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Concert Program Cover

First Concert of the 25th Season

 

Sunday, November 10th, 1963
Manchester High School
Vernon H. Stinebaugh, Conductor

  Overture to Iphigenia in Aulis Christoph Willibald von Gluck
(rev. Richard Wagner)
 
       
  Symphony No. 5 in C Minor, Op. 67 Ludwig van Beethoven  
 

IV. Allegro

 
       
  Intermission  
       
  Piano Concerto No. 10 in E-flat Major for Two Pianos, K. 365 Wolfgang Amadeus Mozart  
 

I. Allegro

 
  Genita Speicher and Max Allen, soloists  
       
  Espana Rhapsodie arr. Joseph E. Maddy  
  Genita Speicher and Max Allen, soloists  
       
  Intermission  
       
  "The Great Gate of Kiev" from Pictures at an Exhibition Modest Mussorgsky  
       
  Slavonic Rhapsody No. 2, Op. 269 Carl Friedemann  
       
  Selections from West Side Story Leonard Bernstein  
       

Program Notes by Paul Halladay

  Overture to Iphigenia in Aulis Christoph Willibald von Gluck
(1714-1787)
 
 

It went through a series of steps -- the overture -- in its development, all the way from merely an instrumental prelude for an opera or oratorio, to the present-day completely independent concert piece. Even so, most orchestral overtures played today are related to and serve to introduce a dramatic work; such a one is this.

The story of Iphigenia in Aulis has its roots in a Greek tragedy, by Euripides. Stated briefly, King Agamemnon has, by accident, incurred the wrath of the Goddess Artemis and only one kind of sacrifice can restore her good will, that being the human sacrifice of the King's daughter, Iphigenia. Clymenestra, mother of Iphigenia begs Achilles, Iphigenia's lover, to rescue her, but the plans proceed for the sacrifice. Somehow, the heart of Artemis is softened and Iphigenia is spared. She and Achilles then depart, with the good will of all the gods, for Troy.

This opera is now rarely given, but the overture is very much alive. The work we hear today was re-scored by Richard Wagner and, to some extent, bears his stamp. Wagner had a passion for associating musical motives with persons, moods or dramatic situations. In this overture he hears four extra-musical situations, each related to a musical theme. To follow directly his own comments, the first (in the slower moving first division of the overture) is an invocation for deliverance from affliction. The second is an assertion of overbearing authority, the third an expression of womanly tenderness, and the fourth, deep sympathy.

This was Wagner's concept, but we have our own ears with which to listen. These four themes do not follow straight endways, one after another; there are repetitions and developments. In any case, Gluck intended this overture to set forth clearly the message of the opera, prior to the actual singing of it.


 
       
  Symphony No. 5 in C minor, Op. 67
-- Fourth Movement
Ludwig van Beethoven
(1770-1827)
 
 

We owe so much to Beethoven. For him, music was more than an adventure into the realm of beauty. He was in the vanguard of a new movement, one with social and political overtones as well as musical; he was all for the common man and his struggle for self-realization. Another title to this work sometimes accompanies those listed in the program, a sort of descriptive one, "Fate" symphony. Beethoven had an inner conflict with himself, an outer one with society, but with his indomitable will he overcame both. This complete symphony is almost a character sketch of the man.

The first movement, as many will remember, speaks anguish of soul and moments of serenity; it is intense. Then following the two intervening movements comes this bold and heroic shout of triumph over human frailty. Contrary to the usual manner there is no break between movements three and four; Consequently, Conductor Stinebaugh and the orchestra will begin within the third movement to build the bridge into the last. At this moment the tonality comes out into the clear sunlight of C Major, having cast off the anxiety and restlessness of the first movement in its minor key.


 
       
  Piano Concerto No. 10 in E-flat Major for Two Pianos, K. 365
-- First Movement
Wolfgang Amadeus Mozart
(1756-1791)
 
 

To put this concerto in a reasonably accurate historical setting, let us think of Mr. Allen as a young man of twenty-three years, and Mrs. Speicher as his older sister, age 27. He is Wolfgang Amadeus Mozart and she his very talented sister Anna Maria, better known by her affectionate nickname "Nannerl." At the age when children are beginning to attend school, Mozart was already composing mature music; before he would have gotten into the fourth grade in Manchester Schools he and Nannerl had performed in many important places all over Europe. These prodigies were welcomed everywhere.

This concerto, the first movement of which we hear today, was composed specifically for the two of them to play in their home town of Salzburg, Austria. Dates seem to be uncertain, but it was likely in 1779. While Mozart's concertos of his later period were more mature in concept, scarcely any of them carry more youthful 'bounce' and good humor than this one. It is evident that he enjoyed dividing the responsibilities, usually delegated to one soloist, between the two keyboards. This is enjoyable, and rather unusual for concertos. They, in turn, share the musical developments with the orchestra. In typical fashion of that day, the orchestra portion is scored rather lightly; it is for strings, woodwinds and very little brass and very, very little percussion.


