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Concert Program Cover

First Concert of the 20th Season


Sunday, November 9th, 1958
College Auditorium
Vernon H. Stinebaugh, Conductor

  Overture to Lucile Andre Ernest Modeste Gretry  
  Symphony No. 101 in D Major ("The Clock") Franz Josef Haydn  

I. Adagio -- Presto
II. Andante
III. Menuetto
IV. Finale

  Prelude to Die Meistersinger von Nurnberg Richard Wagner  
  Recognition of Continuous Symphony Sponsors and Past Society Presidents  
  Concerto for Three Pianos in C Major, BWV 1064 J. S. Bach  

I. Allegro
II. Adagio
III. Allegro assai

  Genita Speicher, Max Allen, R. Gary Deavel, piano  

Program Notes by Paul Halladay

  Overture to Lucile AndrĂ© Ernest Modests GrĂ©try

Strangely enough, Andre Ernest Modeste Gretry, when yet a boy, was judged to have no talent for music. As a lad, he was placed in the choir at St. Denis but was dismissed at age 11 as being incompetent. However, a spark was later kindled when he began to hear the operas of Pergolesi and other Italians; it was then that he gave his heart to composing for the theater.

Lucile, the second of his fifty operas, is in comic vein, as are most of them. Composed in 1769, it came at the time when the French were successfully forging their own particular brand of opera comique. it was not a slapstick pie-throwing kind of buffoonery but was rather an elegant, sophisticated, charming kind of music and drama so dear to the French. Gretry never pretended to be a master at harmony or counterpoint but he knew how to turn out melodies with sparkle -- tunes with a sense of dramatic fitness. These are the qualities that will delight as we hear the Overture to Lucile.

Mr. Clifford Barnes, of Cleveland, has prepared the score being played. He keeps the flavor of the Eighteenth Century, but speaks through the medium of the Twentieth Century Orchestra.

  Symphony No. 101 in D Major ("The Clock") Franz Josef Haydn

Franz Josef Haydn is an amazing composer from sheer quantity of his output, but the chief honor due him is because of the quality of his work. Living at the time, 1732-1809, when the ground work for the architectural plan of the symphony and the instrumentation of the orchestra was well along, Haydn brought both to a state of perfection and has been a model ever since. His music has wide appeal partly because he knew how to compose but largely because he was a man of spiritual depth and serenity; he was an active and sociable man and one that loved humor. He had the common touch.

This symphony, No. 101, was nicknamed "the Clock" but not by Haydn. Quite a few of his symphonies and quartets were given significant nicknames because of some traits or situations found within them; but more about that later.

As is the usual pattern for symphonies the work is in four movements, all separate but related by similarity or contrast. The first is in Sonata Form. Haydn liked slow, majestic introductions. This one is slow and somber. Following this, two musical subjects appear, one about a minute after the other. These subjects, surrounded above and below by orchestral fabric comprise the Exposition. Then follows a musical discussion or Development allowing free reign for the imagination. The movement closes with a return to the subjects, by way of summary.

It is from the rhythmic tick-tock, in the second movement, given out first by bassoons and part of the strings at the outset and elsewhere later that the entire symphony received its nickname. While it is fun to listen to the tick-tocking, there are two lovely melodies that dominate this slow movement.

The third movement, Minuetto, is really composed of two minuets, one called a trio. We hear them as Minuet-Trio-Minuet. Haydn's minuets are full of 'bounce' and good humor. The Trio is announced by solo flute passage undergirded by a quiet series of repeated chords in the strings. Later, one hears the chirping flute and the bassoon "talking back to each other"; choice Haydn humor it is.

The final movement is in rondo form and is energetic from start to finish. The term 'rondo' suggests getting around to the main subject repeatedly. with intervening material (episodes) in between. The grand rush at the end, with all instruments speaking loudly brings the work to an exciting close.

  Prelude to Die Meistersinger Richard Wagner

Richard Wagner (1813-1883) was fond of history, legend and mythology; his life was spent setting them forth in interesting combination through his operas and music dramas. Die Meistersinger (the Mastersinger) is an opera with its roots back in the 14th to 16th century Germany but, at the same time, was poking fun at Wagner's contemporary adversaries, the music critics.

The old Meistersinger guilds were formed as local organizations for the perpetuation of community music and contests. They were of undisputed importance; but sometimes the members became stodgy, snooty, self-satisfied and exclusive. Now, to the plot of the opera: Young Walther is in love with Eva, but so is Beckmesser an important Meistersinger. Whoever is to win the hand of Eva must do so by first winning the song contest. Beckmesser does badly in the test; his song is perfect in all details but he is so uninspiring in his singing. Walther, having been coached by that Master of all Meistersingers, Hans Sachs, sings gloriously and his "Prize Song" wins both contest and the hand of Eva.

Basic in Wagner's concept of music drama was the associating of music motives or themes with persons and dramatic situations. Such a motive is called a "leitmotif." These musical motives are heard throughout the drama, and certainly in the overtures or preludes.

