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Concert Program Cover

Third Concert of the 25th Season

 

Monday, May 11th, 1964
Manchester High School
Vernon H. Stinebaugh, Conductor

  Prelude to the opera Loreley Max Bruch  
       
  Symphony No. 40 in G minor, K. 550 Felix Mendelssohn  
 

I. Allegro molto

 
       
  Intermission  
       
  Symphony No. 45 in F-sharp minor Franz Joseph Haydn  
 

IV. Finale: Adagio

 
       
  Intermission  
       
  The Three Brothers Michael Colgrass  
  The Elkhart Percussion Ensemble
John H. Davies, director
Lee Remmel - timpani; Jim Haas - snare drum
Mike Wells - bongos; Todd Kendall - tambourine
Peggy Trafford - tom-tom; Ellen DeLoe - maracas
 
       
  Selected Solos on the Marimba (to be announced)    
  Ellen DeLoe, soloist, Elkhart High School  
       
  Ritual Fire Dance from El Amor Brujo Manuel de Falla  
       
  Fantasia on the Alleluia Hymn Gordon Jacob  
       
  Galop from Masquerade Suite Aram Khachaturian  
       

Program Notes by Paul Halladay

  Prelude to the opera Loreley Max Bruch
(1838-1920)
 
 

On May 13 last, the Civic Symphony, with Concertmistress Shirley Kehr as soloist, performed the Violin Concerto in G Minor by this same composer; today it is the Prelude to an opera. Bruch composed much in both vocal and instrumental areas in addition to being an eminent violinist and a much sought after conductor.

The story of the opera hardly needs re-telling here, except to say that it is based upon the old German legend of the Lorelei, in which the sirens, who live in the Rhine river attempt to lure men to their death. Sitting upon the rocks, combing their lovely tresses, the boatmen become bewitched and, forgetting their piloting job, they go crashing on the rocks.

The Prelude enunciates two chief themes -- the "Loreley" and the "Leonore" (one of the chief characters). After a quiet, serene six measures, the Loreley theme is announced first, by the first clarinet, bassoons and a horn; then it is promptly heard elsewhere in the orchestra. In measure 21 comes a slight increase in tempo and a key change. At this point the harp (piano) comes into prominence and remains so most of the time. The Loreley theme, however, remains dominant.

At measure 41, where the meter changes to triple, the Leonore theme enters, first in the second violins and violas and immediately at various places in the orchestra. This rather broad, yet lyrical, section continues for 27 measures; there is, then, the return to the first theme. Of great interest, in this place, is the rapid triplet playing in the viola section, giving a shimmering sound, descriptive of river ripples, this amid alternating loud and soft passages within the orchestral fabric. The work ends as it began -- softly, and with a brief horn solo.


 
       
  Symphony No. 40 in G Minor -- First Movement Wolfgang Amadeus Mozart
(1756-1791)
 
 

Of this symphony, Schubert said, "You can hear the angels singing in it." Others from that time to this have been just as lavish in their praise. A current historian says, "This is Mozart's most popular work, and deservedly so."

A few words now to students of music -- this movement is a perfect example of sonata form. The music leaps immediately into the first subject group, stated first by the violins while the violas undergird it with a rather restless rhythmic pattern. This is in G minor. A transition then leads to the second subject group of a totally different character and in the key of B-flat major. This is followed by a rather extensive coda; it really could be considered as a third subject. This comprises the exposition and it is repeated, thus giving the listener a better opportunity to remember it.

Comes then the development which is a discussion upon the two stated subjects, with added material, of course. As developments go, this one stands unexcelled. As good sense would dictate, there should be a summarizing of the musical ideas. Named the recapitulation, it summarizes by re-stating the two chief subject groups, somewhat changed, however. This foregoing is rather a floor-plan sketch and adds to the understanding of the composition; to this are added the countless bits of beauty -- hemstitching, embroidery -- call it what you will. This makes it a feast for the mind and the heart.


 
       
  Symphony No. 45 in F-sharp Minor -- Adagio Franz Joseph Haydn
(1730-1809)
 
 

There is more than one way to drive home a point; Haydn chose the clever, colorful way. In his judgment, he and the musicians deserved a vacation. Haydn was, for thirty years, in the employ of the fabulous Hungarian noble family, the Esterhazys. They maintained a sumptuous palace some few miles from Vienna, considering it rather as a summer residence and here they carried on one of the most elaborate musical programs, at any time, at any place, in all history. Oftentimes these 'summer months' extended on and on and on; Haydn and the musicians were longing to get back to Vienna to their families.

In the latter part of the last movement (the movement performed today), Haydn so composed the score that various of the musicians would cease playing, pack up their instruments and leave the hall, the music continuing all the while. Finally, all have departed but two violins and the conductor and they finish the symphony. Needless to say, Prince Nicholas got the point and was 'sweet' about it; next day, the musicians all got their well-earned vacations.

