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Concert Program Cover

First Concert of the 24th Season


Sunday, November 11th, 1962
Manchester High School
Vernon H. Stinebaugh, Conductor

  Overture to the Music for the Royal Fireworks George Fredric Handel  

Maestoso -- Adagio -- Allegro

  Symphony No. 1 in C Major, Op. 21 Ludwig van Beethoven  

I. Adagio Molto -- Allegro con brio
II. Andante Cantabile con moto
III. Menuetto: Allegro molto e vivace
IV. Finale: Adagio -- Allegro molto e vivace

  Matona, Lovely Maiden Orlando diLasso (1532-1594)  
  No, They Say Hungarian Folk Song  
  Sweet, Honey Sucking Bees John Wilbye (1533-?)  
  Let Go, Why Do You Stay Me John Bennett (1570-1615)  
  Selections from Gypsy Jule Styne / Stephen Sondheim  

Let Me Entertain You
Some People
Small World
All I Need Is the Girl
You'll Never Get Away from Me
Together Wherever We Go
Everything's Coming up Roses

  The Shortridge High School Madrigal Singers
Thomas Preble, conductor
  Romanian Rhapsody No. 1 Georges Enesco  
  Tritsch - Tratsch (Chit-Chat) Polka, Op. 214 Johann Strauss II  

Program Notes by Paul Halladay

  Overture to Music for the Royal Fireworks George F. Handel

Imagine this -- public interest and anticipation being so great that twelve thousand people would stand for hours in a public park just to hear a rehearsal. Such was the case for the Royal Fireworks music, and six days before the performance, at that; traffic was tied up on London Bridge for over three hours. Why all this "to do"? They loved Handel's music. But there is more to the story.

In 1748, at Aix-la-Chapelle, a peace treaty was signed, thus ending hostilities between the French and the British. With the particular British bent for pageantry and ceremony, quite an occasion was planned in London in celebration of the treaty. King George II commissioned Handel to compose music for it. The original score was for wind instruments and drums; then the performance was to be punctuated at eighteen different places with 18 small cannon to be fired, one at a time. Prior to the music there was to be a huge display of fireworks. Unfortunately, that part of the demonstration went awry; the fireworks got out of control and almost burned the building down. That part was not so "royal" but the fine music saved the day.

The complete work contains an Overture, a Largo all Siciliana, an Allegro, a Bouree and two minuets. Today we hear only the Overture, now scored for full orchestra.

  Symphony No. 1 in C Major, Op. 21 Ludwig van Beethoven

A Giant's Giant was Beethoven and so has he been honored for over a dozen decades. But it was not always so; some of his contemporaries were his severest critics. It must be remembered that he came onto the scene at a time when audiences were captivated by perfection of form, balance and detail; elegance and polish were sought after. Haydn and Mozart had a flair for this and strongly influenced the tastes of the day.

Now comes this energetic and fearless young prophet to speak up for freedom and individualism. Largely self-taught he came from humble circumstances, but his enormous self-will carried him beyond disappointment, social insecurity and personal tragedy to Olympian heights of self-expression through music.

This, his first symphony, was composed at age thirty and he quite naturally followed the formal conventions of the day; he was a one-time pupil of Haydn. It was later that he became more self-assertive. A symphony should be in four movements, the first one fast and in sonata form. But here is first a slow 12-measure introduction. Haydn liked these too. But Herr Ludwig gets into three different keys in these brief measures before settling down to C major, the key of the composition. Being in sonata form there are two main subjects or themes. The first is a set of three 4-measure phrases, stated by the strings with brief additions by the winds and it is buoyant. In a moment comes the second subject in contrasting key and given out by oboe and flute in a short-phrased dialogue manner. Following the development section, which is a discussion of the two subjects, comes the recapitulation, a re-statement of the subjects, this time with considerably more breadth.

Movement II is song-like at the outset but gathers weight in the course of the development. It too, is in sonata form with two chief subjects. The first is given out by second violins, joined by cellos. In the course of the development a fugato appears -- a section that starts out to be a fugue but then disbands the idea.

