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Concert Program Cover

Second Concert of the 35th Season


Sunday, February 24th, 1974
Manchester College Auditorium
Jack C. Laumer, Conductor

  Canzon Septimi Toni No. 2 Giovanni Gabrieli  
  Tom Molinaro, Carla Griebel, Bill White, Steve Hammer, trumpets
Lucy Wilson, Mark Bechtel, French horns
Steve Wiser, baritone
Larry Dockter, trombone
  Violin Concerto in D Major, Op. 61 Ludwig van Beethoven  

I. Allegro, ma non troppo
II. Larghetto
III. Rondo

  Vicki D. Gosa, violin  
  Symphony No. 6 in D Major, Op. 60 Antonín Dvořák  

I. Allegro non tanto
II. Adagio
III. Scherzo
IV. Allegro con spirito


Program Notes

  Canzon Septimi Toni No. 2 Giovanni Gabrieli

Giovanni Gabrieli was one of the composers who established the groundwork of moden instrumental music during the late 16th and 17th centuries. He was born in 1557 and worked in the congenial artistic surroundings of Venice. His Canzon Septimi Toni No. 2 is one of a collection of canzoni entitled Sacrae Symphoniae, dating from 1597. These compositions were written for a variety of instruments: trumpets, strings, horns. The canzon is an instrumental form of the 16th and 17th centuries, developed from the French chanson or lyrical song. It is characterized by clariet and balance of form, often using an A B A form; and by a variety of textures: imitative, dialogue and homophonic styles were used in alternation. The canzon form led to the sonata of the 17th century. Septimi Toni refers to the seventh mode or the mixolydian mode, which corresponds to the scales of notes on the white keys of the piano from G to G. The arrangement of Canzon Septimi Toni No. 2 being played is for brass instruments.

  Violin Concerto in D Major, Op. 61 Ludwig van Beethoven

The Beethoven Violin Concerto, acknowledged as one of the greatest works for the instrument, was written in 1806 for one of Beethoven's friends, the Viennese violinist and conductor, Franz Clement. The first movement is in traditional concerto form with two expositions. it is permeated by a characteristic motive, a repeated note figure. It appears first at the opening of the movement in the five dramatic pulses of the kettledrum preceding the statement of the theme in the woodwinds:
Opening Motive

This "knocking" theme occurs later in the development section, intoned by the brass instruments while the solo violin "sings" an impassioned melody. A second theme heard in the movement is a simple scale-wise tune. In its final statement in the coda this theme is made more interesting by the use of the opening motive in its accompaniment:
Combined Themes

The performer improvises a cadenza just before the coda, most violinists using the cadenza composed by Joachim, a celebrated German violinist. Only after this cadenza is the soloist entrusted with the entire second theme and the accompaniment is reduced to the barest essentials.

The second movement, a Larghetto in the key of G major, is calm and introspective. A solemn theme played by muted strings is the material for a series of variations:
Variation Theme

A second theme appears twice in the solo violin and a cadenza is indicated at the end of the movement. The soloist then proceeds without pause into the final Rondo, an Allegro in D major. The recurring theme of this brisk movement is a dancelike melody given out by the solo violin:
Rondo Theme

A strongly contrasting song-like theme in a minor key is introduced in the middle section. This melody is played first by the solo violin and then repeated by the bassoon while the violin executes florid arabesques around it. One of the most attractive features of this rondo is the dramatic, suspense-creating manner in which the first theme reappears again and again.

  Symphony No. 6 in D Major, Op. 60 Antonín Dvořák

From its first performance, Dvorak's sixth symphony was considered to be one of his best. The carefree mood conveyed by the stirring melodies, together with the straightforward classical construction of the work, make it truly an artistic masterpiece. Thematically the symphony has the nature of a lovely improvisation and it moves with great freedom. Dvorak was inspired to write his sixty symphony by the enthusiastic response fo Hans Richter to the Slavonic Rhapsodies. Dvorak dedicated this symphony to Hans Richter, director of the Vienna Philharmonic Orchestra, and he expected to hear it premiered by the Philharmonic in December of 1880. Because of objections from members of the orchestra to perform Czech compositions two years in a row, Richter sent excuses to Dvorak, postponing the premier several times. Dvorak gave up on the Viennese performance, and the sixth symphony was first performed in March, 1881, by the Prague Symphony. Richter did conduct the third performance of the symphony in May, 1881, in London.

The first movement was inspired by Brahms' Symphony No. 2. The main theme is found in the opening bars:
Opening Theme

The syncopations of the opening bars give way to the furiant broadening of time values before the restatement. The restrained first half of the development concentrates on the principal theme and leads to a charming passage stemming from the main theme played by pairs of flutes and clarinets. The powerful continuation of the development leads to C-sharp major, the recapitulation emerging quietly in D major. The imposing coda, eighty-one bars in length, adds to the majesty of the movement.

The second movement, the Adagio in B-flat major, consists of lyrical diversions on an expressive lyrical melody. It begins with brief imitative introductions, wind instruments echoing ends of phrases played by the strings. The movement has only one real theme, thus the development involves imitative phrases, brief modulations and dynamic contrasts.

The Scherzo, the third movement, is Dvorak's finest furiant up to that time. The furiant is a rapid and fiery Bohemian dance in ¾ time with frequently shifting accents. The rhythmic theme at the beginning of the Scherzo is puslingly Bohemian:
Scherzo rhythmic theme

These strong cross accents and apoggiaturas are followed by a hauntin lyrical melody:
Scherzo lyrical melody

Later these rhythms conflict with one another in an exciting manner. In the trio the piccolo takes over in one of the most poetic passages written for that instrument, while woodwinds and horns sustain the harmony.

The Symphony ends with an Allegro con spirito, a large scale sonata structure. The main theme contains a part that comes from the principal theme of the first movement, bracketed below:
Finale theme

This movement is a magnificent finish to the symphony, its exuberance driving the music to triumphant jubilation.


Manchester Symphony Orchestra Personnel

  Violin I
Vernon Stinebaugh, Co-principal
Kay E. Miller, Co-principal +
Tim Smith +
Carol Barr +
Elizabeth Kemp

Violin II
Deb Wolf *
Annette Dawson +
Rachel Kurtz +
Louis Durflinger
Diane Ramsby +
Vera Wickline

Deanna Brown *+
Robert Curry +
Mac Marlow

Susan Favorite *+
Norman Waggy +
Vivien Singleton

Mark Tomlonson *+
Randy Gratz +

Paula Coutz +

Bev Moore *
Muriel Snider +

Stephanie Jones *
Eric Burkhardt +
Mark Huntington *+
Jamie Van Buskirk +

Thomas Owen *
Arlene Crist +
Lovena Miller +

Mark Bechtel *+
Jean Norton +
Lucy Wilson +
Peter White

Tom Molinaro *+
Carla Griebel +
Steve Hammer +
Bill White +

Larry Dockter
Kerry Barrett +
Steve Wiser +

Joseph Griffith +

Diane Laumer

* Denotes principal
+ Denotes MC student
Vicki Gosa Vicki Gosa, a talented young violinist from Indianpolis, attended Juilliard School of Music, the New England Conservatory, and Indiana University. She has studied under Dorothy DeLay, Aaron Rosand, Joseph Silverstein, and is presently a student of Ruggiero Ricci.

Ms. Gosa has attended the Sienna and Spoleto Festivals in Italy. She received a Fellowship at the Tanglewood Music Festival and was a member of the Aspen Festival Orchestra. Our soloist, who was a member of the East Swiss Chamber Orchestra, has played in the Fort Wayne Philharmonic and is now a member of the first violin section of the Indianapolis Symphony.