wesleyan University Choir

Tom Trenney, director


Grace Barton

Julia Catton

Jamie Dolph

Lilly Frields

Ellyn Hall

Grace Hemmerling

Ella Homolka

Melissa Loos

Cartney McGuigan

Jaime Orton

Emily Swoboda

Evelyn Theall

Jillian Timperley

Nina Vogel

Helen Whittaker

Paige Youngquist


Evan Heller

Joshua Hoff-Boring

Phu Le

Eric Lenz

Kellen McLaughlin

Seth Messersmith

Ben Mitnick

Colin Scarlett

Drew Sinnard

Noah Wing


Cameron James

Jack Liegl

Trevor Linn

Austin Reinke

Travis Roh

Brett Tomjack


A poised and dynamic flutist, Paige Michaud has

performed in masterclasses with prestigious flutists

around the world including Daniel Carlo, Sergio

Pallottelli, and Matthieu Gauci-Ancelin of the Berlin

Philharmonic. In addition to regular local performances

in and around Omaha, Paige performed at the 2019

Chicago Flute Festival, the 2020 Longy School of Music

Flute Festival in Boston, and the 2021 Flauti al Castello

festival in Anghiari, Tuscany, Italy. The youngest

competitors in the field, Michaud and her piano partner,

Yimeng Xu, won first place at the 2021 Puerto Rico

International Collaborative Piano Competition with

their polished performance of music by Samuel Zyman

and Amy Beach. Michaud is a student of Dr. Christine

Beard at the University of Nebraska at Omaha (UNO)

where she is currently a junior pursuing a Bachelor of

Music Performance degree. She is the current Rotating

Principal of the Heartland Philharmonic Orchestra,

former principal flute in UNO’s Symphonic Wind

Ensemble, and is a core member of the Heartland

Community Flute Choir, the latter of which has been

selected to perform a new commission by Julia Wolfe

at the 2022 National Flute Association Convention. In

addition to her many successes as a performer and a

passionate proponent of women’s issues, diversity,

equity, and inclusion, Paige’s article, “Misogyny in

Mozart: Is Le Nozze di Figaro Truly About Figaro?” was

published in the Summer 2021 edition of the Nebraska

Music Teacher Association newsletter.


Edward Polochick, Music Director of Lincoln’s

Symphony Orchestra since 1998, has expanded

LSO’s music series through innovative classical

music programs, family concerts, pops concerts,

and July 4th events like the Uncle Sam Jam. For 31

years, he served as Artistic Director of Concert

Artists of Baltimore, an all-professional chamber

orchestra and vocal ensemble of eighty musicians

which he founded in 1987. Maestro Polochick served

on the faculty of the Peabody Conservatory of Music

in Baltimore from 1979 until 2020 in a multitude of

conducting positions including Associate Conductor

of Orchestras, Director of Choral Ensembles, and

Opera Conductor. Not only is he widely recognized

as a conductor, but is an award-winning pianist

and harpsichordist and regularly conducts from

the keyboard with Concert Artists, the Baltimore

Symphony Orchestra, and Lincoln’s Symphony

Orchestra. He has also appeared as piano soloist

with the Philadelphia Orchestra and the Los Angeles

Chamber Orchestra under the direction of Sir Neville


Since winning the first Leopold Stokowski Conducting

Award in 1978 and, as a result, conducting the

Philadelphia Orchestra, he continues to attract

world-wide attention as an orchestral, choral, and

operatic conductor. In addition to conducting the

Philadelphia and Baltimore Symphony Orchestras,

his guest appearances include the Houston

Symphony, Chautauqua Symphony, the Opera

Company of Philadelphia, Omaha Symphony,

Jacksonville Symphony, Charleston (SC) Symphony

Orchestra, Aalborg Symphony (Denmark), Daejeon

Philharmonic (South Korea), St. Petersburg

Symphony (Russia), and the State of Mexico

Symphony Orchestra (Mexico).

From 1979-1999 Mr. Polochick was on the conducting

staff of the Baltimore Symphony Orchestra as

Director of the Symphony Chorus, founder and

director of the Baltimore Symphony Chorus Chamber

Singers, and frequent guest conductor. During his

tenure with the BSO, he established annual Holiday

Pops and Messiah performances which have

remained Baltimore holiday traditions for nearly

three decades. In the summer of 1987, Mr. Polochick

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