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Concert Program Cover

First Concert of the 29th Season

 

Sunday, November 12th, 1967
Manchester College Auditorium
David C. McCormick, Conductor

  Overture to Iphigenia in Aulis Christoph Willibald Gluck  
       
  Violin Concerto in D Major, Op. 77 Johannes Brahms  
 

I. Allegro non troppo
II. Adagio
III. Allegro giocoso, ma non troppo vivace

 
  Endre Granat, violin  
       
  Intermission  
       
  American Salute Morton Gould  
       
  Song of Peace Albert Ingalls  
       
  Polovetsian Dances from Prince Igor Alexander Borodin  
       

Program Notes

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

Gluck's musical productivity spanned portions of two historical periods, Baroque and Classic; and his music contains elements of style from both periods. This overture, composed in 1772, is particularly interesting in its relationship to the genre of Romantic opera, a school of composition that reached fruition over half a century after Gluck's death. Gluck departed from common practice of his predecessors by treating opera as a large unified form rather than a series of musically unrelated sections. In this manner he was similar to nineteenth-century Romantic composers.

The opera's dramatic mood is created at the opening of the overture by a slow-moving melody that has its effect heightened by contrapuntal treatment resulting in tensions of dissonance. A majestic motive stated by all voices in unison leads into the fast-moving main body of the overture. In the opera the fast-moving section leads directly into the first act, without pause. However, the version being used today has a recapitulation of the opening material, as arranged for concert performances by the nineteenth-century composer, Richard Wagner.


 
       
  Violin Concerto in D Major, Op. 77 Johannes Brahms
(1833-1897)
 
 

When first introduced in 1879, the Brahms violin concerto was considered so difficult for the soloist that it was facetiously referred to as a concerto against the violin rather than for the violin. Yet violinists have overcome its difficulties and the work has become one of the most often performed concertos. Even though the concerto requires a virtuoso soloist, the orchestra is employed not merely as an accompaniment but participates as an equal partner in the musical proceedings.

Brahms' genius is apparent in the perfection achieved in combining lyrical melodies with tightly-woven musical form. The three movements are in the traditional forms -- respectively sonata-allegro, three-part song form, and rondo. In the first movement two themes stand out in greatest prominence -- the flowing melody that opens the movement, and another that provides contrast in key center and greater intensity of feeling. Along with these two predominant themes there are at least three important recognizable melodies, one of which is a forceful, detached melody requiring the soloist to play on three strings simultaneously. The second movement presents sublime unadulterated beauty through obvious melodic construction. By its very simplicity the adagio is an ideal companion piece for the complex first and third movements. A strong flavor of Hungarian folk music is present, a result in part from emphasis of the sixth scale step. Toward the end of the movement in place of the traditional solo cadenza there is a passage that is essentially an accompanied cadenza. Subsequently, a brief solo cadenza is followed by a march-like coda based on preceding material.


 
       
  American Salute Morton Gould
(b. 1913)
 
 

American Salute is based on the Civil War song that was sung in the North as "When Johnny Comes Marching Home," and in the South as "We all Go Down to New Orleans." This stirring patriotic fantasy was composed during World War II.


 
       
  Song of Peace Albert M. Ingalls  
 

Song of Peace is an unpretentious work written in 1960. The quiet melodic opening of the piece is followed by a festive section that gains interest through irregular meter having groups of five pulsations contrasted with the more common groups of three or four pulsations. The opening theme returns in its original simplicity and swells to an emotional climax performed by the full orchestra. The work draws to a peaceful close as it returns to the quiet material of the opening section.


 
       
  Polovetsian Dances from Prince Igor Alexander Borodin
(1833-1887)
 
 

Borodin's energies were divided between music and his vocation as a chemist. He spent many years in historical research of the Prince Igor story but at his death the opera was left unfinished. It was completed by the composer's friends, Rimsky-Korsakov and Glazounov.

The story concerns a twelfth-century Russian expedition against the nomadic Polovtsi tribe. The expedition is a disaster and the Russian leaders are captured, but the captives are provided a lavish festival and banquet. The "Polovetsian Dances" are part of that festival. The music is obvious in its attempt to depict oriental color and barbaric festivity. American audiences are familiar with the tunes in their adaptation for the Broadway musical production Kismet.


 
       
 

Manchester Symphony Orchestra Personnel

 
  Violin I
Vernon Stinebaugh, Concertmaster
Pamela Petry +
Lucy Eshelman +
Marlene Wallman
Pauline Cork
Leslie Bentley

Violin II
Loretta Wood *+
Ronald Fleming +
Donna Holsopple +
Larry Klingler +
David Shaw
Debra Tudor +
Becki Wilcox
Louis Durflinger

Viola
Shirley Royer *+
Frances Early
Cora Shultz
Mac Marlow

Cello
Jerry Lessig *
Millard Irion
Lenore Marlowe

Bass
Herbert Ingraham *
Allen Johnson +
Calvin Bisha

Piccolo
Vicky Henricks +

Flute
Patricia Brewer *+
Deena Long +
Vicky Henricks +
Oboe
Peter Figert *
Sue Schuessler

Clarinet
Evelyn Lawrence *+
Diana Wine +
Joy Beall +

Bassoon
Deborah Maurer *+
Robert Leininger +

Horn
Thomas Listenfelt *+
Jerry Eller +
Mary Kay Cullison +
Larry Clark +

Trumpet
Robert Bonner *+
Jeffrey Ott +
John Holsinger +

Trombone
Forrest Bedke *+
David Voelker
Norman Stump +

Percussion
John Paulsen +
Neal Graham +
Janice Miller +

* Denotes principal
+ Denotes MC student
       
 
Endre GranatEndre Granat was born in Huntary and began study of the violin at the age of four. His father, former director of the Conservatory of Music at Miskolc, was his first teacher. Mr. Granat began concertizing at the age of seven, graduated from the Franz Liszt Music Academy in Budapest at an early age, went to Switzerland in 1956 and obtained a degree from the Basel Conservatory. At the age of 20 he became concertmaster of the Hamburg Symphony. In 1961 Mr. Granat went to Goteborg, Sweden, as professor of music at the Conservatory of Music and concertmaster of the symphony orchestra. In 1964 he came to the United States and did post graduate work at Indiana University studying with Professor Josef Gingold. He was employed in 1965 as assistant concertmaster of the Cleveland Symphony Orchestra and taught at the Cleveland Institute of Music. Since 1966 he has been on the faculty of the University of Illinois. Mr. Granat has performed as soloist with the major symphony orchestras in many European countries, and recently returned from a successful concert tour of Europe. He comes to North Manchester directly following a tour of South America during October. In 1962 Mr. Granat won first prize at the International Competition in Heidelberg and he is a 1967 prize winner of the Queen Elizabeth International Competition in Brussels. He performs on a beautiful Italian "Domenicus Montagnana" 1721 violin.