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Concert Program Cover

Second Concert of the 27th Season

 

Sunday, February 6th, 1966
Manchester College Auditorium
C. Dwight Oltman, Conductor

  Toccata Girolamo Frescobaldi  
       
  Symphony No. 8 in D Minor William Boyce  
 

I. Pomposo: Allegro
II. Andante
III. Gavotta (Risoluto)

 
       
  Four Mazurkas, Op. 30 Frederic Chopin  
  Ballade No. 4 in F Minor Frederic Chopin  
  Marvin Blickenstaff, piano  
       
  Intermission  
       
  Fanfare to precede La Peri Paul Dukas  
       
  Letter from Home Aaron Copland  
       
  Piano Concerto No. 1 in E-flat Major, S. 124 Franz Liszt  
 

I. Adagio maestoso (Tempo giusto)
II. Quasi Adagio
III. Allegretto vivace
IV. Allegro marziale animato

 
  Marvin Blickenstaff, piano  
       

Program Notes by C. Dwight Oltman

  Toccata Girolamo Frescobaldi
(1583-1643)
 
 

A somber, poignant beginning erases the usual stereotype of a toccata as a dazzling display piece. Neither is the allegro section dominated by perpetuum mobile writing. Rather it is exuberant and gay with only occasional flurries of notes. The introductory slow section returns before the final joyous statements.

Some musicologists question whether the work was written by Frescobaldi. They attribute the composition to a 20th Century Italian cellist. Regardless of whether it came from the pen of the great 17th Century organist or a 20th Century musician, Hans Kindler's orchestral transcription continues to receive many performances.


 
       
  Symphony No. 8 in D Minor William Boyce
(1710-1779)
 
 

William Boyce ranks as England's most talented composer between Purcell and Elgar. He earned his livelihood as an organist, but is best known today as a composer of choral music. Extant instrumental works include twelve sonatas and eight symphonies. In 1749 the University of Cambridge conferred a Doctor of Music degree on the composer. Adding to his status, Boyce edited three highly regarded volumes of "Cathedral Music." Biographers describe him as a very kindly man, widely respected and loved.

Symphony No. 8 begins with a slow introduction in French style which is followed by a fugal allegro. The style strongly suggests the concerti grossi of Handel rather than a symphony by modern definition. A lyrical and extremely short slow movement is followed by a typical Baroque dance. This composition possesses a strength and clarity which is immediately engaging. It was one of the last works in the great Baroque tradition.


 
       
  Fanfare to Precede La Peri Paul Dukas
(1865-1935)
 
 

A professor of composition at the Paris Conservatory, Paul Dukas achieved international acclaim with The Sorcerer's Apprentice. In France his fame is not limited to this single work. Ariane and Bluebeard, an opera, and La Peri are also highly regarded.

La Peri is a dance-poem first presented in Paris in 1912 -- inspiration coming from an Oriental legend. The fanfare is scored for brasses alone. Dukas, a masterful orchestrator, succinctly displays the idiomatic capabilities of the instruments as he creates an air of excitement and expectation.


 
       
  Letter from Home Aaron Copland
(1900-1990)
 
 

Without question, Aaron Copland ranks as one of the leading figures in American music. Composer, writer, teacher, and entrepreneur, he has been successful in many areas. Copland was the first of many Americans to study in France with Nadia Boulanger. The thorough technical training received there has enabled him to write in several different styles with impressive craftsmanship. Copland has preoccupied himself for nearly four decades to "expressing the deepest reactions of the American consciousness of the American scene."

World War II prompted the composer to write two patriotic works, A Lincoln Portrait, and Letter from Home. The latter work was commissioned by the American Broadcasting Company and first performed in 1944 with Paul Whiteman conducting. A 1962 revision by Copland has shortened the work somewhat. Expressive melodic lines create a nostalgic mood which is broken only briefly by dissonant chords suggesting the harsh reality of war.


