Conductor Sergey Bogza

Sergey Bogza, has been described as “a charismatic conductor whose passion radiates from the podium” (The Virginian-Pilot), and is known for his unique approach to working with orchestras and engaging audiences on and off the podium. In his third year as the Music Director of the Panama City Symphony, he leads masterworks and holiday concerts, curates a monthly chamber music series, and serves as the Director of Music Education. He made his professional debut with the Alabama Symphony Orchestra and the Alabama Ballet in 2024 and has held Music Director positions with the Millikin-Decatur Symphony Orchestra, Willmar Symphony, and Heartland Symphony Orchestra.

Equally comfortable leading productions of opera, ballet, and concert repertoire, Bogza’s energy and artistic integrity are highly regarded by audiences and musicians alike. He has been awarded top prizes at international conducting competitions and is an active composer of symphonic and chamber music. Combining the roles of a conductor and a composer, the premieres of his works are enthusiastically received by audiences and musical ensembles across the United States and Europe.

As a guest conductor, Bogza cultivates a burgeoning international presence that has brought him engagements in the USA and Europe with orchestras, ballet companies, and festivals. He has guest conducted musicians of the Minnesota Orchestra, Virginia Beach Symphony, Pazardzhik Symphony Orchestra, Sheboygan Symphony Orchestra, Auburn Symphony Orchestra, Illinois Valley Symphony Orchestra, and Gwinnett Symphony Orchestra. Bogza also served as an assistant conductor for Joffrey Ballet’s 100-year anniversary production of The Rite of Spring, and the University of Minnesota’s Benjamin Britten’s Peace Project, which combined the musical talents of students from North America and Germany, culminating in the critically acclaimed performances of Benjamin Britten’s War Requiem in the USA and abroad. For three consecutive summers, he was selected to conduct public concerts of the B-Minor Mass, St. Matthew Passion, and the Christmas Oratorio at the Oregon Bach Festival.

Bogza is responsible for a number of successful collaborations and is regarded for his sensitive approach. In 2017, he engaged an award-winning choreographer, Roger Van Fleteren, to present an abridged version of Prokofiev’s ballet Romeo and Juliet and the fruitful relationship led to future projects with The Alabama Ballet. That same year, Bogza conducted two sold-out performances of The Moscow Ballet’s The Great Russian Nutcracker, a production that included the company’s professional dancers, 120 community dancers, and a local children’s chorus. In 2018, in collaboration with Millikin University’s School of Theatre and Dance, Bogza led three sold-out performances of The Phantom of the Opera and productions of Pirates of Penzance, Menotti’s The Medium, and Barber’s A Hand of Bridge. At the University of Minnesota, he led the workshop premiere of two operas, Sister Carrie and Rosencrantz and Guildenstern Are Dead, by Grammy-winning composer Robert Aldridge and assisted with productions of Così fan tutte, Falstaff, and Bartered Bride, among others.

Off the podium, Bogza is an endurance athlete who regularly competes in ultra-marathons and long-distance bike rides. Having won gold medals and finished over a dozen races, his future aspirations include competing for The Triple Crown and Badwater 135. Bogza trains with his two Belgian Malinois dogs, Samson and Stella, and is an avid chef of Slavic cuisine.

Bogza was born in Russia into a Russian-Ukrainian family and emigrated to the United States in 1995. He has earned a Master of Music degree in orchestral conducting from Central Washington University, and a Doctor of Musical Arts degree in orchestral conducting from the University of Minnesota.

Guest Artist Ilya Yakushev

Russian pianist Ilya Yakushev, with many awards and honors to his credit, continues to astound and mesmerize audiences at major venues on three continents.

In the 2022-23 season, Ilya Yakushev performed as piano soloist with Meridian Symphony, San Luis Obispo Symphony, St. Petersburg Philharmonic, Dubuque Symphony, Las Vegas Philharmonic and Fort Wayne Philharmonic in addition to over 40 recitals in North America and Mexico.

