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Concert Program Cover

First Concerts of the 12th Season

Concert for Children and Young People

Sunday, November 12th, 1950
Central High School Auditorium

Monday, November 13th, 1950
Huntington High School Auditorium
Samuel L. Flueckiger, Conductor
Vernon H. Stinebaugh, Associate Conductor

  Prelude, Chorale, and Fugue Johann Sebastian Bach
Johann Joseph Abert
 
       
  Symphony in F Major Carl Ditters von Dittersdorf  
 

I. Allegro moderato
II. Rondo
III. Minuetto
IV. Finale

 
       
  Intermission  
       
  Piano Concerto No. 1 in B-Flat Minor, Op. 23 Peter Iljitch Tschaikowsky  
 

I. Allegro non troppo e molto maestoso – Allegro con spirito

 
  Percy Grainger, piano  
       
  Youthful Suite Percy Grainger  
 

I. North March
II. Rustic Dance
III. Norse Dirge
IV. Eastern Intermezzo
V. English Waltz

 
  Percy Grainger, conductor  
       
  Moods Americana Gerald Humel  
       

Program Notes by Jane Enyeart

  Prelude, Chorale and Fugue Johann Sebastian Bach
(1685-1750)
Johann Joseph Abert
(1832-1915)
 
 

Schumann said of Bach: "Music owes almost as much to Bach as Christianity does to its founder." Bach, whose ancestors included approximately 200 musicians, showed great musical talent when very young. His early concentration was upon his voice and, despite the fact that he had no formal teachers, he also mastered the violin and clavier. At the age of eighteen his interest changed to the organ. Bach is known as the great master of the fugue and his published works comprise fifty large volumes.

A Bohemian by birth, Albert's fame is largely due to his transcription of the Prelude to the Fourth Fugue of Bach's "Well-Tempered Clavichord." The chorale is Abert's own composition, written to synchronize with certain parts of the Fugue, one of Bach's greatest works for the organ, The Fantasia and Fugue in G Minor. The orchestral combination of the Fugue and Chorale invokes a lofty atmosphere in keeping with Bach's devout character.


 
       
  Symphony in F Major Carl Ditters von Dittersdorf
(1739-1799)
 
 

It has been only in the last two generations that the true value of Von Dittersdorf has been recognized. His brilliant contemporaries and personal friends, Haydn and Mozart, were destined to overshadow his work. The F Major Symphony is one of more than a hundred compositions in this form that Dittersdorf wrote. It is short, simple, and abounds with a genial humor.


 
       
  Piano Concerto No. 1 in B-flat Minor, Op. 23 Peter Iljitch Tschaikowsky
(1840-1893)
 
 

Tschaikowsky was unquestionably one of the greatest of Russian composers, although his style is less dependent upon the folk songs of his people than any other Russian composer. He was a member of the first graduating class of Anton Rubinstein's new conservatory and devoted his life largely to composition. Because of the failure of three love affairs, Tschaikowsky became highly nervous and bordered on insanity until his death from cholera at the age of fifty-three.

This Piano Concerto, Tschaikowsky's first work in this form, was composed in one month and dedicated to Nicholas Rubinstein. Upon hearing Tschaikowsky play his concerto, Rubinstein declared it worthless, un-pianistic, and tawdry. The Concerto was soon re-dedicated to Hans von Bulow, famous German pianist and conductor, whose favorable reaction resulted in popular acceptance and enthusiastic acclaim to the present day.

The Concerto opens with a majestic theme of sweeping chords across the piano. The second piano theme is derived from a tune sung by a blind beggar whom the composer heard at a country fair.


 
       
  Youthful Suite Percy Grainger
(b. 1882)
 
 

Percy Grainger has been called a musical folklorist. His work in that direction and as a student of primitive music is invaluable. His style is modern in effect; he has caught the secret of presenting the everyday tune with a charm and style distinctly his own. His harmonies are acrid, dissonant, yet rich and satisfying. His rhythms are full of complicated cross-groupings and he has been an experimenter with timbres and possibilities of instruments in unusual combinations. His music is full of vitality and energy and he is an inveterate innovator.