We hear first the Meistersinger motive given out by practically the entire orchestra, the melodic contour being like this: do, (downward) sol, sol, sol, (downward) mi, (upward) fa, sol, la, ti, do, re, mi, fa, etc. in a majestic march-like rhythm. Twenty-five measures later an affectionate sounding motive appears, started by flute, given then by oboe and then by clarinet. This signifies Walther's love for Eva. Comes up shortly a fanfare of the Guild, in processional march employing the Meistersinger motive. In the shortened form of today's performance we do not hear directly from Beckmesser or the teasing chorus of villagers, but rather proceed directly to the broad and impressive close the Prelude to Die Meistersinger von Nurnberg.

  Concerto for Three Pianos in C Major, BWV 1064 Johann Sebastian Bach

(No program notes given.)


Manchester Symphony Orchestra Personnel

  Violin I
David Royer, Concertmaster +
Carol Ruth Stout +
Anita Bollinger +
Clara Logan +
Madonna Persons
Rosemary Manifold
Louis Durflinger
Clara Buchanan

Violin II
John Barr *+
Beverly Shull
Dorothy Rautenkranz
Aletha Rautenkranz
Jeannie Trestrail +
Judith Gottmann
Dorothy Baer
Rosemary Bolinger
Ronald Kuhn +
Sandra Sayers
Joe Warner
Sue Herriman
Margaret Landrum

Lloyd Hoff *
Lana Mills +
Cora Shultz
Elaine Shilts
Jack Herriman
Verna Trestrail

Guy Rumsey *+
Janet Arnold +
Bonita Gibble +
Linda Warner +
Marilyn Buchanan

David McCormick *
Raymond Stokes +
Spencer Turner

Sylvia Thomas +

Nancy Royer *+
Sylvia Thomas +
Ann Whitmore +
Reis Flora *+
Susan Fox

Richard Berg *+
Clarice Williams +

Bass Clarinet
Donald Shilts

Hugo Fox *
Alice Ray

Phil Shellhaas *+
Don Deardorff +
Barbara Niester
Gordon Wilson +

Carolyn Schuler *
Ralph Bushong
Howard Royer +

Truman Reinoehl *+
Susan Hunsberger +
Joel Haney (Bass)

John Sprinkle +
Sundra Reppert +
M. Gene Coe

Diane Sprouls +

* Denotes principal
+ Denotes MC student
Faculty Piano TrioThe Manchester College Faculty Piano Trio performing for our concert today is a relatively new combination. Mrs. Paul Speicher and Professor Max Allen had worked together many years as duo-pianists and appeared on the opening Civic Symphony concert just two years ago. When Professor Gary Deavel joined the piano and organ department of the College in 1956, this Trio was formed. We take pleasure in presenting this popular team in opening our Twentieth Anniversary season. Later this month they are to appear for the Music Teachers Convention in Indianapolis.

Mrs. Paul Speicher has studied piano and organ with several of the midwest's outstanding teachers, including Charles Marsh, A.G.O., and Glen Dillard Dunn of the Chicago Musical College from which school she received her Bachelor of Music degree. Continuing her education she was granted her Master of Music degree from the Chicago Conservatory of Music and has since studied with Hugh Price and Dr. Leo Podolsky of the Sherwood Music School as well as Charles Demorest and Gorden Wedertz of the Chicago Musical College.

Mr. Allen first studied piano under the late Murl Barnhart, teacher at Manchester College, and after having received his Bachelor of Science in Music Education degree continued his musical training under Esther Oehlrigh, formerly organ professor at Wittenberg College. While working on his Bachelor of Fine Arts degree at the Art Institute of Chicago he played weekly recitals in Blackstone Hall and studied organ with Prof. Porter Heaps, organist for Northwestern's Thorne Chapel. At Indiana University, where he received his Master of Fine Arts degree, Mr. Allen also studied organ with Prof. George Y. Wilson.

Mr. Deavel received his Bachelor of Science degree in Music Education at Manchester College in 1952. While a student at Manchester he studied piano and organ with Mrs. Speicher. His unique talents in these areas plus his increasing interest in music composition earned him the opportunity to study organ with Hugh Price and composition with Florence Galajikian at the Sherwood Music School in Chicago. He received his Master of Music degree from this institution in 1956 and since that time has been professor of organ and theory at Manchester College. Several of his own compositions have been performed by local music groups, the major contribution being his opera, "Ruwana," in the spring of 1957.
The second concert of the season will be on Sunday, February 22, in the Manchester High School auditorium. Plans have been made to have the local High School Mixed Chorus as well as some Grade School students perform on this annual Youth Concert. Also featured will be John Richardson, French horn soloist from South Side high school in Ft. Wayne.

The final concert will be Saturday night, April 18, when a "Pop" concert will be presented in an informal way in the high school gym. You will want to be here with your friends for this evening of musical entertainment and refreshments planned as an innovation by your Board of Directors.

The Symphony Society is grateful for the new record set in sponsorships this Anniversary year.