Highlights of Yakushev’s 2023-24 season include return appearances with the San Luis Obispo Symphony, St. Petersburg Philharmonic, and Glacier Symphony, as well as a performance with the Panama City Symphony.

In February 2014, British label Nimbus Records published “Prokofiev Sonatas Vol. 1” CD. American Record Guide wrote “Yakushev is one of the very best young pianists before the public today, and it doesn’t seem to matter what repertoire he plays – it is all of the highest caliber”. Volume 2 was published in January 2017, as well as an all-Russian repertoire CD in September 2017.

In past seasons, he has performed in various prestigious venues worldwide, including Glinka Philharmonic Hall (St. Petersburg), Victoria Hall (Singapore), Weill Recital Hall at Carnegie Hall (New York), Davies Symphony Hall (San Francisco), and Sejong Performing Arts Center (Seoul, Korea). His performances with orchestra include those with the Mariinsky Theatre Orchestra, St. Petersburg Philharmonic, San Francisco Symphony, BBC Concert Orchestra, Boston Pops, Rochester Philharmonic, Utah Symphony, and many others.

Winner of the 2005 World Piano Competition which took place in Cincinnati, OH, Mr. Yakushev received his first award at age 12 as a prizewinner of the Young Artists Concerto Competition in his native St. Petersburg. In 1997, he received the Mayor of St. Petersburg’s Young Talents award, and in both 1997 and 1998, he won First Prize at the Donostia Hiria International Piano Competition in San Sebastian, Spain. In 1998, he received a national honor, The Award for Excellence in Performance, presented to him by the Minister of Culture of the Russian Federation in Moscow. Most recently, Mr. Yakushev became a recipient of the prestigious Gawon International Music Society’s Award in Seoul, Korea.

Mr. Yakushev attended the Rimsky-Korsakov College of Music in his native St. Petersburg, Russia, and subsequently came to New York City to attend Mannes College of Music where he studied with legendary pianist Vladimir Feltsman.

Ilya Yakushev is a Yamaha artist.

Michael Torke – Javelin
Sergei Rachmaninoff – Rhapsody on a Theme on Paganini
Goerge Gershwin – Rhapsody in Blue, Grofé Full
*Ilya Yakushev, Piano*

– INTERMISSION – 

Antonin Dvorak – Slavonic Dance, Op. 46, No. 3
Franz Liszt – Hungarian Rhapsody No. 2
Queen – Bohemiean Rhapsody arr. by Nicholas Hersh
Camille Saint-Saëns – Bacchanale from Samson & Dalila

Michael Torke: Javelin

Estimated Duration: 9 minutes

American composer Michael Torke’s brief and exhilarating orchestral work, Javelin, was commissioned by the Atlanta Committee for the Olympic Games, and the Atlanta Symphony Orchestra. The commission was a dual celebration of the Atlanta Symphony’s 50th anniversary, and the upcoming 1996 Olympic Games.

The composer writes: “I had three goals for this Atlanta Symphony’s anniversary piece: I wanted to use the orchestra as a virtuosic instrument, I wanted to use triads (three-note tonal chords), and I wanted the music to be thematic. I knew I would welcome swifter changes of mood than what is found in my earlier music. What came out (somewhat unexpectedly) was a sense of valor among short flashes and sweeps that reminded me of something in flight: a light spear thrown, perhaps, but not suggested itself, I couldn’t help but recall the 1970s model of sprts car my Dad owned, identified by that name, but I concluded, why not? Even that association isn’t so far off from the general feeling of the piece. Its fast tempo calls for 591 measures to evoke the generally uplifting, sometimes courageous, yet playful spirit.”

