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Concert Program Cover

First Concert of the 32nd Season


Sunday, November 8th, 1970
Manchester College Auditorium
James A. Carlson, Conductor

  Piano Concerto No. 3 in C minor, Op. 37 Ludwig van Beethoven  

I. Allegro con brio
II. Largo
III. Rondo: Allegro

  Alberto Reyes, piano  
  Overture to The Magic Flute, K. 620 Wolfgang Amadeus Mozart  
  Peer Gynt Suite No. 1, Op. 46 Edvard Grieg  

I. Morning Mood
II. The Death of Ase
III. Anitra's Dance
IV. In the Hall of the Mountain King

  Overture to Il Signor Bruschino Gioacchino Rossini  

Program Notes

  Piano Concerto No. 3 in C minor, Op. 37 Ludwig van Beethoven

The 200th birthday of Beethoven has been celebrated by many musicians. We join in this celebration with a performance of the third of the five concertos he wrote for piano and orchestra. Scott Goddard has this to say about Beethoven's third piano concerto:

First Movement. The opening phrase contains those elements on which the music of the first movement is to develop; an arpeggio, a scale, and the figuration of a drum tap. It is a compelling phrase, an inherently energetic and forceful opening to a concerto. Beethoven must have been aware of the sense of expectancy that would be caused by this first appearance of the theme, when played piano on the strings. To deny evident possibilities and withhold potentialities is, for a poet of vision and a masterly craftsman, to have the clue to the whole construction. The only difficulty will be to discover a means by which, after so much has been suggested in the orchestral introduction, sufficient significance can be given to the solo music. Beethoven manages this by the simplest means, the most effective as well as the least expected. Obviously one way to do this would be to give the solo instrument the first loud announcement of the large theme. This, however, has already happened in the opening tutti, in a major tonality. What then is left? To give the pianoforte on its first entry a new theme? That was an acknowledged gambit. Beethoven ignores it. The pianoforte enters and for the first time the great opening theme is displayed in full strength in its own minor tonic. In the meanwhile the orchestra has introduced the second main theme, a melody which in contrast to the first flows where the other leaped back and forth and is calm where the other hardly seemed able to restrain its energy. Now that the solo instrument has been assured of its position by that masterly stroke it has no need to assert itself and the movement can proceed to discuss urbanely those matters suggested by the two subjects quoted above. The essence of that courteous converse between equals is in the coda that follows the solo cadenza and brings the movement to a close; the drum taps (really on drums now) against very soft held string chords and the pianoforte interpolating series of still softer, more distant arpeggio forms, in falling cascades of semiquavers. Then a strong affirmation of the c minor chord and so the end.

Second Movement. This movement belongs to that class of noble slow movements which give the earlier pianoforte sonatas their memorable quality of emotional expression. And by the time this concerto appeared Beethoven had added to those slow movements such things as the Adagio con molt' espressione of Op. 22, wherein the vision seems much widened in scope and the emotional tension correspondingly heightened. The E major second movement begins with one of Beethoven's most splendid melodies. There develops a rich succession of antiphonal exchanges between bassoon and flute against a background of pianoforte arabesques. It has the effect of moving the music through new tonalities before the great melody returns, at first on the pianoforte as before but soon taken over by the orchestra while the solo instrument wanders off into ornamentation. Far-ranging scale passages, a wide sweep of arpeggios, a short but florid solo cadenza are displayed by the pianoforte. The orchestra allows this to play itself tired and then clinches the argument; a simple reference to the first bar of the chief melody which the pianoforte duly repeats; and that is the end.

The third movement rondo is A-B-A-C-A-B-A in construction. The A material is altered in the last section. It appears in a 6/8 Presto and in the Major instead of the minor tonic.

  Overture to The Magic Flute, K. 620 Wolfgang Amadeus Mozart

The opera Die Zauberflote was completed two months before Mozart died. The overture begins with an adagio section. This is followed by an allegro section. Another short adagio section comprised of three chords reminiscent of the beginning is next. The overture concludes with the final allegro section.

