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Concert Program Cover

Second Concert of the 25th Season

 

Sunday, February 9th, 1964
Manchester College Auditorium
Monday, February 10th, 1964
Berne High School
Vernon H. Stinebaugh, Conductor

  Overture to Egmont, Op. 84 Ludwig van Beethoven  
  Conducted by Vernon Stinebaugh  
       
  Symphony No. 8 in B minor (The "Unfinished") Franz Schubert  
 

I. Allegro moderato
II. Andante con moto

 
  Conducted by Dr. S.L. Flueckiger  
       
  Intermission  
       
  Glory Be to God Jean Berger  
  "Ye are not of the flesh" from Jesu Meine Freude Johann Sebastian Bach  
  Wake, awake for night is flying Nicolai-Christiansen  
  I'm a Rollin' Spiritual
(arr. Stuart Churchill)
 
  Fifty Nifty United States Ray Charles  
  The King and I Choral Selection Rodgers and Hammerstein
(arr. Warnick)
 
  The Berne High School A Cappella Choir  
  Festival Finale ("God of Our Fathers") arr. Joseph E. Maddy  
  Combined choir and orchestra
Conducted by Dr. Freeman Burkhalter
 
       
  Prelude to Die Meistersinger von Nurnberg Richard Wagner  
  Conducted by Vernon Stinebaugh  
       
  Hungarian Dances Johannes Brahms  
 

No. 5
No. 6

 
  Conducted by Dr. S.L. Flueckiger
former conductor North Manchester Symphony
(with former alumni of the orchestra participating)
 
       

Program Notes by Paul Halladay

  Overture to Egmont, Op. 84 Ludwig van Beethoven
(1770-1827)
 
 

The Count of Egmont's life and character strongly influenced political events of his time (1522-1568). He was involved in the attempt of the Flemish to throw off the despotic yoke of Phillip II, King of Spain. Egmont was betrayed and treacherously assassinated. Goethe based his tragic play, "Egmont," upon these events.

For this play, Beethoven composed, in 1809-1810, an overture and further incidental music to be performed before and within the play. The overture is a combination of character sketch of the hero and a description of the unfortunate events. This gives the work a flavor of "program music," that is, narrative or descriptive music -- not a usual characteristic of Beethoven's day. An overture can be quite free in form but, characteristic of Beethoven, this runs similar to the sonata form, a standard pattern of the symphony.

The overture opens with a solid, slightly prolonged chord, this being immediately followed by a theme in a Sarabande rhythm and tempo stated by strings and in full harmony. Woodwinds soon join in, at first subdued, and later all come to a fortissimo. Portions of the Sarabande ar repeated, all this by way of introduction. The main body of the overture now appears, Allegro, with its two subjects, the second recalling the Sarabande. These subjects are then developed, this leading to a brilliant climax. In the fairly brief coda new material is introduced and this leads the Overture to a brilliant, gripping close.


 
       
  Symphony No. 8 in B minor ("The Unfinished") Franz Schubert
(1797-1828)
 
 

The question is -- was this symphony really "unfinished?" If not, why is it so sub-titled? These questions have made the rounds many times over, leading usually to fruitless discussion. If a symphony must have four movements, as they practically all do, then this two-movement creation is unfinished. It does follow the standard pattern, that of a sonata form for the first movement, followed by a slow, lyrical movement. Fact is, Schubert had made some sketches for a third movement, a scherzo; these he laid by, evidently having felt he had said in this shortened pattern as that he wanted. Silence is far more eloquent than rambling on just to fill space and time.

A wide and adoring public all agree, this symphony is just right! It is one of the most popular of all from among the world's great composers. Schubert stands pre-eminent as a melodist. His more than six hundred songs and dozens upon dozens of short piano pieces are witness to the fact that Schubert excelled in the tuneful shorter forms; his gems usually came in small packages. This fact bears upon his work as a composer of extended works -- a symphony, in this case. He had no unusual ability as an over-all planner, as an organizer of large-scale floor plans; but he had a sure genius for spinning out lovely melody after melody, always in good taste, always tuneful and sometimes excruciatingly beautiful.

It can be recommended that the listener give himself over, unreservedly, to these wondrous melodies, rather than turn the microscope upon first subject, transition, second subject, coda, development, and the like.

Conductors Stinebaugh and Flueckiger are to be congratulated on again bringing to this community a complete symphony.


 
       
  Festival Finale ("God of Our Fathers") Joseph E. Maddy
(1891-1966)
 
 

On July 4th, 1876, the town of Brandon, Vermont, in common with numerous other American communities, held a centennial celebration commemorating the 100th anniversary of the signing of the Declaration of Independence. For the occasion, Reverend Daniel C. Roberts, pastor of the Episcopal Church of Brandon, wrote a centennial hymn entitled "God of Our Fathers."

This hymn was selected by a committee appointed to choose a suitable hymn for the centennial celebration of the adoption of the Constitution in New York City, but it was decided that a truly American tune should be used. Therefore, a member of the committee, George W. Warren, organist of St. Thomas Church in New York City, composed the tune with which we are all familiar.