 
       
  Espana Rhapsodie (Spanish Rhapsody) Emmanuel Chabrier
(1841-1894)
 
 

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."


 
       
  "The Great Gate of Kiev" from Pictures at an Exhibition Modest Moussorgsky
(1839-1881)
 
 

Imagine going to an art exhibit in a concert hall; it can be done, however, and is being done here, today.

Victor Hartman was a painter and architect of no mean stature. Shortly after his death in 1873 an exhibit was made of various of his pictures and designs. Moussorgsky was an admiring friend of Hartman and this occasion inspired him to perpetuate, in sounds, the memory of the painter.

Moussorgsky selected ten of the pictures to describe in music, the Pictures at an Exhibition. They cover subjects all the way from a medieval castle, to women bickering in the market place, to the Great Gate of Kiev. The work was originally scored for piano, but it was too good for orchestras to pass up; nowadays it is heard usually by orchestra. Various composers and arrangers have transcribed it for orchestra, among them Maurice Ravel. This one is by Ravel, with further revisions by Bruno Reibold.

Technically, it is known as an orchestral suite, inasmuch as it is a set of related pieces all woven into one. It is also a transcription, for it has been transferred over into a new medium for performance. (This latter, for students young and old.) We remember, however, that we are, today, listening to only one picture.


 
       
  Slavonic Rhapsody No. 2, Op. 269 Carl Friedemann
(1862-1952)
 
 

Your program annotator is unable to find pertinent material on this composer; maybe this is not a loss, for the listener can go 'on his own' without the writer's bias. Same earmarks of a rhapsody have been pointed up in previous notes in this program. Add to that the connotation of the word Slavonic -- suggestive of the Slavic peoples.


 
       
  Selections from West Side Story Leonard Bernstein
(1918-1990)
 
 

One may ask, "which is Bernstein, a pianist, a conductor, or a composer?" The answer is easy -- all three, probably in this order: 1) conductor, 2) composer and 3) pianist. Born in Massachusetts, 1918, Harvard University is proud to claim him as an alumnus. The various schools he attended and the teachers with whom he studied are truly a list of the famous. His sensational rise to fame, when he did a last-minute substituting job as conductor for Bruno Walter and the New York Philharmonic, is now a matter of history. All the U.S. is familiar with his great service to music, via TV, by giving lecture-concerts on the great masters.

While Bernstein has composed symphonies, ballets and some lyric opera, he is quite at home on the Broadway Musical Stage and will, no doubt, leave a valuable imprint upon it. The West Side Story, having been given in our community within the year, will be no stranger to the ears of many in this audience. The music is sophisticated, urbane, pungent and vital, just as the original musical play.


 
       
 

Manchester Symphony Orchestra Personnel

 
  Violin I
Shirley Kehr, Concertmistress +
Sara Kauffman +
Dorothy Rautenkranz
Rosemary Manifold
Louis Durflinger
Clara Woolley
Gordon Collins
Yetive Leedy

Violin II
Esther Carpenter *+
Rowena Beard
Barbara Shonk +
Karen King +
Christy Miller +
Uldis Stulpins
David Deardorff +
Dorothy Baer
Rosemary Bolinger
John Sprinkle
Ralph Brown

Viola
Beverly Shull *+
Naida Walker
C. Dwight Oltman
Jerry Hopper +
Cora Shultz

Cello
Jeanne McKinney *
Dean Grove +
Mack Whitmore +
Sherryl Zerkle +
Vivien Singleton
Guy Rumsey

Bass
S. L. Flueckiger *
Joy Lybrook +
Jay Warner
Corlyle Drake

Piccolo
Tim Rust

Flute
Tim Rust *
Louis Gump +
Gale Evans +
Kathleen Metzger
Oboe
Shirley Studebaker *+
Susan Yeatter +

Clarinet
Jerry Royer *
Alan Long +
RosaLee Kurtz +
Karl Schrock

Bassoon
Mack Walker *
Kathy Miller *+

Horn
Peg Braithwaite *
Robert Zimmer
Theron Blickenstaff +
Gayle Bergeron

Trumpet
David DeLauter *+
David Bobel +
Rex Hornish +

Trombone
George Schneider *+
Paul Sites +
Carl Leth
Michael Jenkins

Tuba
Vaughn Smith

Timpani
Donna Garver +

Percussion
James Stump +
Willard Dulabaum
Mary Brandeberry +
James Shamp +

Piano (Harp)
Vance Yoder +

* Denotes principal
+ Denotes MC student
       
 
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. Since study at Northwestern University during the summer session of 1959, Mrs. Speicher has been a student of Dr. Saul Dorfman, Chicago Musical College of Roosevelt University.

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, former 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, former organist for Northwestern's Thorne Chapel. While at Indiana University, where he received his Master of Fine Arts degree, Mr. Allen also studied organ with Prof. George Y. Wilson.

Mrs. Paul Speicher and Mr. Max I. Allen, duo-pianists who are appearing in today's concert, have been working together as a team since 1949, both as duo-pianists and piano-organ performers. They have played with the North Manchester Civic Symphony on two previous programs.