This Season

arrowPast Seasonsarrow

Concert Program Cover

Second Concert of the 32nd Season

A Mozart Program

Sunday, March 7th, 1971
Manchester College Auditorium
James Carlson, Conductor

  Overture to The Marriage of Figaro, K. 492 Wolfgang Amadeus Mozart  
       
  Clarinet Concerto in A Major, K. 622 Wolfgang Amadeus Mozart  
 

I. Allegro
II. Adagio
III. Rondo: Allegro

 
  Robert Jones, clarinet  
       
  Intermission  
       
  Symphony No. 41 in C Major ("Jupiter"), K. 551 Wolfgang Amadeus Mozart  
 

I. Allegro vivace
II. Andante cantabile
III. Menuetto: Allegretto
IV. Molto allegro

 
       

Program Notes

  Wolfgang Amadeus Mozart
(17556-1791)
 
 

These are excerpts taken from a short biography by Leon Dallin:

W. A. Mozart certainly ranks as the most precocious musical prodigy of all time. His father, Leopold, a violinist, author (of a method for violin), and composer in his own right commenced the boy's musical training at the age of four in response to eager and intelligent interest. By the time he was six young Wolfgang had composed little minuets and had appeared in his first public concert playing the harpsichord. When he was seven he made his first of many foreign journeys, this one to Paris. By this time he was playing concertos on both harpsichord and the violin and was giving exhibitions of improvisation. In rapid succession Mozart visited all the musical capitals of Europe, meeting all the prominent musicians of the day, absorbing the latest styles and techniques like a sponge, turning out an uninterrupted torrent of compositions, and all the while dazzling audiences with performing feats.

The scanty returns from the unending stream of masterpieces that flowed from his pen and a pitifully inadequate stipend tardily granted by the emperor were squandered. Production of some of the greatest music in the entire literature, opera and symphonies which have been played untold thousands of times all over the Western world from that day to this, never succeeded in raising their creator above the level of pecuniary anxiety. At thirty-five he was buried in a pauper's grave without an inkling of the untold fortunes that would be made and spent on his efforts. His genius knew no limits. He is the one composer whose operas, symphonies, chamber music, and solo works are of equal monumental significance.


 
       
  Overture to The Marriage of Figaro, K. 492  
 

This 1786 opera overture was written in sonata form without a development section. Two common labels given this form are abridged sonata or sonatina form. The transition material between the first and second theme groups does not occur in the same place in the recapitulation as it did in the exposition. Instead, it is delayed until after the recapitulation to function as the climactic coda material.


 
       
  Clarinet Concerto in A Major, K. 622  
 

The following remarks about the clarinet concerto are by Irving Kolodin:

After the orchestral introduction the clarinet launches on the main theme of the Allegro in a style of rippling, expressive writing for the instrument demonstrated not only in the earlier Quintet but in the divertimenti, serenades, etc., in which it is utilized. Considering the limited prominence of the clarinet at that time (it would rarely be found in Salzburg, but only in such larger places as Munich or Vienna), Mozart had a remarkable understanding of its potential colors, the deep dark register, the wide skips from it to the upper range, etc. Even with today's much improved instruments it is a technical challenge of the first order.

For the Adagio Mozart chose to write variations on a melody of breadth and long-held phrases. Substantially it is in chamber music style (the instrumentation as a whole contains flutes, bassoons and horns in addition to strings), with the clarinet steadily predominant.

The Rondo finale was orchestrated in October, 1791, only weeks before his death. Such premonitions as attached to the famous Requiem are wholly absent in this flowing supple, warmly colored work. It wanders for the contrast, into c-sharp and f-sharp minor, before concluding in the basic A Major.


 
       
  Symphony No. 41 in C Major, K. 551 ("Jupiter")  
 

Milton Cross and David Ewen render these comments about this composition:

The Symphony No. 41 is best known as the Jupiter symphony. It is believed that the official christening of this symphony as "Jupiter" took place at a concert of the Royal Philharmonic Orchestra of London on march 26, 1821; that the name was concocted by the English pianist and publisher J. B. Cramer to describe the godlike perfection of the music. Another interpretation is that the name "Jupiter" was inspired by the dramatic opening chords of the first movement, whose impact is that of Jovian thunderbolts.

The first theme of the first movement is made up partly of these vigorous chords and partly of a soft answer in the strings. It is the opening strong figure, however, that is worked up with immense power before the delicate second theme emerges gracefully in the strings. The development, which begins with a change of key, is more in the dramatic vein of the opening chords than in the gentle character of the second theme. The principal melody of the beautiful slow movement is heard in muted strings. A theme for bassoon provides a transition to the second wonderful melody of this movement, in the oboes. The development here concerns itself primarily with the second theme, while the coda is largely devoted to the first. The minuet that follows is in the spirit of the eighteenth century, the graceful and flowing theme being given by the first violins. The trio contains a delightful dialogue between wind instruments and strings. The finale is the crown of the symphony. With phenomenal contrapuntal skill Mozart here fills the fugal form with radiance, eloquence, and power while building a structure of cathedral grandeur. This last movement, however, is not a fugue, as is sometimes erroneously believed; it is in the sonata form, utilizing fugal writing. It begins with a subdued and spiritual subject for violins alone; the first four notes come from an old church melody and were used by Mozart in other works. This theme is taken over by the orchestra and then given fugal treatment: second violins, first violins, violas, cellos, culminating in full orchestra. The second theme then appears in strings and woodwinds. The development begins with a repetition of the first theme and gives preference to dramatic fugal writing. A passage for two bassoons leads to the recapitulation. In the powerful coda, the first theme is once again subjected to broad fugal treatment.


 
       
 

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

Viola
Jane Wagoner *+
Sherwood Waggy +
Cora Shultz
Ed Davis
Gordon Collins

Cello
Lynn Feece *+
Lenore Marlowe
Vivien Singleton

Bass
Randy Gratz *+
Calvin Bisha
Flute
Freda Clark *+
Bev Moore

Oboe
Stephanie Bunish *+
Rebecca Maurer +

Clarinet
Mark Avant *+
Cynthia Wright +
Jan Sherrow +

Bassoon
Thomas Owen *
Robert Leininger

Horn
John Gilmore *+
Paul Ray
Judy Tidwell +

Trumpet
Steve Likens *+
Mark Beck +

Trombone
Larry Dockter *+

Timpani
Dave Priser +

Percussion
Reed Gratz +

* Denotes principal
+ Denotes MC student
       
 
Robert JonesRobert Jones, a native of Iowa, completed his undergraduate degree at Northern Arizona University in Flagstaff, in 1961, and then was awarded a graduate teaching assistantship at Wichita State University, where he completed the Master of Music Degree in Clarinet in 1963. Following the completion of graduate study, Mr. Jones taught instrumental music in the Halstead, Kansas, public schools for one year, and then accepted the position of Conductor of Band and Orchestra at McPherson College in McPherson, Kansas. Before coming to Manchester College in 1968, he was on the faculty of the University of Montana, teaching clarinet, saxophone and woodwind ensembles.

Mr. Jones has studied clarinet with Charles Warren of Northern Arizona University, Vance Jennings, formerly principal clarinet with the Wichita Symphony Orchestra, Clark Brody, principal clarinet of the Chicago Symphony Orchestra, and Bernard Portnoy of the Indiana University, School of Music. He has performed frequently as a recitalist, and as soloist with high school and college bands and orchestras.