Rachmaninoff: Rhapsody on a Theme of Paganini

Estimated Duration: 20 minutes

One-Minute Note: Rachmaninoff’s Rhapsody on a Theme of Paganini reinvigorates nineteenth-century traditions in its extended treatment of violinist Niccolò Paganini’s “Variation No. 24” from his Twenty-Four Variations for Violin. In the spirit of Paganini’s own virtuosity, the theme is treated in twenty-four brilliant variations for piano with orchestral accompaniment. 

Compositional History: Although living in the midst of twentieth-century modernism, Russian pianist-composer Sergei Rachmaninoff (1873-1946) cultivated a style that reinvigorated the romance and virtuosity of nineteenth-century instrumental music. his Rhapsody on a Theme of Paganini was composed as an extended contemplation of Variation No. 24 from early nineteenth-century violin virtuoso Niccolò Paganini’s Twenty-Four Variations for Violin. In so doing, Rachmaninoff joined a lauded group of composers, including Schumann, Liszt, and Brahms, all of whom were fascinated by this melody and the macabre reputation surrounding its composer. The piece premiered in 1934 with the Philadelphia Orchestra at the Lyric Opera House in Baltimore, Maryland, featuring Rachmaninoff as soloist. 

Rachmaninoff’s twenty-four variations are all connected and may be performed without breaks in the model of a single-movement rhapsody, but the piece can be reconcieved as divided into three parts that cast the shaddow of a traditional piano concerto: the first eleven variations seeming to build in complexity, followed by the contrasting middle seven variations often referred to as ‘love episodes,’ and then the climactic final six variations. Among the most famous of these variations are the seventh, which incorporates the “Dies Irae” chant from the Requiem Mass, thought to invoke stories surrounding the demonic source of Paganini’s musical skill; the eighteenth, which inverts the melody, turning it ‘upside down’; and the virtuosic final variation, so challenging that it prompted Rachmaninoff to consume an alcoholic beverage to steady his nerves before performance – the rousing success of which led to it’s nickname: the “Crème de Menthe Variation.”

Listener’s Guide: After a brief introduction, listen carefully for Paganini’s theme played by the piano. The melody will then be transformed twenty-four times in a series of variations, including changes in tempo, key, and meter, that showcase not only the musical potential of the theme and the composer’s versatility, but more importantly, the virtuosity of the piano soloist. 

Gershwin: Rhapsody in Blue

Estimated Duration: 15 minutes

One-Minute Note: One of the most beloved compositions by an American composer, Rhapsody in Blue was premiered in 1924 as the grand finale of Paul Whiteman’s historic Aeolian Hall concert. Like Rachmaninoff before him, Gershwin maximized the freedom and contrast of music and mood that typify a rhapsody to create a unique blend of blues, jazz, and so-called “serious” concert music.

Compositional History: Premiered in 1924 at the Aeolian Hall in New York City, Rhapsody in Blue was the grand finale for bandleader Paul Whiteman’s (1890-1967) “An Experiment in Modern Music,” a concert intended to trace the history of jazz from the raucous, freewheeling polyphony heard on the B-Side of the first commercially successful jazz recording in 1917, the Original Dixieland Jazz Band’s “Livery Stable Blues,” to the refined arrangements of the present day. Whiteman advertised Rhapsody in Blue in a newspaper article as a “jazz concerto,” the culmination of jazz stylings and so-called “serious” music composed by Goerge Gershwin (1898-1937). Although the article’s announcement was news to the famed Broadway composer, who was then in rehearsals for Sweet Little Devil, Whiteman and Gershwin were able to negotiate the composition and performance of a free-form piano work with accompaniment by the Whiteman band, orchestrated by its arranger, Ferde Greofé. Gershwin is said to have improvised some of his solo piano part at the premiere, only later committing it to notation. At the premiere, the band was simply instructed to “wait for nod.”