All the movements of the Youthful Suite were composer or sketched when Mr. Grainger was between 17 and 19 years of age. Northern March gets its title from the North-English or Scottish character of its melodic material and rhythms. The Rustic Dance is in a lilting six-eight meter and is scored for a slightly smaller orchedstra than the other sections of the Suite. Norse Dirge is a musical expression of the "drapa" in the Icelandic sagas, which serves both as a lament for the dead and a biography. Eastern Intermezzo grew out of the composer's great interest in Chinese and Japanese music in his early childhood. The middle portion was inspired by the description of the dance of the elephants in Rudyard Kipling's Jungle Book story, Toomai of the Elephants. English Waltz reflects some characteristics of the popular English waltz-types of the Eighteen-nineties. Although the material of the Suite represents the spirit of the areas mentioned, Mr. Grainger states that he has not used actual "folk tunes or popular tune-stuffs" in their composition.


 
       
  Moods Americana Gerald Humel
(b. 1931)
 
 

Born in Cleveland in 1931, Gerald Humel began his musical studies with piano lessons at the age of eight, and two years later added the flute. He was awarded a scholarship in composition to the Cleveland Music School Settlement on his 13th birthday. Besides Moods Americana he has several other works to his credit for orchestra and band, as well as the small ensembles such as the string quartet.


 
       
 

Manchester Symphony Orchestra Personnel

 
  Violin I
Vernon Stinebaugh, Concertmaster
Virginia Coats
Carl Shultz +
Dorothy Baer
Ronald Walton +
Paul Sollenberger
Louis Durflinger
Howard Unger

Violin II
Dorothy Smith +
Margaret Brooks +
Phyllis Gibbel +
Dorothy Rautenkranz
Dorothy Cripe +
Anita Bollinger
Richard Bollinger
Santos Zaccone

Viola
Lloyd Hoff *
Carole Shultz +
Jane Stephens +
Paul McClain
Thomas Wilson

Cello
Gloria Walton *+
Priscilla Kester +
Betty Shultz
Frederick Perfect
Albert Trestrail

Bass
David Amstutz *+
Waneta Showalter +
Phylis Heeter +
Roger Kelly

Piccolo
Lowell Coats +

Flute
Lowell Coats *+
Nina Flueckiger
Clyde McDaniel +

Oboe
JoAnn Miller *
William Stewart
English Horn
William Stewart

Clarinet
Betty Fulton *+
Gordon Hedges
Myrtis Becker +
Myra Mow +

Bass Clarinet
Myra Mow +

Bassoon
Donald Tait *+
Kenneth Miller

Horn
Robert Smith *+
Robert Bauer +
James Brumbaugh +
Kathleen Tigner

Trumpet
Marion Hopkins *+
Gene Porter +
Ralph Bushong

Trombone
Gerald Miller *
Robert Garman +
Samuel Pritchard +

Tuba
Wayne Eberly +

Timpani
Doris Kinzie +

Percussion
Dean Van Tilbury
Orlin Schrock +
Joanna Spitler +

Piano
Genita Speicher

* Denotes principal
+ Denotes MC student
       
 
Percy Grainger was born in Australia in 1882. His piano studies until the age of ten were with his mother; among his other teachers was the celebrated Busoni in Germany. Grieg's affection for the young pianist won him the opportunity to premiere his concerto in 1907. Grieg's love of national music inspired Grainger to throw himself into the movement of recovering English folksongs. Many of these have been arranged for the piano as well as other instrumental combinations, including orchestra and band. Mr. Grainger's achievements in pianism and composition are so well known that he has enjoyed the acclaim of audiences all over the world for over 50 years. His compositions and arrangements are in the standard repertoire everywhere. Although he has lived in America since 1915, there is no better known or more beloved artist on any continent, or a more colorful musical personality before the public anywhere than the guest pianist and conductor we are presenting today, Percy Aldridge Grainger.
 
 
Future Concerts: February 25, 1951, program for Children and Young People; May 6, 1951, presentation of the Brahms Requiem with the Manchester College Choral Society.