The minuet (Menuetto) movement deserves wider comment than can be given in our allotted space. Up to Beethoven's time the third movement of a symphony was expected to be a minuet. Reflective of the earlier days of the minuet, it represented court life with its dignity and stateliness; it was elegant and refined. But when adopted into the symphony and following a slow movement, it was quite natural to speed it up a bit, making it more light-hearted and light-footed. But even so, this did not satisfy this young adventurer. He turned the minuet into a scherzo in later works and the movements were so named. (The word 'Scherzo' means joke.) A scherzo is still in three-beat measure but is terrifically fast, brusque and shot through with humor. This minuet is in three sections: Minuet I, then Trio (which is really another minuet), then Minuet I again. Listen for the marvelous modulations and changes of color in the second part of the first minuet.

The final movement, after a 6-measure introduction is bright as sunlight and it keeps accumulating good humor and vivacity throughout. But first, this delightful 6-measure introduction: It begins with a little three-tone scale, then a four-tone, then a five-tone, then a six, then a seven, and finally a full octave which leads directly into the first theme of the movement. It is a perfectly good pattern, but does have its funny side. Turk, a renowned conductor and contemporary of Beethoven, always deleted this introduction, for, said he, "It makes the audience laugh." But we think Herr Ludwig would say, "Let them laugh; why shouldn't they."

Our community thanks should go to Conductor Stinebaugh and the orchestra for bringing to us full-sized symphonies from the masters. It is no easy task to bring works of such maturity.

  Romanian Rhapsody No. 1 Georges Enesco

In his span of seventy-four years (1881-1955) Georges Enesco earned a mature position in each of three separate areas; he was a violinist, composer and conductor. Born in Roumania, his training was largely secured in Vienna and Paris; at that time, these were two choice places to go for music study. While yet in the Conservatory, his teachers predicted great success both as a violinist and composer; their opinions were justified for in an unusually short time he was firmly established as a virtuoso.

Enesco was Roumanian to the core having a high appreciation for his native folk music. He employed it a great deal in his works. This Roumanian Rhapsody No. 1 is the best known of his three rhapsodies; they are all typical rhapsodies in that they are fraught with high imagination, excitement and abandon and are not girdled by a pre-set structural design. A rhapsody can move freely from mood to mood, key to key, color to color without obligation to standard architectural balance.

The musical culture of Roumania is not so much like that of its Slavic neighbors as that of faraway countries, India and Egypt. Roving peoples brought to this area by their Roman conquerors carried with them oriental influences. In music, Roumania is Gypsy Country. It seems that oriental flavor, gypsy abandon, rhapsodizing and George Enesco were all cut from the same cloth.

This composition employs authentic folk tunes and rhythms. Among the frenetic folk dance tunes in this composition are the 'hora' and 'sirba'. The work is rather like theme with variations. The melodies surge forward, then repose a bit, then hurl themselves onward, but always with an ecstatic vigor. They are never less than exciting.

  Espana Rhapsodie (Spanish Rhapsody) Emmanuel Chabrier

Not all musicians begin that way; Mr. Chabrier studied law and was in the employ of the Ministry of the Interior in the French government, studying music as an avocation. But during a three-month vacation in Spain he was caught up in ecstasy over the folk and art music of the country, the tangos and malaguenas as sung by the Gypsies. That did it -- he came back to Paris with sketches for this rhapsody, Espana. He set it for orchestra, and from the first performance it 'caught on'; in fact, this is the work that established him among composers. He later set this work for two pianos, the medium in which we hear it today.

A rhapsody is highly imaginative, can be somewhat erratic and may seem to defy standard architectural design. Espana does all this and more. It is a breathless race for the listener to keep up with the varied rhythmic patterns of this piece in three-eight meter. The tempo and mood signature for the work says "fast, with fire."

  Tritsch-Tratsch Polka, Op. 214 Johan Strauss II

According to an authority on European dance music, "the polka was invented in the year 1830 by a servant girl who lived at Elbeteinitz (Bohemia), the music being written down by a local musician." It went by another name but when introduced in Prague in 1835 it obtained the name, Polka. Others claim it originated elsewhere, but that matters little here.