Listener’s Guide: Embracing the single-movement freedom of a rhapsody rather than structure of a multi-movement concerto, Rhapsody in Blue is an extended exploration of contrasting melodies, rhythms, and moods. Opening with the iconic clarinet glissando first performed in jest by Whiteman band clarinetist Ross Gorman, the piece artfully pairs earthy blues harmonies with bold march and dance rhythms alongside the romance of symphonic strings. The vivacious piano highlights the soloist’s dexterity and expressiveness – characteristics shared by pianists in the jazz club and on the concert stage alike. 

Antonín Dvořák: Slavonic Dance in A-flat major (Polka), Op. 46

Estimated Duration: 4 minutes

Antonín Dvořák’s Slavonic Dance in A-flat major is a vibrant example of his ability to infuse classical music with the spirit of eastern European folk traditions. Dvořák was one of the first among his countrymen to attain real international prominence as a composer, and this fame was catalyzed largely by the notoriety of the Slavonic Dances. Unlike Brahm’s Hungarian ones, these do not incorporate actual folk melodies – all the tunes are of the composer’s invention, but the character is authentic enough to give the impression of lively atmosphere of village dances and celebrations. 

The Slavonic Dance in A-flat Major, Op. 46 is a lively Polka that reflects the rhythmic exuberance and playful character of Bohemian folk dances. Its spirited tempo and engaging melodies are characterized by syncopated rhythms and bright, infections energy, showcasing Dvořák’s skill in blending folk elements with refined orchestral textures. 

Franz Liszt: Hungarian Rhapsody No. 2 (arr. Karl Muller-Berghaus)

Estimated Duration: 10 minutes

Few classical performers command the attention of a modern pop star, but Hungarian pianist and composer Franz Liszt, with his fiery virtuosity and striking appearance, sparked a 19th-century fan frenzy known as “Lisztomania.” A prolific composer, Liszt created a catalog of over 700 works, including his famous 19 Hungarian Rhapsodies, which capture the essence of his native Hungary. Originally composed as electrifying solo piano pieces, these works have since been adapted for chamber ensembles and full orchestras by Liszt and other composers, showcasing their dynamic blend of Hungarian folk music and dazzling technical brilliance. 

Liszt’s Hungarian Rhapsody No. 2 of 1847 opens with a molasses-rich melody, a slow Lassan  of the Csárdás, and ends with a foot-stomping Friska. The most popular and recognizable of the collection, the Second Rhapsody’s legacy is perpetuated as the soundtrack for animated properties, Tom and Jerry, Buggs Bunny, Daffy Duck, and Mickey Mouse. 

Freddie Mercury: Bohemian Rhapsody for Orchestra and Solo Viola (arr. Nicholas Hersch)

Estimated Duration: 7 minutes

Released by Queen in 1975 as the lead single from their fourth studio album, A Night at the Opera, Freddie Mercury’s “Bohemian Rhapsody” is hailed as one of the most innovative and iconic rock songs ever recorded. It’s unconventional structure and operatic style challenge traditional pop and rock norms by seamlessly blending rock, opera, and ballad elements into a groundbreaking composition. The song’s unique fusion of genres, combined with it’s striking lyrics and dynamic changes, has cemented it as a timeless classic in music history. 

Today’s performance will feature a symphonic arrangement by the American conductor, arranger, and educator, Nicholas Hersch. Created in 2013, the arrangement became a vital YouTube hit and continues to be performed worldwide. 

Camille Saint-Saëns: Danse Bacchanale from Samson and Dalila

Estimated Duration: 8 minutes

Samson and Delilah is a grand opera in three acts and is based on the Biblical story of Samson and Delilah. The Danse Bacchanale is performed in the thrid act of the opera by the priests of Dagon as the Philistines, led by Delilah, are preparing a sacrifice to commemorate their victory over Samson and the Hebrews. Dramatically, the music portrays the reckless abandon that always seems to precede calamity. When the Philistines bring out the blind and shackled Samson to gloat over him, he calls upon God to give him a final burst of strength to destroy the Philistines and their false god. In a suicidal sacrifice, he topples the pillars of Dagon’s temple, crushing the enemy.