The present setting for chorus, orchestra and band, was conceived by Dr. Maddy as an expression of the spiritual vitality of America. It was written for the dedication of the Kresge Assembly Hall at Interlochen, Michigan, in August, 1948, and is intended to exemplify the inscription on the building. "Dedicated to the promotion of world friendship through universal language of the arts." The work is dedicated to Mr. Sebastian S. Kresge.

Herald trumpets introduce the magnificent phrases of the first stanza proclaiming the splendor of the Universe. Flowing counterpoint accompanies the prayerful second stanza. Fanfares emphasize the defensive power of His guidance in the third stanza. Following the third stanza is an instrumental interlude portraying the dynamic energy which transformed an ideal into the greatest nation on earth. Against the main theme are heard melodic suggestions of American history, "Yankee Doodle," followed by bits of "Dixie," "Battle Hymn of the Republic," "Red, White and Blue," "Tramp, Tramp, Tramp the Boys are Marching," and "Song of the Marines." This interlude leads into the final climactic stanza in which the prayer for everlasting peace is proclaimed by unison chorus supported by fanfares, counterpoint and national airs.


 
       
  Prelude to Die Meistersinger Richard Wagner
(1813-1883)
 
 

Time was when, in well-regulated German society, musicians, as well as the butchers, the bakers, the candlestick makers, were organized into their own separate groups according to trade or profession. Those of a given community who had "arrived" musically 'made it' into the Meistersinger (Mastersinger) Guild. While the idea was a general benefit, occasionally a stodgy, unimaginative person got in because he 'knew the right people.' Such a person was Beckmesser, in this music drama and Wagner had a great pleasure at poking fun at such kind of people, contrasting them with those of real genius, cunningly referring to himself, of course. The full plot is unessential for the enjoyment of the Prelude.

Another observation is basic here; Wagner had a penchant for associating musical themes with persons or dramatic situations. Such a theme is known as a leitmotif. The complete Prelude contains five of these motives; today's performance includes the first three, appearing in this order: 1) MEISTERSINGER -- broad, majestic, march-like, suggesting the solid, unyielding, obdurate qualities of the Guild. This goes for twenty-six measures. 2) WAKING LOVE of Walther for Eva -- gentle and persuasive, as he speaks his affection for her. Given out by woodwinds, it lasts a brief twelve measures, then giving way to, 3) THE BANNER -- representing the banner carried in the guild procession. It is aggressive, bold, serene, another march tune stated by the brass, embroidered by other parts of the orchestra.

Just as in the play, the characters react upon one another so does each motif carry its own individuality throughout the interplay with other motives. This is dramatically interesting and makes wonderful logic musically; there could scarcely be a more solid foundation for development of musical ideas. The Prelude moves on, gathering emotional momentum, ending in a blaze of glory.


 
       
  Two Hungarian Dances, Nos. 5 and 6 Johannes Brahms
(1833-1897)
 
 

There are those who have accused Brahms of plagiarism in these Hungarian Dances, assuming that he claimed these melodies to be his own. Actually, he did no such thing; for the most part the tunes were gleaned from other sources, folk sources. From boy up, he had a taste for the folk flavor, and he possessed an eminent skill for giving artistic status to simple things.

In the music of Brahms, the terms Hungary and Gypsy are practically inseparable. If ever the Gypsies had a place to call 'home' it would certainly be Hungary. These Dances, V and VI, only two of over two dozen and easily the most popular two, are really Gypsy dances. Gypsy music is not known for intellectual chastity and emotional restraint, but rather for unbridled abandon. The interspersed slices of brooding melancholy are from the Magyar heritage and the passionate excitement is strictly Gypsy.

Brahms originally set these pieces for two pianos -- four hands. Then, like many attractive works, they underwent arrangements being adapted to new media; the great violinist, Joachim, set them for violin and piano. Brahms himself later set them for orchestra, the medium in which they are most often heard today. They are universally popular and are a grace to any concert program.


 
       
 

Manchester Symphony Orchestra Personnel

 
  Violin I
Shirley Kehr, Concertmistress +
Rosemary Manifold
Dorothy Rautenkranz
Esther Carpenter +
Gordon Collins
Yetive Leedy
Louis Durflinger
Ronald Walton

Violin II
Rowena Beard *
Joyce Leth
Barbara Shonk +
Karen King +
Christy Miller +
Uldis Stulpins
David Deardorff +
Dorothy Baer
Rosemary Bolinger
John Sprinkle

Viola
Beverly Shull *+
C. Dwight Oltman
Lloyd Hoff
Cora Shultz
Jerry Hopper +
Verna Trestrail

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

Bass
S. L. Flueckiger *
Joy Lybrook +
Jay Warner
Allen Metzler +

Piccolo
Tim Rust

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

Clarinet
Jerry Royer *
Roger Bricker +
RosaLee Kurtz +
Karl Schrock

Bassoon
Mack Walker *
Kathleen Miller *+

Horn
Theron Blickenstaff *+
Peg Braithwaite
Evelyn Hood +

Trumpet
David DeLauter *+
David Bobel +
Rex Hornish +

Trombone
George Schneider *+
Paul Sites +
Carl Leth
Tom Gustin +

Tuba
Vaughn Smith

Timpani
Donna Garver +

Percussion
James Shamp +
Willard Dulabaum
Carol Sue Pence +

Piano (Harp)
Vance Yoder +

* Denotes principal
+ Denotes MC student