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Concert Program Cover

First Concert of the 16th Season


Sunday, November 7th, 1954
Central High School Auditorium
Vernon H. Stinebaugh, Conductor

  Overture to Oedipus in Colonus Antonio Sacchini
(arr. Franko)
  Suite No. 10 Franz Joseph Haydn  

I. Presto from Symphony No. 32
II. Arietta in B-Flat
III. Minuet from String Quartet in D, Op. 20, No. 4
IV. Theme from Piano Sonata in G
V. Adagio from String Quartet in G, Op. 64, No. 4
VI. Rondo All'Ongarese from Piano Trio in G

  Intermission (5 minutes)  
  Cello Sonata in G Major Giovanni Sammartini
(Martin Berteau)

I. Allegro
II. Grave
III. Vivace

  Apres un Reve Gabriel Fauré  
  Intermezzo from Goyescas Enrique Granados  
  Menuet from Petite Suite, L. 65 Claude Debussy  
  Mélodie in C-Sharp Minor, H. 99 Frank Bridge  
  Dudley Powers, cellist
Dorothy Scott Mayer, at the piano
  Intermission (5 minutes)  
  Three Dances from Henry VIII Edward German  
  Jazz Pizzicato Leroy Anderson  
  Prelude to Die Meistersinger von Nurnberg Richard Wagner  

Program Notes by Sue Weaver

  Overture to Oedipus in Colonus Antonio Sacchini

Antonio Sacchini, born in Florence, began his career in music through his voice. With the added gift of the dramatic, it is not surprising to find him working with the opera. He was good in orchestration and melody and proved to be a famous composer in his own day -- composing also symphonies, chamber music, and masses. However, opera was his best known field, and the opera from which our overture is taken was used in the Paris Opera repertoire for sixty years.

  Suite No. 10 Franz Joseph Haydn

Haydn was born into a family whose ancestry was Slavic, and his own life and music also show traces of the Croatian peasant influence. He became known for his straightforwardness, lightness, and cheerfulness, and his music was characteristic of his personality. As an individual, he was liked and well-received in society, in sports and in music, and it is little wonder he was popular and acclaimed by his countrymen as the greatest Austrian composer.

Haydn introduced the "classic" style into music, and he knew and influenced both Mozart and Beethoven. In the history of music, he is known as the father of the symphonic form and symphonic orchestration, and of the string quartet and chamber music in general. Our Suite today includes excerpts from some of the various styles he used, and shows us some insight into the character of the man.

  Three Dances from Henry VIII Edward German

Almost a contemporary, Edward German was a favorite in London as a composer of incidental music. He was successor to some of Arthur Sullivan's work, though he composed chamber music and symphonic works in addition to the light operas. He served as theatrical conductor under Richard Mansfield in the Globe Theatre where he set music for several Shakespeare plays. His Three Dances from Act I were quite popular and well known in many circles of London life.

  Jazz Pizzicato Leroy Anderson
(b. 1908)

This American musician is well known for his numerous light and novel compositions. But in addition to these, he has served as organist, choir-master and conductor. At various times he has worked with the Boston Pops Orchestra, which has recorded much of his music. This particular number employs the use of plucked strings throughout the entire piece, and was his first number published (1939).

  Prelude to Die Meistersinger von Nurnberg Richard Wagner

Originally Wagner intended to go into the literary field, with a particular interest in poetry and drama, and so when he began his work in the musical world, we find that he combined his talents in dramatic production with a musical style that showed great powers in imaginary, conquest and execution.

His text material was lifted from folk lore and he himself wrote it into poetry that was enlarged into real drama -- forceful and emotional in its appeal. His music style made this even more intense by portraying each character with a distinct style of musical character which could be called into the drama by merely giving a suggestion of their musical theme and style.

The Meistersinger, a comic opera, portrayed the common folk of the fourteenth and fifteenth centuries who formed music guilds, similar to the craft guilds. The purpose of the opera was to ridicule the strict rules and formal style of music in that period, and Wagner was giving vent to his own philosophy, that music should be free expression, and from the heart. This Prelude, one of his most majestic works, has a summary of the characters and the principal motives of the entire opera woven into it.


Manchester Symphony Orchestra Personnel

  Violin I
Ellsworth Moyer, Concertmaster +
Sue Weaver +
Jean Hamman +
Rosemary Manifold
Anita Bollinger
Dorothy Baer
Ronald Walton
Louis Durflinger

Violin II
Donald Godlevski *+
Dorothy Rautenkranz
Donita Overholser +
Clara Buchanan +
Margery Morrison +
Shirley Weiss +
Gayle Hineline +
John Watson +
Darlene Gall
Margaret Gable
Donald Hardman
Harold Daveler +
Jean Trestrail

Ethel Anderson *+
Margie Culkosky +
Betty Royer +
Verna Trestrail
Elaine Shilts +
Cora Shultz

Priscilla Kester *
Betty Shultz
Marilyn Buchanan
Pete Carr
James Mentzer

Clyde Holsinger *
Waneta Showalter
Larry McCormic +
Corlyle Drake

Marjorie Thompson *+
Nancy Hoff +
Janice Briner +
Dorene Eltzroth +
Shirley Detrick *+
Herman Conine

Worth George *+
Julia Findley +
Rosemary Bolinger

Hugo Fox *
Barbara Reahard +

Gloria Samuelson +
Maxine Stands +

Donald Huffman *+
Jean Noffsinger +
Joan Whitacre+
Albert Trestrail

Paul Miller *+
Jan Melvin +

Gerald Miller *
Jon Cullum +
Joel Haney

David Eberly

John P. Browne, Jr.

Sally Johnson
Richard Paul +

Piano (Harp)
Anita Garman +

* Denotes principal
+ Denotes MC student
Dudley PowersDudley Powers, our cello soloist, comes from a truly musical family. He began studying piano at the age of six and at ten started playing a cello belonging to his father, who was Head of the Music Department of the Central State College of Education, Mt. Pleasant, Michigan.

At 14 he was accepted as a fellow student at the Julliard musical Foundation in New York for four years, then continued his studies with Emanuel Feuermann in Switzerland. Returning home he made long summer tours with the Powers family string quartet in the leading colleges.

He joined the Chicago Symphony in 1933, becoming the Principal Cellist in 1944 under Dr. Frederick Stock. He served in this honorable capacity until last year. Mr. Powers served as cellist of the Mischakoff String Quartet, the Chicago Symphony String Quartet, and guest artist with the Budapest String Quartet. He has frequently appeared as solo artist with the Chicago Symphony and has won an enviable reputation as a solo artist. The North Manchester Symphony Society is proud to present this distinguished string artist to our audience today.
The Second Concert of the Sixteenth Season will be Sunday, February 20, 1955. Winners of the local Kiwanis Talent Contest will be featured on this program and it will be particularly designed for young people.

The Symphony Society wishes to express appreciation for the fine response in Symphony Sponsorships this season.