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 |
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| Violin Concerto in D Major, Op. 61 | Ludwig van Beethoven | |||
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I. Allegro, ma non troppo |
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| Vicki D. Gosa, violin | ||||
| Intermission | ||||
| Symphony No. 6 in D Major, Op. 60 | Antonín Dvořák | |||
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I. Allegro non tanto |
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Program Notes |
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| Canzon Septimi Toni No. 2 |
Giovanni Gabrieli (1557-1612) |
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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. |
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| Violin Concerto in D Major, Op. 61 |
Ludwig van Beethoven (1770-1827) |
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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: 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: 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: 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: 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. |
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| Symphony No. 6 in D Major, Op. 60 | Antonín Dvořák (1841-1904) |
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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: 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: These strong cross accents and apoggiaturas are
followed by a hauntin 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: This movement is a magnificent finish to the symphony, its exuberance driving the music to triumphant jubilation. |
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Manchester Symphony Orchestra Personnel |
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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 Viola Deanna Brown *+ Robert Curry + Mac Marlow Cello Susan Favorite *+ Norman Waggy + Vivien Singleton Bass Mark Tomlonson *+ Randy Gratz + Piccolo Paula Coutz + Flute Bev Moore * Muriel Snider + Oboe Stephanie Jones * Eric Burkhardt + |
Clarinet Mark Huntington *+ Jamie Van Buskirk + Bassoon Thomas Owen * Arlene Crist + Lovena Miller + Horn Mark Bechtel *+ Jean Norton + Lucy Wilson + Peter White Trumpet Tom Molinaro *+ Carla Griebel + Steve Hammer + Bill White + Trombone Larry Dockter Kerry Barrett + Steve Wiser + Tuba Joseph Griffith + Percussion Diane Laumer * Denotes principal + Denotes MC student |
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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. |
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