  Peer Gynt Suite No. 1, Op. 46 Edvard Grieg

The 22 musical numbers for Peer Gynt were originally composed in 1876 as incidental music for Ibsen's play of the same name. Twelve years later, Grieg arranged Peer Gynt Suite No. 1 for orchestra. This was so successful that he arranged Peer Gynt Suite No. 2 three years after that. The following are the composer's comments about the play:

Peer Gynt is a character of morbidly developed fancy and a prey to megalomania. In his youth he has many wild adventures -- comes, for instance, to a peasants' wedding where he carries off the bride up to the mountain peaks. Here he leaves her to roam about with wild cowherd girls. He then enters the kingdom of the mountain king, whose daughter falls in love with him and dances to him. But he laughs at the dance and the droll music, whereupon the enraged mountain folk wish to kill him. But he succeeds in escaping and wanders to foreign countries, among others to Morocco, where he appears as a prophet and is greeted by Arab girls. After many wonderful guidings of Fate he at last returns as an old man, after suffering shipwreck on his way to his home, as poor as when he left it. Here the sweetheart of his youth, Solveig, who has stayed true to him all these years, meets him, and his weary head at last finds rest in her lap.

The atmosphere of a sunny morning is aptly captured in Morning Mood. The next movement is played by muted strings and refers to the death of Peer Gynt's mother. This is followed by a dance movement where we hear some pizzicato employed by the strings. The last movement is a sinister march that gets faster as the suite draws to a close.

  Overture to Il Signor Bruschino Gioacchino Rossini

In this overture, the second violins produce a different type of sound than we normally hear. It is made by striking the violin with the wood of the bow. The ever delightful Rossini crescendo is also found in this overture.


Manchester Symphony Orchestra Personnel

  Violin I
Vernon Stinebaugh, Concertmaster
Gail Steward +
Peggy Rieman +
Linda Morris +
Mary Berkebile
Ruth Berkebile
Pauline Cork
Salvatore Lombardo

Violin II
Linda Stanley *+
Carol Barr +
Rachel Kurtz +
Myrna Grove +
Vera Wickline
Dorothy Rautenkranz
Janis Eiler +
Becki Wilcox
Steve Wilson
Ruth McKalips +
Sarah McKalips

Jane Wagoner *+
Sherwood Waggy +
Cora Shultz
Ethel Anderson
Gordon Collins

Lynn Feece *+
Larry Wiser +
Lenore Marlowe
Vivien Singleton

Randy Gratz *+
Bob Bowman +
Samuel Flueckiger
Calvin Bisha
Rayna Lubbs +

Pat Brewer *+
Freda Clark *+
Bev Moore

Stephanie Bunish *+
Rebecca Maurer +

Mark Avant *+
Cynthia Wright +
Jan Sherrow +

Thomas Owen *
Robert Leininger

John Gilmore *+
Paul Ray
Judy Tidwell +

Steve Likens *+
Mark Beck +

Larry Dockter *+
Bob Lowe +
Dan Garver +

Dave English +

Dave Priser +
Don Cook +

* Denotes principal
+ Denotes MC student
Alberto ReyesAlthough very young, Uruguayan pianist Alberto Reyes has already achieved significant worldwide recognition through his successful participation in some of the most important international competitions. To his extensive list of prizes in the "City of Montevideo" International Competition (Uruguay), Emma Feldman competition (Philadelphia), G. B. Dealey Awards (Dallas), and Guanabara International Competition (Rio de Janeiro, Brazil), he recently added the Honorable Mention in the IV International Tchaikovsky Competition that took place in Moscow, U.S.S.R., during the month of June of this year.

Alberto Reyes began his musical studies in 1954, at the age of six, with Mrs. Sarah B. de Santorsola, in his home town, Montevideo, Uruguay. At age 8 he gave his first public recital, and five years later made his debut with the Uruguayan Symphony Orchestra after winning the First Prize in the U.S.O. Young Artist Competition. In 1966, Reyes came to the United States to study with the distinguished American pianist Sidney Foster, at Indiana University.

During his years at I.U., Alberto Reyes has been the recipient of the Performer's Certificate (the highest distinction in the field of performance), the Rosita Renard Scholarship, Ernest Hofzimmer Scholarship, Music Alumni Association Award, and the Wabash Smelting Company Young Artist Award.