Conductor Stinebaugh and the Symphony Board have planned an extra treat; players will be costumed in a manner suggesting the late seventeen hundreds. The playing ensemble is scaled down in numbers to twenty players, rather usual, in size, for orchestras of that day. The "Farewell" is the forty-fifth of Haydn's 104 symphonies.


 
       
  Ritual Fire Dance from the ballet El Amor Brujo Manuel de Falla
(1876-1946)
 
 

Definitely in keeping with trends of the late nineteenth and early twentieth centuries, musical nationalism and appreciation for folk sources influenced large numbers of composers. De Falla was one of these. Spanish from the center out, no recent composer (he died in 1946) has given the world a more accurate or interesting account of the Spanish 'feel' and flavor. Born in Cadiz, a student in Madrid and Paris, at which time he became world-known, he migrated to and spent his latter years in Argentina. It must be realized that De Falla did more than reflect the Spanish spirit; he was a master craftsman in composition.

The Ritual Fire Dance is one section of a large work, a ballet-pantomime, El Amor Brujo (Love, the Magician). The story is based on an old Andalusian folk tale and is full of magic, fancy and superstition. In the story, Candela, a Gypsy, whose husband has died now finds herself in love with Carmelo. However, their romance is hounded by the ghost of her deceased husband. Remembering that he, while yet alive, was rather fickle and could scarcely resist falling for lovely gypsy girls, she persuades her friend Lucia to flirt with her husband's ghost. It works! he is kept occupied and the new romance can now proceed unbothered.


 
       
  Fantasia on the Alleluia Hymn Gordon Jacob
(1895-1984)
 
 

The chorale tune upon which this Fantasia is built is one of those ubiquitous, indestructible and perfectly wonderful melodies that has served the church for at least four hundred fifty years; how much longer, we do not know. It goes by the name, "Lasst Uns Erfreuen" (Let Us Rejoice) and can be traced back to a collection of hymn tunes, "Geistliche Kirchengesang," Cologne, 1623. It is found most often in current hymnals serving either the hymn "All Creatures of Our God and King" or "Ye Watchers and Ye Holy Ones."

As the title "Fantasia" implies, the arranger has absolute freedom in his treatment of the melody and its setting for orchestra; there is no requirement that it be given in full or even consistently. In fact the opening phrases begin amidships. The unforeseeable, or better yet 'unforehearable' turns of the melody are part of the delight of a fantasia. This work is copyrighted, 1950.

Gordon Jacob's works show him to be a skillful workman, having a special gift for orchestration. London-born in 1895, he was, at the age of eight, a serious student of music and he began composing before age nine. While serving as a second lieutenant in World War I, he became a German war prisoner. He was privileged to keep up his musical works; he had a small orchestra during this time, for which he was conductor, composer and arranger.


 
       
  Galop from Masquerade Suite Aram Khachaturian
(1903-1978)
 
 

The Armenian composer Khachaturian, born in 1903, has since 1934 been a recognized voice among Russian composers, being most widely known for his Sabre Dance from the ballet Gayne. In 1939 he composed a rather extensive set of pieces as incidental music for a play by Lermontov, Masquerade. From this he, by abbreviation and condensation, arranged an orchestral suite of five sections, giving it the same title. We hear the last of the five, the Galop.

A galop is descended from a folk dance, being a round dance; that is, the performers are in a circle formation. It is in duple meter and is rhythmically quite simulating. This Galop is all that, and more. There is the consistent "oompah" undergirding the melodies; the piece moves at a very merry clip. Enthusiasm is its 'middle name.'


 
       
 

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
Deloris Ellis
Barbara Shonk +
Karen King +
Christy Miller +
Uldis Stulpins
David Deardorff +
Dorothy Baer
Rosemary Bolinger
John Sprinkle

Viola
Beverly Shull *+
C. Dwight Oltman
Naida Walker
Cora Shultz
Verna Trestrail

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

Bass
S. L. Flueckiger *
Joy Lybrook +
Jay Warner
Bill Knotts

Piccolo
Tim Rust

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

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

Bassoon
Kathleen Miller *+
Elizabeth Steiner

Saxophone
Cheryl Worl *+
James Dwyer +
Roger Fulk +

Horn
Evelyn Hood *+
Peg Braithwaite
Sherron Williamson +
Joan Royer

Trumpet
David DeLauter *+
David Bobel +

Trombone
George Schneider *+
Paul Sites +
Carl Leth

Tuba
Vaughn Smith

Timpani
Donna Garver +

Percussion
Jim Shamp +
Willard Dulabaum
Carol Sue Pence +

Marimba
Janet Baker

Piano (Harp)
Vance Yoder +

* Denotes principal
+ Denotes MC student