The Polka was soon carried everywhere by students, strolling players, bands and royalty. Though a Bohemian dance, Paris went crazy over it. 'Polkamania' set in wherever this delightful infection was carried. Now what can be so intriguing about polka? First of all, it is 'earthy', folk-like and physically stimulating. Its rhythms are aggressive, the note patterns of which cannot be illustrated here by the means at our disposal. It is a round dance in two-four time. Polkas are more melodically engaging than they are harmonically challenging.

Tritsch-Tratsch (chit-chat) Polka has all the earmarks of the true polka, dealing with everyday chit chat in an un-gossipy but refreshing manner. Johann Strauss was a genius at saying light-hearted things in a worthwhile way.

  The Elizabethan Madrigal    

Late in the sixteenth century, during the Elizabethan era, a new type of vocal music began to drift into England from Italy. These musical compositions, secular in nature, were called "madrigals" after the Latin term "matricale." They soon attracted the attention of several English composers. To these Elizabethans, as well as to the Italian composers of the sixteenth century, the madrigal became a natural form of self-expression. The Elizabethan lyric with its highly varied language provided excellent material for verse; and whatever the subject, the English madrigalists possessed the remarkable ability for matching the words with exactly the right musical mood. Outstanding among the Elizabethan madrigalists were such men as Thomas Morley, Thomas Weelkes, and John Wilbye.

The English madrigal gained its greates significance in the English home. Since there were no public concerts in the sixteenth century, the performance of all secular music at that time was limited to the home and was private. After supper, the mistress of the house, according to custom, would pass out the part-books and invite her guests to join with the family in singing madrigals. It was generally considered an important part of a gentleman's education that he be able at sight to take part in a madrigal.

-- Sandra Foust, Student, Manchester College


Manchester Symphony Orchestra Personnel

  Violin I
Shirley Kehr, Concertmistress +
Sara Kauffman +
Dorothy Rautenkranz
Rosemary Manifold
DeeAnn Weibly +
Louis Durflinger
Yetive Leedy
R. Gerald Sweet

Violin II
Dianne McKinney *+
Lowell Horne
John Stout +
Esther Carpenter +
Uldis Stulpins
Karen King +
Christy Miller +
Dorothy Baer
Rosemary Bolinger
Douglas Smith +
David Deardorff +
Lynn Coble

Beverly Shull *+
Frances Early +
Elaine Huntington
Cora Shultz
Gordon Collins

Vivien Singleton *
Jeanne McKinney
Janet Vardaman
Mack Whitmore +
Guy Rumsey
Priscilla Lyman

Samuel L. Flueckiger *
William Hawthorne
Joy Lybrook +
Allen Metzler

Eleanor Garner +

Lou Ann Talcott *+
Eleanor Garner +
Louis Gump +
Anne Whitmore +
Susan Yeatter *+
Shirley Studebaker +

Alan Long *+
Jerry Baker +
James Talcott

Bass Clarinet
Don Shilts

Peter Strodel *
Steve Rumpf

Ray Welch *
Don Markley +
Theron Blickenstaff +
Robert Zimmer

David DeLauter *+
Rex Hornish +
David Bobel +

George Schneider *+
Robert Folk +
Tom Gustin (Bass) +

Barry Ritzler +

George Merkle, Jr. +

James Stump +
Donna Garver +
Willard Dulabaum

Piano (Harp)
Joyce Burkett +

* Denotes principal
+ Denotes MC student
Thomas Preble, director of the Madrigal Singers featured on our concert today, was born in New Castle, Indiana. After graduation from New Castle high school he attended Ball State Teachers College earning the B.S. degree in 1958. His M.A. degree was completed in 1961. For three years he taught in the Niles, Michigan, public schools, initiating an excellent ninth grade Madrigal group there. Mr. Preble has traveled with his own jazz ensemble, The Tom Preble Trio, throughout Michigan, Illinois, Ohio and Indiana, and has appeared with the Trio in the Notre Dame Jazz Festival in 1960. We warmly welcome Mr. Preble and his young musicians to our concert program today.
The second concert will be on February 10, 1963, in the Manchester High School. Featured soloist will be Mr. Tom Harman, clarinetist, and senior in the Angola high school. Mr. Harman will perform the Concerto in A Major for clarinet and orchestra on this annual Youth Concert. He has appeared as soloist with the Fort Wayne and Indianapolis Symphony Orchestras.