 
       
  Piano Concerto No. 1 in E-flat Major, S. 124 Franz Liszt
(1811-1886)
 
 

Franz Liszt was a paradoxical figure. The story of his life is extremely colorful and engrossing! A child prodigy as a pianist, Liszt became a dazzling virtuoso and an overpowering personality. He ranks with Paganini as the most magnetic performer in history. As a composer, Liszt is also important. His highly cosmopolitan career led to an interesting eclectic style. In addition to his contributions to piano literature, Liszt developed the symphonic poem and created important innovations in harmony.

The Concerto No. 1 has a rather unusual form. Four sections are played without interruption, giving the impression of a single movement work. The first theme is stated immediately by the strings. Muted celli and basses introduce the second section, a plaintive adagio. After development a new theme appears in the solo flute. In the scherzo section is heard the triangle part which prompted the critic Hanslick to disparagingly call this work the "Triangle Concerto." In the words of Liszt, the finale "is merely an urgent recapitulation of the earlier subject matter with quickened livelier rhythm, and contains no new motives..." The concerto gives contemporary pianists an opportunity to display some of the emotion and bravura so successfully projected by the composer during his many years of concertizing.


 
       
 

Manchester Symphony Orchestra Personnel

 
  Violin I
Vernon Stinebaugh, Concertmaster
Mary Louise Klotz +
Rosemary Manifold
Karen King +
Esther Carpenter +
Louis Durflinger
Leslie Bentley
Gordon Collins

Violin II
Sara Kauffman *+
Joyce Holda +
Anita Purvis +
Jean Stump +
David Deardorff +
Donna Holsopple +
Deborah Waas
Susan Shull
Ernest Zala
Rebecca Chance

Viola
William Wiley *
Frances Early
Cora Shultz
Marie Heiney
Mac Marlowe
Naida Walker

Cello
Paul Bright *+
Dean Grove +
Barbara Smith +
Carol Kirkpatrick +
Elizabeth Bueker

Bass
Clyde Holsinger *
Herbert Ingraham
Dale Beaver
S. L. Flueckiger
Anthony Cipriano

Piccolo
Linda Shaw +

Flute
Eric Sharpe *
Donna Scott
Oboe
Shirley Studebaker *+
Carol Noffsinger +

Clarinet
Rudy Sprinkle *+
Leon C. Chambers
Evelyn Lawrence +

Bass Clarinet
Jim Wampler +

Bassoon
Pete Strodel *
Linda Simpson +

Horn
Theron Blickenstaff *+
Bill Haworth +
Sherron Williamson +
Sylvia Atkinson +

Trumpet
Robert Bonner *+
David Bobel +
Loren Lewandowski +

Trombone
Larry Dockter *+
Forrest Bedke +

Bass Trombone
Tom Gustin +

Tuba
Bruce Kauffman

Timpani
Donna Brian

Percussion
Eric Sprunger +
Charles Shockney +
Marsha Palmer +

* Denotes principal
+ Denotes MC student
       
 
Marvin BlickenstaffMarvin Blickenstaff received his elementary and secondary education in Nampa, Idaho. He did his undergraduate study at Oberlin Conservatory, winning the Hurlbutt Award as the outstanding performer in the senior class. In 1959 Blickenstaff studied in Frankfurt, Germany, on a German Government Grant. At Indiana University he earned his Master's degree and a Performer's Certificate.

In recent years, Blickenstaff has won honors in several contests. State and district winner of the National Federation of Music Club's Young Artist Auditions in 1963, he also placed in the national finals. In 1964 at Lisbon, Portugal, the brilliant pianist was a semi-finalist in the Vienna da Motta International Piano Competition. Last year he was National Winner of the Amarillo Symphony Orchestra's Young Artist Competition. Blickenstaff is scheduled to play in Greece, Austria, Hungary, Switzerland, Spain, Holland, and Canada this year.

Currently our soloist resides in new York City. He is married to Darlene Roth Blickenstaff, a painter by profession and an amateur violinist.